Artist spotlight: Sabrina Jolicoeur

In today’s society people are exposed to dozens or even hundreds of commercials every day. We are nearly drowning in those images. They are everywhere: in stores, outside on the street or in our news feeds on social media. How does it influence our perception of the world? Which role does it play in contemporary art? Sabrina Jolicoeur is a good person to ask those questions. Sabrina, a multidisciplinary artist and a freelance photographer based in Montreal, can see the commercial image from both sides. This allows her to create a new perspective.

(During her BFA in photography at Concordia University) “I was mainly focused on the commodification of image forms”

Surveillance was the main topic for her Bachelor thesis. This referenced her childhood spent on the military base and addressed one of the most discussed public issues. To get a full picture she interviewed a relative who worked in the military as a drone operator. She then conducted research on the companies that make jets, cameras and weaponry for the military. She paid special attention to how they use language as a way of propaganda.

all photos by PILOTENKUECHE International Art Program

Since coming to the residency at Pilotenkueche, Sabrina has been elaborating on new ideas. Currently she is focusing on commodification of the wellness economy and its offshoots. This led to researching how wellness has been commercialized and shared throughout history. What is particularly interesting about this topic is the fact that it can be accessed on a microscopic level in a connection to a human body, as well as, on an environmental level, and as a space of a wellness.

In her work, We share our blood, she deliberated on wellness in a sense of the community.  She made an installation with different kinds of hooks and wires and all points of connection painted in red as a reference to the blood oxidation. On each end there was an avocado seed as a reminder of growth.

It is very typical of Sabrina to pay special attention to the materials she is working with in terms of their microscopic importance. For example, carbon fiber is used in the tech industry, but at the same time it is one of the essential elements for a human body. She tries to collect all kinds of materials and arrange them so that they interact with each other. Salt and rocks, massage tools and seasonal depression lamp or sea weed and wires- the seemingly random join in connection.

Sabrina usually works on more than one piece at the same time.I am trying to let the process guide the work. I don’t like to have a finished idea about what my art piece is going to be. I let it grow naturally without limiting it to a final stage. So here in the studio things are in a constant flux, things move around, things get discarded…”. After her residency comes to an end, she wants to continue working on the topic of wellness in a larger scale back in Montreal.  We are all thrilled to see the fruitful results of her work.  

written by Kristina Nizamova

feature photo: Richmond Lam



Goodbye PK RD39, Hello PK RD40

Three months goes by so fast! It feels like just when you are getting to know each other, it’s time to go. Round 39, we will miss your passion and laughter. Happily, a few of you have stayed behind.

Here are some RD39 moments to treasure.

We want to extend a warm welcome to Round 40. It’s good to see the studio buzzing again. We look forward to a great summer spent making memories and exploding in creativity.

PK RD39

International residents
Anabel Najera-Lopez(ceramics, painting: El Paso,Texas, USA)
Coffee Kang(visual art, mixed media installation: Shanghai, China/Los Angeles, USA)
Cristina Prudente(multidisciplinary: IT/UK)
Daniel Long (painting, projection mapping: Saigon, Vietnam)
Eliana Jacobs(etching, objects, collage, conceptual: Vancouver, BC, Canada)
Izdehar Afyouni (painting, scultpture: Palestine)
Jana Moser (drawing: Melbourne, VIC, Australia)
Karine Frechette(painting: Montreal, Canada)
Kate Jones (Montreal, Canada)
Louis Bouvier(drawing sculpture, installation: Montreal, Canada)
Maria Dominga Vergara(painting: Santiago, Chile)
Marjin Roos Lindgreen (architecture, installation: Amsterdam, Netherlands)
Sabrina Jolicoeur (photography, fibre art, installation, video, performance: Montreal, Canada)

Local Participants
Elisabeth Kraus(interdisciplinary; Leipzig, Germany)
Jos Diegel(painting, film, performance: Leipzig, Germany)


Curator
Clementine Butler-Galle(London, UK)

