Künstlerhaus Dortmund
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Opening hours   Office  Mon + Fri 10-14 h Tue - Thu 10-16 h  |  Exhibition  Thu - Sun 16-19 h
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TRAP

24 October 2020  – 31 January 2021

Opening weekend:
Saturday, 24 October, 3 – 7 pm
Sunday, 25 October, 3 – 7 pm

Curatorial tours on both days at 3.30 and 5.30 pm
Some artists and curators will be present.



An exhibition of 17 artists of the Kunstmentorat NRW.
Own works in the field of tension and reaction with the unknown counterpart - with the neighboring, still unknown artistic position.

The participating artists will not only be located in the exhibition on the basis of their artistic positions, but will also be assigned to a different artistic position within the exhibition group. During the construction of the exhibition it is thus not only about the construction or realization of their own work, but also about the confrontation with the neighboring, still unknown artistic position.

Artists
Ale Bachlechner
Maurits Boettger
Gerd Borkelmann
Elisabeth Brosterhus
Stefani Glauber
Brigitta Heidtmann
Alwina Heinz
Lisa Klinger
Thomas Kuhn
Jennifer Lubahn
Tonka Malekovic
Nadjana Mohr
Roya Noorinezhad
Stefanie Pluta
Klaus Schmitt
Anna Schütten
Melanie Windl





Exhibition




Ale Bachlechner

Studio Hallo Episode 1, Videostill, HD, color, sound, 41 min, 2018

STUDIO HALLO is a performative, post-documentary online TV format, live-streamed on four dates in 2018, now exhibited as individual episodes or 4-channel video installation. Created by Ale Bachlechner, Jonathan Kastl and Felix Zilles-Perels. People say: "When something like STUDIO HALLO pops up, it can come as a shock or as some kind of wake-up call. Or it can be a scene of sheer pleasure – an unnamed condensation of thought and feeling. Or an alibi for all the violence, inequality and social insanity folded into the open disguise of ordinary things. Or it can be a flight from numbing routine and all the self-destructive strategies of carrying on.“
www.alebachlechner.com


Maurits Boettger


Maurits Boettger, The Presence of Absence, Videoloop, HD, 21:16 min., Köln, 2020, © VG Bild-Kunst, Bonn 2020

Maurits Boettger's deals with the experience, measurement, production and manipulation of time. To this end, he uses all possible media and, last but not least, he understands time itself as a medium. He waits to finally be able to wait again, and makes time a pastime for himself. Boettger questions processes of perception, deconstructs information carriers such as light, sound, and air, and enables changes of perspective through targeted interventions that make the viewer aware of his perception.
www.mauritsboettger.com


Gerd Borkelmann

o.T., gouache and collage on paper, 28 x 42 cm, 2020, © VG Bild-Kunst, Bonn 2020

For years, I have been following an artistic concept that is mainly articulated in small works on paper. Mostly they consist of simple and elementary means: lines, grids, and circles, which create an abstract and strictly reduced repertoire of images. They combine formal concentration and playful freedom, oscillate between intuition and reason, and allow constructive sobriety to appear alongside rhythmic and ornamental structures. Mostly limited to black and white colour nuances, the works are often thwarted in a differentiated painterly process, solid structures appear dissolved, are sometimes barely visible, and are integrated into painterly gestures and substance. Works from different work phases are related to each other in groups and rows. In a consciously staged interplay, the works open up a dynamic field of interacting constellations, creating surprising aspects and references, which on the one hand are self-referential, as on the other hand have the capability to point beyond themselves, and invite you to an ongoing new visual and aesthetic approach and experience.


Elisabeth Brosterhus

o.T. from the series Boote/Flucht, cold glass drawing over secco painting, 50 x 50 cm, 2019

Elisabeth Brosterhu's work focuses on painting and drawing, combined with landscape. Origin and materiality of color are essential components of her work, on which the content-related discussions are based. This is extended by drawings on glass and a conceptual approach. In her cold glass drawings Elisabeth Brosterhus experiments with different techniques, which she later combines in one work. In the overlays, the dimension of transparency, which the glass opens up to her, plays an essential role.


Stefani Glauber

Stefanie Glauber, round arch, sculpture, plugs & sockets, 30 x 25 cm, 2020

Stefani Glauber, 1991 geboren in München schloss 2018 an der Kunsthochschule für Medien Köln ab. Aktuell ist sie im Atelierprogramm des Kölnischen Kunstvereins, lebt und arbeitet daher in Köln.
In ihrer Arbeit „Rundbogen" nimmt sie ausrangierte Stecker und Buchsen als Material, um einen Bogen zu bauen und zu testet, ob mit diesen ein selbsttragender Rundbogen möglich ist. Die Papierarbeiten der Serie „Mo-So" sind Abbilder stetiger Wiederholung und kleiner Variationen.


Brigitta Heidtmann

without title. 3 objects, 2013. plasterboard, wood, screws, each ø 170 cm. Verein für aktuelle Kunst Ruhrgebiet e.V. 2018. photo: Ralf Janowski, © VG Bild-Kunst, Bonn 2020

Brigitta Heidtmann's work is based on, and related to, space and material. She works within the context of the structure and the architecture of a space. Simple materials, a clear construction and the precise positioning of the works lead to a unique balance of powers between space and the objects.


Alwina Heinz

Dialog, marker, acrylic on wood, 108 x 78 cm, 2015

Alwina Heinz's art shows encoded structures that are hidden behind the visible. These guide, shape and manifest as our reality. Our senses perceive only a fraction of it. So she observes mental processes, such as Thinking, speaking or recognizing, auxiliary constructs such as normality or identity and documenting them by drawing. The duality in which we find ourselves, with its properties, the relationship to each other and the transcending of it, play an important role. The lines charged with sensation represent a knowledge. All the spiritual that manifests and passes away is brought about by a higher power. Perceiving this power through consciousness and concentrating on it in all appearances is the core of life and its art.


