fullartists2

Valeria Abendroth, Laboratorium Suggerere, 2019

 

 

Born in Russia, Valeria Abendroth works and lives in Kassel. In her work, Abendroth translates her own feelings and thoughts into a socio- cultural context and connects both through her artwork. In doing so, Valeria uses a wide range of different media and materials to enable an expressive communication of her artworks. Among other things, Valeria has recently worked with 3D printing techniques, of which she exhibited the resulting artwork in Paris and Saint Petersburg.

Olivia Walsh, Abu Dhabi, 2015

 

 

Olivia Walsh, born in Vermont, US, spent her childhood oscillating from communities off the grid. Spending her formative years raised by two artists in ‘The Last Wilderness’, a Scottish North Western peninsula. Later Walsh attended school in Central Scotland before joining the Glasgow School of Art. For the past four years, Olivia has dedicated her work to her series “Trumpland”, traveling the US in an analogue studio on wheels.

 

Danielle Orchard lives and works as a painter in Brooklyn, New York. Her work shows a clear reference to the art historical canon, while at the same time subverting it in a Feminist way. Her paintings focus on the female body and its detachment from male expectations and gazes. She appears in the exhibition TAP TO EDIT with a central piece in one of our collections.

As a photographer, Alexander Gnädinger’s career over the last twenty-five years has been largely based on elevating and staging beauty. Thereby it was often by means of light that Alexander transformed even the most trivial matters into icons. Over the last decade, Alexander has been in a process of identifying and addressing the void behind the image. Ever more he has been seeking issues of origin and new content in photography. Today, Alexander’s photographic praxis is now very much concerned with the disclosure and staging of real and artificial ambivalences embodied by nature and humankind. In doing so, he confronts the simulacrum openly and critically unlocks it through his work.

Sophia Kelly-Keegan, You Need to Er… (Screengrab), 2020

 

 

Sophia is a 22-year-old artist originally from Salford but based in London. Often, her art practice is somewhat melodramatic, underpinned by a persistent self-aware humour. Portraying through performance, film and text, forced feelings of romance and light-heartedness that are truly gripped by a sense of the dismal. She often tries to invoke strained instances, where an overwhelming unsettled feeling can be felt by everyone around but is being jointly overlooked for the sake of convenience.

Lucia Berlanga, Studio View, 2020

 

 

Lucia Berlanga deals with norms and questions of society with which she is constantly confronted, which often force her to justify herself and limit her own well-being. Her work focusses around the dissolution of outdated life models of women, the social compulsion to start a family or the pressure to lead a partnership. Berlanga creates objects on different levels that are of emotional benefit to the owner; Textiles in combination with interior products that convey a sense of security – To support the person living alone to be their own home, independent of relationships and to be able to be self-sufficient.

Eric Winkler, Neue Uniformen, Performance with Lucie van Freynhagen, Los Angeles, 2017

 

 

 

The parable of the policeman as friend and helper is told less than ever nowadays. Instead, narratives of fear, anxiety and powerlessness determine the discourse. Based on this observation, Eric Winkler’s 2015 project “New Uniforms” examines the dimension of visual uniformity in the relationship between the people and the executive. On the one hand, the visual integrity of uniforms and their significance in public space is examined.

Mher Brutyan, I Don’t Know, Do You?, 2019

 

 

Mher Brutyan is performance artist from Amsterdam. His work is often very physical by putting himself in difficult situations. The resulting heaviness characterizes his work and often opens doors for a collective feeling of participation. In this way, Mher often makes references to larger feelings of society.

 

 

Aram Bartholl’s Dead Drops started in 2010 as an ongoing participatory project at five different public spaces in New York. USB flash drives are embedded into walls, buildings, and curbs and are accessible to anybody. Each dead drop is installed empty except for a readme.txt file explaining the project. Everyone is invited to drop or find files on a dead drop. To date, over 1.400 of these ‘dead letterboxes’ have been set up in dozens of countries all over the world.