AssistantsAdrian Klaus Rotzscher(drawing, illustration, book making: San Francisco, CA, USA)
Ellisha Walkden-Williams (art history: London, UK)
Kristina Nizamova (arts management: Hostivica, Czech Republic)

PK RD40

International residents
Adam Tuch (sound, digital art, installation, US)
Agathe Barre (film, FR)
Antonia Wetzel (performance, painting, DE)
Ariel Taylor (painting, US)
Clément Bedel (painting,FR)
Christopher Sperandio (comics, US)
Darien Crossley (performance, painting, US)
Helene Planquelle (painting, drawing; Paris, France)
Isaac Magner (sound design, video, UK) 
Michella Perera (sculpture, UK)
Tom Alexander Austin (video, UK)
Vernon O´Meally (painting, US)
Zara June Williams (painting, AU)
Zheng Wenxin (painting, CH)

Local ParticipantsMatthias Geisler (painting, printmaking, DE)
Simon Schäfer (digital art, DE)

Curator
Colette Patterson(UK)

AssistantsFiona Irene Graf (UK)
Huai-ya Lin (TW) 
Silvia Zandomeneghi (IT)
milkafterfish (instagram)
Stanley Louis (HA)
iam_stanlouis (instagram)

Artist Spotlight: Izdihar Afyouni

There is no such thing as passive spectatorship in the work of Palestinian artist Izdihar Afyouni. She explores dualities such as subjugation and agency, violence and eroticism, abjection and subjectivity. Complex narratives emerge. They present disenfranchised subjects; women, prisoners, migrants and refugees. But her viewers are not any more confronted with these narratives as they subjected to them. At times, she will employ processes of unconscious identification in order to provoke a psychological response. Others, she will creative immersive participatory performances which facilitate feelings of (consensual) discomfort. Through these means, alienation and biologically sanctioned injustice is literally enacted upon the bodies of the viewers themselves.

Izdihar was classically trained in academic figural drawing and recently completed her MA in Art and Politics at Goldsmiths, University of London. Although primarily working on large-scale paintings, she operates as a multi-disciplinary artist and independent curator. Both politically and psychologically engaged with understanding the body, Izehar is specifically interested in individuals who have been subjugated and experienced abjection.

Abjection was popularised by Julia Kristeva in her work Powers of Horror. Building upon the psychoanalytic theories of Sigmund Freud and Jaques Lacan, the term refers to the separation between the self and ‘other’. This is derived from cultural narratives of horror or discrimination, it is the state of being ‘cast off’. Izdihar is fascinated in intense forms of abjection, manifested in decades of trauma. She says that this occurs when horror becomes the only language you know how to speak, when war becomes your ‘psychological currency’.

Describing her practice as research-led, she will begin with a concept and develop it theoretically. However, at times the concept will develop with the work itself. This is especially true for her paintings.  For they speak a pictorial language which transcends what the written word can express alone.

Stylistically, she considers herself a figeral painter, an abstract expressionist and a contemporary Surrealist. But we’re not talking about the dream imagery of Salvador Dali. It’s a Surrealism for a more contemporary age; one which is imbued with a so called ‘horror aesthetic’. Much of her paintings induce nightmarish qualities, only amplified by the grandiose scale which is intended to dwarf the spectator. Izehar will at times use her own blood, ground into the paint.

Blood has particular symbolic pertinence to her practice, not only for it’s festishistic properties, but in its connection to real people. In her on-going series and curatorial project Thicker Than Blood,Izdihar looks at the impact of state policies and bio-surveillance measures which regulate free movement, bodies and individual agency. In the initial instalment, which took place in a London Dungeon, viewers gained entry into the space upon providing a small sample of their blood. Their experience of the piece was then contingent on the amount of white blood cells shown in their results. While some viewers were treated to a performance, others were subjected to an interrogation. But there was a method to the cruelty. The oeuvre is intended to draw attention to the ethical and psychological ramifications of racial and genetic profiling.