Lisa Klinger

Infidelity, conceptual drawing, 2020

Lisa Klinger works with pencils and graphite. She draws in a conservative sense and at the same time (she?)follows the conceptual ambition to delimit the genre of drawing. On one hand, she creates figurative, concrete drawings with pencil on paper. On the other hand, she transfers drawing materials in their original structure as graphite powder into three-dimensionality, thus establishing a relationship between image, body and space. In a precise handling of materiality and material she works out complex relationships between object, object representation and object perception.
www.lisa-klinger.com


Thomas Kuhn

Feine Backware, multi-part, sulphur over wood in box baking tin; individual dimensions 30.5 x 7.0 x 11.5 cm, overall dimensions variable, 2020

My works deal with questioning the nature, function and perception of human products. In doing so, I turn aspects of an object into their opposite depriving the depicted object of its original function. I also use the method of combining different components, this creates a sense of alienation or even irony. I am interested in the importance of the ordinary, casual and mundane, in the obvious things around us. Many of my sculptural works can be traced back to aspects of everyday situations. Fine „baked goods" is a wall installation made of box moulds, as they are used for baking. Sulphur was melted into the moulds, which crystallized as it cooled. (...) The process of filling the dough into the form and baking it in the oven is remembered. Sulphur as a mystically associated material alien to everyday life replaces the dough, but without representing it. Rather, the material shows its own reality through its crystalline structure and becomes edible, not in a culinary, but in an aesthetic sense.


Jennifer Lubahn

"Do o.T.", projection, moving image, 5'11min, video still, 2020

Jennifer Lubahns artistic work uses the medium of photography, moving image and installation as well as light art and is often based on a specific local event, a reflection, a light situation or a spatial structure. She is interested in playing with the photographic reference of the real, moments of tension between two- and three-dimensionality in image and space and focuses on perception.


Tonka Malekovic

BODY IN SPACE, Video, Color, 13:00 min, Croatian/German, OWES, 2019

The starting point for Malekovic´s work is everyday reality and her immediate surroundings. She looks into potentials that arise from a conflicted relation between prescribed templates imposed by our physical and social environment and self-regulated processes along with their spontaneous patterns.
The works are often participatory, temporary interventions or lived experiences, where she recomposes the given context, in order to reveal subtle social, political and environmental layers or to establish new meanings between observed elements.


Nadjana Mohr

HtsJ, painting, plaster, vinyl, acrylic varnish, polyester, 39 x 29 cm, 2020, Nadjana Mohr, © VG Bild-Kunst, Bonn 2020

Nadjana Mohr understands her body as an existing movable sculpture, which aims at two-dimensionality in its expansions and presence, formulates a painting, wears a suit or chooses a (film) section in order to dissolve into it. Her work is the attempt to deal with an organized environment and addresses the associated issues of allocation, possibilities of conquering and taking over surfaces and spaces by the individual, of autonomous self-assertion, always in the sense of a medium.
www.nadjanamohr.de


Roya Noorinezhad

from the series "Transformation", digital photography, 50x70 cm, 2017

To do documentary photography and at the same time to question photography as a document is one of my main concerns regarding this medium. What role does photographic paper play hereby? How does a photo distinguish itself from other pictures? Both in the photographs themselves and in the way they are presented, I am dealing with the interaction between surface and depth.


Stefanie Pluta

Fence, black and white photography, inkjet print, 42 x 60cm, framed, 2020

In my artistic work I deal with architecture, public spaces and spatial planning, urban phenomena or urban fringe phenomena and their perception. My interest is focused on incomplete, fragmentary, unfinished or neglected places and situations in the urban fabric.
www.kunstmentorat.nrw/project/stefanie-pluta


Klaus Schmitt


Klaus Schmitt „O-T. 9.15“, 380 x 600 x 80 cm, wood, PVC, acrylic, 2015, © VG Bild-Kunst, Bonn 2020

Since about 1980 I have been using seemingly purely abstract artistic approaches in relation to the human body and thus create a tension of body and space, of construction and destruction, of rationality and Emotionality often in an irritating but insightful way. "The interplay between volume and emptiness as well as line and surface appears again and again on the surface in the works of the artist. The development of his spatial interventions resembles a sculptural process. He modulates materials such as wood and paper to create a new perspective on space. to generate. By picking up and emphasizing specific characteristics, it opens a dialogue between object, space and viewer“. (Claudia Tronicke, Mönchengladbach 2017)


Anna Schütten

on screens II 2020, Findings and Rhythm, projected, © VG Bild-Kunst, Bonn 2020

Anna Schütten (*1989 in Cologne) works site-specifically on the transitions between installative painting and sound performances. She is interested in the spatial and temporal changes that occur in her works during the timespan of the exhibition.
www.annaschuetten.com


Melanie Windl

Re Source, object video installation, dimensions variable, 2020

Melanie Windl combines digital and electronic media with biomorphic sculptural elements. In large-scale installations she addresses the basic human senses, proprioceptive perception and its potential to dissolve the boundary between viewer and artwork. The formal layout of the current work explores the most essential relationship of man to his natural environment, the inherent relationship between humans and the ocean. Within a world where life-giving resources such as water and sexuality are relentlessly capitalized as commodities, the work illustrates the unassailable, unalterable connection between man and nature.



concept und organisation: Jennifer Lubahn, Nadjana Mohr, Anna Schütten und Anett Frontzek
text and images: © the artists
images exhibition: © JS/Künstlerhaus Dortmund

kindly supported by: Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, Landesbüro für Bildende Kunst (LaB K), Kulturbüro Dortmund, Sparkasse Dortmund, DEW21