Künstlerhaus Dortmund
Contact   Sunderweg 1 | 44147 Dortmund | phone +49-231-820304 | fax +49-231-826847 | email buero at kh-do.de
Opening hours   Office  Mon + Fri 10-14 h Tue - Thu 10-16 h  |  Exhibition  Thu - Sun 16-19 h

Künstlereltern – von und über

5 September  – 11 October 2020

The exhibition poses the question of what actually happens when the stork arrives?
Is there a baby break, does the artistic activity change or does nothing change at all? Do artists have to limit their production or does the idea of the child as the ultimate work of art even get competition from among its own ranks?

Sibylle Feucht
Vanessa Gageos
Hannah Goldstein
Nina Heinzel
Sandra Krause Gomez & Christoph Medicus
Christine Kriegerowski
Svenja Maaß
David Mannstein & Maria Vill
Birte Svea Metzdorf
Sophia New & Ruby Belasco New
Eugen Schilke
Minka Strickstrock
Markus Walenzyk & Lisa Weber
Charline Zongos


Sibylle Feucht

crash #2 | 2019 | wall installation | fused plastic beads | 450 x 255 cm

I am always moving within different media and materials, ranging from classical photography to instagram based projects, installations in public space and video-works to wall-filling installations with fused plastic beads.
The recurring concentration on the supposed small within the large (and vice versa) is perhaps a reference to my molecular biology studies. My works mostly reflect political, ecological and social issues we are all confronted with. The focus is often on the small things, the private and intimate perspectives that contain the whole world and refer to the tension between the private and the public.

Vanessa Gageos

conditio creatrix | 2020 | 3-channel video-installation

conditio creatrix is a deeply personal work showing the artist and the mother. These two strong realities, which both bear creation at their core, try to coexist and function during different daily actions.
On a different plane, the artwork also expresses a juxtaposition many parents are experiencing: strong love and joy oscillating with difficulty and struggle.
The work is no indirect criticism of gender equality

Hannah Goldstein

Scheiße, wo ist das Kind? #5 | 2019 | Collage | 21 x 29,7 cm (30 x 40 cm framed)

In the work "Scheiße, wo ist das Kind", which translates from German into “Shit, where is the child?“ I deal with the fear that I have about losing my son in a public place. I seek out images of children and cut out one character to highlight the missing. The series spans from the comical but also to a deep realistic fear.
In Goldstein's collage work she seeks out the juxtapositions of mostly only two images. She searches for balloons and boats. Ghosts and turned away gazes. She is also drawn to repetitions and the absurd. The theme of disappearance and fear, fear of the decay of the planet, fear of water or losing her son by the lake or a public place also plays a role. Collage gives her the chance to work with the photographic image in a different way, it gives her a freedom to interact with the medium in a somewhat violent way. The act of cutting the image is a deconstruction of what can if one wants it to be a perfect image. In this way she would like to challenge the image and to a certain extent punish it. Images can be volatile and making the collage is yet another act of creating tension in a medium that she love and at the same time wants to defy and take apart. Hannah Höch said: ”I have always tried to exploit the photograph. I use it like color, or as the poet uses the word.” 

Nina Heinzel

Museum Ludwig - from the series "Ich arbeite an meiner Karriere" | 2018 | acrylic on canvas | 70 x 100 cm