During her time at PILOTENKUECHE residency, Izdihar has returned to painting. For the group’s first show at Kunstkraftwerk, she created a triptych entitled ‘She’s A Cult’. The piece is inspired by the early Italian Baroque painter Artemisia and art-historical interpretations of female violence. Artemesia is today considered one of the foremost progressive painters of her generation. In an era when women were largely excluded from the male-dominated community of artists and patrons, she has been hailed by art critics as representing the rhetoric of the  ‘power of women’. Through a direct re-imagining of Artemisia’s ‘Judith slaying Holofernes’, Izdihar sought to highlight similar contemporary paradigms of displacement with regard to the continued exclusion of women from artistic discourse.

For the group’s final exhibition ‘Wrestling with Impermanence’, She completed another large scale painting exploring a sustained pre-occupation with the figure of the abject.

Written by: Ellisha Walkden

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Elsewhere a Blue Line and the Absurdity of a Ghost on a Stone 

Open: Sun 19 – Sun 2 June 2019, 10AM – 6PM (closed Mondays)
Location: Kunstkraftwerk, Saalfelder Str. 8, 04179 Leipzig

Wrestling with Impermanence 

Vernissage: Fri 21 June 2019, 7PM
Open: Sat 22 – Wed 26 June 2019 1PM-5PM
Location: PILOTENKUECHE, 2nd Floor, Franz-Flemming-Str. 9, 04179 Leipzig, Germany

Artist Spotlight: Jos Diegel

Jos Diegel is an artist of many facets. Interested in art as a catalyst for social change, he has immersed himself in different worlds with this very ethos as a binding thread. Through the years of his artistic practice since graduating from the University of Art and Design in Offenbach, where he focused on painting and film, he has honed in on his artistic and intellectual pursuits to create a rounded out practice all his own. At the core of his work stands a spirit of art and creation as an act of freedom and as a tool for resistance. He actualizes this philosophy through his own personal practice as well as several collaborative as well as educational efforts.

All of these efforts combine, although very different on the surface, to become a sort of signature style and workflow for Jos. His filming process is much like his approach to painting and community-oriented workshops – go with the flow and open as many boundaries as possible. By working with people from different disciplines Jos opens himself up to connecting perspectives and collaborating with a healthy dose of spontaneity and chance. As he succinctly and cheekily puts it – ‘I am not the best at anything, but I am the best at what I do’. In many way this is the self-empowering nature of Jos’ practice. Give people the tools and space for creating and they will create, ideally to the best of their ability.

By working in this mindset he takes his interest in film beyond filming shorts, documentaries and feature length narratives into a world of distortion and manipulation by playing with materials and process. In continuing his curiosity for film into more experimental realms Jos found himself playing with 35mm film by scratching and painting directly onto meters of film. This playful process turned into travelling for and organizing workshops in which participants engage in the same playful distortion. They find scenes, change them, recontextualize, add elements with paint and marker or scratch emulsion away with etching needles and other tools. The practice lends itself to play and experimentation and when spliced together and screened (ideally on a big screen in a theatre) it takes on a life of its own. Participants see their work linked to not only other participants but to major Hollywood production companies, old film strips found at flea markets or whatever random film strip is pulled from Jos’ bag of tricks on that particular day. In this way, the work becomes bigger than an individual person manipulating a few seconds of film. It becomes a group of people playfully subverting the normative ideals so often imposed on us by mainstream media and advertising. It becomes a new connection to past pop culture. It becomes a small yet powerful act of playful rebellion.

This idea is also carried through into Jos’ painting practice. While he paints and layers with color and texture in what he calls his solo practice, his current focus – and something we can look forward to in Pilotenkueche’s upcoming final exhibition – is overpainting on old landscape and portrait paintings found at flea markets. Although a completely different and equally vital part of Jos’ aesthetic, these two areas of interest and practice become inextricably linked. Not because they merely sprout from the same artist’s mind but because they share practical and theoretical elements while keeping a unique sense of process and style. They inform one another in a web of connection.

While Jos continues to expand his breadth of practice and interest in the function of society and the artist’s role in it, he will, undoubtedly, take us along for the ride. This inclusion of people from all walks of life and ages is a beautiful testament to how far his own work can reach and the people that it will speak to. We need only be present for a connection to emerge.

written by: Adrian Rötzscher

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Elsewhere a Blue Line and the Absurdity of a Ghost on a Stone 

Open: Sun 19 – Sun 2 June 2019, 10AM – 6PM (closed Mondays)
Location: Kunstkraftwerk, Saalfelder Str. 8, 04179 Leipzig

Wrestling with Impermanence 

Vernissage: Fri 21 June 2019, 7PM
Open: Sat 22 – Wed 26 June 2019 1PM-5PM
Location: PILOTENKUECHE, 2nd Floor, Franz-Flemming-Str. 9, 04179 Leipzig, Germany
Performance: To be announced

Review: Wrestling with Impermanence

One Greek myth tells the tale of the giant Antaeus, who had been granted a special power by his mother, the Earth. When anyone passed Antaeus’ land, he would challenge them to a wrestling match. If he began to lose strength, he had only to touch the earth and his  energy would be renewed. One day he was drawn into combat with the great hero Hercules. They fought and fought but Antaeus became no weaker. Finally Hercules discovering his vulnerability, grasped Antaeus, holding him high in the air, depriving him of his immortal gift, crushing him to death. Just as the Earth had once birthed Antaeus, she became the place in which he would finally decay.  

There is an intrinsic paradox evident at the heart of myth-making: the reality is forgotten so that the message can be remembered. The original story is always subsumed by the lessons that the teller wishes to convey. We learn the lessons of history but we forget history itself. Do we ever want reality or just a version of it that confirms our pre-held convictions? A myth is not a memory, and a memory is not the truth. Life is a series of events condemned to be mythologised or forgotten. Remember and re-imagine or forget and become extinct. 

‘Wrestling with Impermanence’ is an exhibition that marks the passing of time, records a present moment that will inevitably ascend into a memory, or perhaps a myth. The 14 artists of the 39th round of Pilotenkueche International Art Programme have spent the past three months engaging, exchanging and experimenting in the city. As the residency comes to an end the states of the permanent and fleeting are wrestled with.

The multifaceted notion of a cycle holds a strong voice amongst the artworks produced during the 39th round. Recycled materials are reverberant throughout the works, repurposing and reimagining  them to form new lives. Nature’s fruit acts as one of these recycled goods, whilst others use the sensations that the cycle of nature offers to draw inspiration. Time and history are also cycles reckoned with, some works only looking forward whilst others turn back. However, all artworks do hold one prominent commonality, their presence in the present. These works invite you to enter another cycle, one of remembering, or perhaps one of forgetting. 


all photos by PILOTENKUECHE International Art Program

Natural cycles dominate our existence; the harvest moon becomes the waning gibbous, the tide kisses the high water line morning and night, the hawthorn blossoms of early May become seed-laden berries poised to be pecked, digested and excreted: spread amongst the barren land, destined for germination when the warmth returns.

Like Antaeus, we ask the natural world for strength when we lose our power. We are living in a climate crisis. This is our reality and our future. The ice caps are melting, the great forests are being cut and burnt. Plastic is replacing sea life; monoculture is replacing diversity. The world is on its knees. This is our reality and not a myth. 

We must respond to the reality that surrounds us, and reflect the times that we live in. We must experience the present, in order to create the myths we may leave behind. We must embrace the natural cycle of impermanence, protect it and celebrate it.

So ask yourself. Mythologise, or forget? 

curatorial text by Clementine Butler-Gallie


Wrestling with Impermance

Vernissage Fri 21 June 7PM
Open Sat 22 June-Wed 26 June 1PM-5PM

Artists

International residents

Anabel Najera-Lopez (US)
sculpture
Coffee Kang (CH/US
installation
Cristina Prudente (IT/UK)
performance/installation
Daniel Long (KH)
projection mapping
Eliana Jacobs (CA)
video/installation
Izdehar Afyouni (PL)
painting
Jana Moser (AU)
painting
Kate Jones (US)
painting
Karine Fréchette (CA)
painting
Louis Bouvier (CA)
sculpture
Dominga Vergara (CL)
painting
Marijn Roos Lindgreen (NL)
installation/sculpture
Sabrina Jolicoeur (CA)
installation