Suddenly I realised that the art market didn't care about the fact that I had been ignoring and even despising it. Early 40s, three children, still young and ambitious? A career plan must include firstly: to overcome gallery phobia. Reading everything about the current art market. Title of my new work: "I am working on my career." Acrylic on canvas, 70x100cm, lots of them: artist posters, exhibition announcements for my own exhibitions, starting now, soon. Places where I would really like to exhibit. Starting fairly realistically with the Stadtgalerie Kiel and Kunsthalle Bern (where I have at least already been represented in group exhibitions), then it goes on with Museum of Contemporary Art Tokyo, Tate Modern London, Museum Ludwig Cologne, Guggenheim New York, Louisiana Copenhagen, Venice Biennale, Kunstmuseum Basel, Foundation Beyeler, Serpentine Gallery London, Gagosian Gallery NY, Stedelijk Museum Amsterdam, Hamburg Station and Gallery Neugerriemschneider Berlin, MAXXI Rome, Kunstverein Frankfurt, Kunsthalle Hamburg, Guggenheim Abu Dhabi. Mostly solo exhibitions, but also some group exhibitions with exciting and well known and appreciated artists such as Tracey Emin, Erwin Wurm, Damien Hirst, Maurizio Cattelan, Olafur Eliasson, Andrea Fraser, Tino Seghal and Ai Weiwei. Overconfidant? Rather hopelessly optimistic, amusing myself. The medium of painting is still the best selling art form, but  in the case of my artist posters, shows that there is a certain shortcoming: it is unicum and therefore per se not spread. Through the visibility of the brushstroke the viewer is drawn to the creators and their wishful thinking. Anyway: my name appears in every picture, so at least it will be remembered. The titles of the exhibitions will play an essential role, tell a story. "Kiss me, Muse!" is followed by "Pick me, Miracles!" "Oxytocin" (the binding hormone) in my hometown, "Dopamine" (the hormone of exciting new) in Tokyo, PS1 New York "No Fiction", title of the 2022 exhibition in the Tate Modern: "Come. True. Now."

Sandra Krause Gomez & Christoph Medicus

Konglomerat (That's non of your business.) | 2013 - 2020 | installation consisting of four works | approx. 800 x 300 x 200 cm

Being artist parents means enduring the agglomeration of different systems into new formations. In the venture of a productive relationship, it becomes visible how new habits are formed, although it remains completely unclear which emotional sediments come to light under the increased everyday pressure, and which are superimposed. An interplay in the struggle for proportionality.
The installation "Konglomerat (That's non of your business.)" consists of four newly combined wall works, sculptures and objects by Sandra Krause Gomez and Christoph Medicus.

Christine Kriegerowski

Sandkasten | 2001 | Installation | foil, wooden planks, sand, sand moulds | dimensions variable

The mixed media work "Sandkasten" (sandbox) from 2001, addresses the futility of reproduction work, but also the fun of exposing oneself to destruction. The artist Kriegerowski sits down in a specially installed sandbox in the exhibition space and forms sand cakes, which the children are later allowed to trample on. A photo of her daughter's navel hangs above the sandbox.
The navel of the world is a topos that is not only found in ancient Rome, the starting point for all mileage calculations of the Roman roads. Today it is a historical site, place of archaeological research. Same here, the baby’s perfect navel represents the centre of the world of the parents. From here they calculated all distances. The excavation site, the playground became the centre of their social life, whether they liked it or not – the child had to dig. 20 years later, the bad prints of the photos became a kind of historical documentation of parenthood that we now dig into.
A re-enactment of the performance is a trip into pure sculpture and self archeology.
Christine Kriegerowski deals with the bizarre aspects of everyday life. In the nineties she filmed her strange performances in which she mashed pig's brains or operated on watermelons and photographed morbid still lifes. Her daughter was born in February 2000, she rarely took this as a theme, but was very much influenced by toys, comics, etc.

Svenja Maaß

lift | 2019 | oil on polyester | 190 x 170 cm | photo: Helge Mundt

Svenja Maaß observes, dismantles and plays with familiar things. In partly large-format works and with painterly means, she adds what is originally unconnected to more or less complex constructs, which are perhaps possible, but at best wonderfully impossible.