Local Participants
Elisabeth Kraus (DE)
painting
Jos Diegel (DE)
painting

Curator
Clementine Butler-Galle (UK)

Assistants
Adrian Klaus Rotzscher (US)
book binding and creation
Ellisha Walkden-Williams (UK)
art history
Kristina Nizamova (CZ)
cultural event managment

Preview: Wrestling with Impermanence

Spring has turned into Summer, memories have been carved into the spirit of the season, and an abundance of creativity has blossomed along with the trees. The artists of PILOTENKUECHE International Art Program Round 39 are wrestling with the states of the permanent and the fleeting as they come to the end of their residency. As nature endures the cycle of time, the artists prepare to present their fruit, and as nature’s seeds disperse in the wind, so the artists get ready to grow elsewhere. In celebration of the time passed, we invite you to the PK space to join us for the final exhibition ‘Wrestling with Impermanence’.

In a further response to the notion of impermanence, the exhibition expands its presentation to the outside space for one night only. A conversation unveils between the interior and exterior space. In a series of performances by PILOTENKUECHE residents and guest artists we invite you to create your own memories. After an evening of seeing through the eyes of the artists, will your recollection match theirs or will your life experiences alter your perception?

“Do we ever want reality or just a version of it that confirms our pre-held convictions?”
Round 39 curator Clementine Butler-Gallie

all photos by PILOTENKUECHE International Art Program

Round 39 residents Cristina Prudente and Daniel Long give us a physical representation of their work. Cristina live streams her performance into a space filled with objects from a nearby abandoned building. Her movements tell a story of love and loss, death and rebirth. Using projection mapping, Daniel allows us to become part of the piece by immersing us in the process.

Guest sound artists, Sébastien Branche and Vivian Le Vavasseur address the concept of impermanence by removing some of our senses. This allows us to heighten our awareness of others. In a tapestry of familiar and unfamiliar sounds that create a soundscape, Vivian uses a past career as a church organist to prompt listeners to question the roles of the composer, performer and audience.

Sébastien Branch notes, “Sounds commit suicide as they are played: as soon as they are born, they bear within them the inevitability of their own death. In that sense, music is possibly the art of impermanence, all the more for music that does not rely on melodic repetition, ritornellos or simple rhythmic patterns which help fix it in the memory.”

Jules Von Daniken will take us to the end the night in a full body experience with his original EDM. Wrestling with Impermanence will only happen in this constellation for one night. We are eager to share this memory making experience with you.

Wrestling with Impermance

Vernissage Fri 21 June 7PM
performances:
7.00PM-7.30PM Cristina Prudente
7.45PM-8.15PM Vivian Le Vavasseur
8.30PM-9.00PM Cristina Prudente
9.00PM-9.30PM Sébastien Branche
9.45PM-10.15PM Daniel Long
10.15PM-11.30PM Phase O’Matic

Open Sat 22 June-Wed 26 June 1PM-5PM

Artists

International residents

Anabel Najera-Lopez (US)
sculpture
Coffee Kang (CH/US
installation
Cristina Prudente (IT/UK)
performance/installation
Daniel Long (KH)
projection mapping
Eliana Jacobs (CA)
video/installation
Izdehar Afyouni (PL)
painting
Jana Moser (AU)
painting
Kate Jones (US)
painting
Karine Fréchette (CA)
painting
Louis Bouvier (CA)
sculpture
Dominga Vergara (CL)
painting
Marijn Roos Lindgreen (NL)
installation/sculpture
Sabrina Jolicoeur (CA)
installation

Local Participants
Elisabeth Kraus (DE)
painting
Jos Diegel (DE)
painting

Curator
Clementine Butler-Galle (UK)

Assistants
Adrian Klaus Rotzscher (US)
book binding and creation
Ellisha Walkden-Williams (UK)
art history
Kristina Nizamova (CZ)
cultural event managment

Artist Spotlight: Jana Moser

The beautiful and, at times, chaotic cycles of nature are what keep Jana Moser inspired to continue looking and drawing. She finds inspiration both in the minutiae of the natural world as well as the larger forces of the universe, that in turn make us feel minute.  This interconnectedness is apparent in both her artistic practice and her free-flowing demeanor. She takes potentially challenging steps with ease and channels the rhythms of earth to inform her process.

This absorption-based inquiry gets distilled and filtered and takes form as a meditative layering of oil pastel while scraping, manipulating and working into cotton rag paper. The final effect is something akin to printmaking but in its repetitive and laborious singularity resembles something more. It becomes a visual record of a slow buildup of tension and release as the pastel works its way into the fibers of the paper, gets scraped and pulled away, and ultimately interconnects the paper with the piece as a whole. The paper serves as a bed from which color and texture grow. As she puts it – ‘the more I put on, the more the paper is present’. Pastel and paper merge into one material.

Since finishing her studies in the drawing and printmaking department at the Victorian College of the Arts in Melbourne, Jana has attempted to push abstraction in her work. This conscious move away from representation is an attempt to take the viewer on a more visual and visceral journey. She wants to strip any semblance to representative form that may lead the viewer’s perception astray. Visually it comes through as if she were zooming in on a landscape painting or taking a microscope to a naturally occurring lattice structure. It is a strong hint at her appreciation of natural biology and the small beauties in life.

photos by PILOTENKUECHE International Art Program

This move towards abstraction and playing with spontaneity seems to be a natural progression of where her work has been. Coming from a printmaking background but ultimately leaving the often times confining and process heavy space that printmaking requires, Jana opted for something more fluid and immediate. In further exploring this type of mark-making we can expect a more playful use of space, working on a much larger scale and a general expansion outside of the borders of the paper itself. By imposing restrictions on her practice, such as a limited color palette, limited tools, and a basis of repetitive mark-making, Jana achieves this outward experimentation with a fluidity and ease all her own.

The artist is currently preparing for the final group exhibition at the Pilotenkueche artist residency. She does so with this experimental mindset, eased by the idea of remaining in Leipzig for another 3 months. She can finalize some new ideas by jumping off the walls, playing with new color combinations and expanding the size and range of the paper she works with. All the while content that she can keep exploring the city itself while continuing her artistic journey.

written by: Adrian Rötzscher


Elsewhere a Blue Line and the Absurdity of a Ghost on a Stone 

Open: Sun 19 – Sun 2 June 2019, 10AM – 6PM (closed Mondays)
Location: Kunstkraftwerk, Saalfelder Str. 8, 04179 Leipzig

Wrestling with Impermanence 

Vernissage: Fri 21 June 2019, 7PM
Open: Sat 22 – Wed 26 June 2019 1PM-5PM
Location: PILOTENKUECHE, 2nd Floor, Franz-Flemming-Str. 9, 04179 Leipzig, Germany
Performance: To be announced

Artist Spotlight: Dominga Vergara

“Content is to be dissolved so completely into form that the work of art cannot be reduced to anything not itself.” — Clement Greenberg, Towards A Newer Laocoon,  1940

In his famous essay Towards A Newer Laocoon (1940), Clement Greenberg theorised that the arts have historically undergone periodic cycles of imitation. The dominant art of any given moment, he said, becomes the prototype for all over medias. Each art form then goes through a process of incorporating one or more of its elements into oneself. According to Greenberg, the visual arts imitated at first the narrative structures of literature and poetry, and then the lyricism of symphonies. Instead, he advocated for a ‘purity’ and ‘separation’ of the arts. Painting, he said, should embrace its formal and intrinsic qualities. If the specificity of painting lies simply in the application of paint on canvas, then there was only one conceivable solution; pure abstraction.

Greenberg’s thoughts stand no better relevance than today. From the 1960’s ‘Multi-media’ emerged as an entirely new art form in itself, incorporating the likes of video, theater, design and music.  The fallibility of the human hand long since been exposed by the advent of Photographic realism. With the continued development of new medias and immersive technologies, the visual arts have took on a whole new dimension. Perhaps reverting back to the ‘purity’ of abstraction is exactly what is needed.