David Mannstein & Maria Vill

Laubkreis | 2014 | photo c-print on aluminium

We have been working together as artists since 1998 and have been parents of three children since 2002, the youngest is eleven years old. We have never written this in one sentence before. We are an artist group, an artist duo or an artist couple. But artist parents?
Yes, now we know that we are.
We haven't visited exhibition openings for years. How could we, in the evening we were lying in bed exhausted. We always worked with the danger of sudden interruption. Residency or travel grants: impossible. At the same time we have and do enjoy being there for our children when they need us.
In the meantime, the children have visibly interfered in our work. They are idea generators, helpers in simple activities, technical experts, media consultants, camerawomen/men and models, and often artists themselves.

Birte Svea Metzdorf

Rabenmutter | 2017 | print MegaFineArt on Hahnemühle PhotoRag ultra smooth 305g/m2
| 30 x 40 cm

Birte Svea Metzdorf lives and works in Langsur and Frankfurt am Main. In her artistic work, she deals with painting, (digital) graphics and animation. In her works, she analyses her everyday life with the aim of making norms and conventions visible and to question them ironically. In the animations she also processes internet phenomena - from roofing to dog filters to Reborn dolls.

Sophia New & Ruby Belasco New

The matter between me and you | 2015 | Blankets, rugs and cushions, flat screen monitor and headphones. HD video duration 30 min | Video Installation

In a child's den with carpets and cushions a video monitor shows a mother and daughter struggling to get a Tupperware box out of the freezer in the kitchen at home. At the dining room table they discuss what they once shared as the contents of the box melts. Together they reflect upon biology, rituals, materiality, and corporeality. They invent games, questions, songs and stories to delight and distract one another from that which intrigues and disgusts them: the matter that has been lurking in the freezer for nine years.

Eugen Schilke

Aus Handlungen – kriechen | 2018 | beamer, media player, amplifier, loudspeaker | size variable

I put all the chairs from the studio in close rows next to each other.
I created a labyrinth.
I crawled under the chairs.

Minka Strickstrock

Dreifaltigkeit - Binärcode der Fruchtbarkeit | 2015 | wall work | machine made, PVC, confetti | 3 x 313 x 45 cm

Fertility is encoded by means of openings in the shape and size of file perforations. Each of these openings describes a day in the life of the fertile woman, each perforated line a cycle. An average Western woman's biography is depicted, reduced to the biological-female function.
Through a strict system of order reduced to a minimum of form, I depict periods of time. In doing so, I refer to the laws and processes of nature and question both collective and individual history.

Lisa Weber

Holding the level | 2020 | Video performance | 3:23 min

Lisa Weber works with photography and short video loops to long film sequences. The works, most of which are presented as installations, oscillate between standstill and change, while any form of narration is withheld. A personal experience of space, flowing boundaries between moving and still images and the investigation of the complexity of our perception are the focus of her work.

Markus Walenzyk

DER AFFICHIST | 2018 | HD Video | 34’15“

One by one, the artist glues multiple photographic self-portraits representing a range of emotive states to his real face. When all the portraits are attached, he enacts a process of de-collage, peeling away strips or shredding the paper in order that multiple layers become visible through each other.

Charline Zongos

o.T. | 2020 | Wood, cardboard, foam, cotton wool, steel, fabric, lacquer & acrylic | Photo: Jens Weyers

In my work I transfer painting onto materials such as wood, steel, foam, foil or even cotton wool, as well as onto floors and walls, by working with fabrics and lacquer.
This creates a three-dimensional painting in the room, which can be walked on and offers the viewer the possibility to experience it from all sides.
My sources of inspiration usually have an unexpected origin and allow free associations. These result in individual static or fragile works, which have a reference to the room and to each other. I also see my work as a living organism that wants to be cared for and to develop.
Thus there is no finished limited state or dissolved composition and the work can change during an exhibition. The organism should grow, repeat itself, take possession of the space, make it its own, superimpose itself, envelop, solidify and become a space itself.

Concept and organisation: Cornelius Grau, Willeke van Ravenhorst
text and images: © die KünstlerInnen
images exhibition: © JS/Künstlerhaus Dortmund

kindly supported by: Kulturbüro Dortmund, Sparkasse Dortmund, DEW 21