Although the golden era of abstract art has long since surpassed, it’s made a big comeback in recent years. Chilean artist Dominga Vergara is one of the artists making that happen She creates large format paintings on canvas using acrylic and oil chalk, occasionally employing tools to chisel into the surface to create dimensional layering.  Her paintings bear no witness to objective reality, instead referencing primary elements of form, colour and line. Her work translates the inner world of her unconscious into complex abstract forms.

photos by PILOTENKUECHE International Art Program

Beginning with only an idea of a colour palette in mind, she starts to construct a basic skeleton of lines. Shapes begin to emerge from the canvas through a series of spontaneous gestures. But while some brush strokes are rough and expressive, others necessitate purified geometry and mathematical precision. “Chaos and control exist in equilibrium”, she beautifully puts it. Layers are slowly built up until finally she reaches a compositional balance and she knows when to stop.

Dominga was born in Chile in 1984. She attained an art degree at the University Finis Terra and later became an art professor at the Universidad del Desarrollo. After moving to Berlin in 2015, she exhibited ‘Das Mikro Makro Leben’ at the Berlin Chilean embassy, and collaborated on the project ‘Go Girl’ during Berlin Fashion week 2017.  Soon after, she was invited to represent Chile as part of a collective of South-American artists at ArtNord; one of the most foremost contemporary art fairs in Europe. Like much of her work which forges a visual dialogue with her surroundings, she tells me that the paintings she produced in Berlin reflected the movement and dynamism of the city.

She’s currently in residence at Pilolentuche in Leipzig. For the group’s ongoing exhibition at Kunskraftwerk, Dominga created a wapping four meter long painting in her signature style. In the basement of the old industrial power plant, Dominga wanted to forge a dialogue between her work and the space. Wrapping one side of the work around a rusted metal cylinder, the other was suspended by transparent fish wire. The resulting effect seemed as though part of the painting was floating in mid air. For her next project, which will be exhibited at the group’s final show, Dominga wants to paint onto an old map acquired from a flea market earlier in the residency. She is also working on two large format canvases. We’re excited to see what she brings to the table.

Written by: Ellisha Walkden

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You can see Dominga’s work in the following Pilotenkueche International Art Program shows:

Elsewhere a Blue Line and the Absurdity of a Ghost on a Stone 

Open: Sun 19 – Sun 2 June 2019, 10AM – 6PM (closed Mondays)
Location: Kunstkraftwerk, Saalfelder Str. 8, 04179 Leipzig

Wrestling with Impermanence 

Vernissage: Fri 21 June 2019, 7PM
Open: Sat 22 – Wed 26 June 2019 1PM-5PM
Location: PILOTENKUECHE, 2nd Floor, Franz-Flemming-Str. 9, 04179 Leipzig, Germany
Performance: To be announced

Artist Spotlight: Karine Fréchette

Wide spectrum of bright colors, illusion of movement, complex composition with psychedelic elements – that what defines Karine’s Fréchette art work. Her art can be described as a blend of Op art from the 70s and abstract art, especially when it comes to the composition. Karine’s art practice is inspired by other artists such as Bridget Riley, Claude Monet or Frank Stella. One of her biggest inspirations is Czech abstract painter Frank Kupka and his visionary and mystic composition. When one comes closer to Karine’s paintings, they are almost hypnotized by the entrancing wave-like patterns.

I have a feeling I found my artist style by accident. It just happened. Somewhen during my masters I start to do those trippy, almost hallucinating imagines and then I just lost control”.


Karine is a Canadian painter, based in Montreal. The city itself had a big impact on her art work. Montreal has not only a long-time history of an abstract painting, but it is also full of contemporary art and blooming cultural scene. At the same time, while living there, you don’t see big names that often. Most of the famous paintings can be seen only on the internet. That’s where Karine’s interest in digital word, 3D modeling and scientific imagery comes from.


She chose Visual and Media Arts as a major for her Bachelors, which she studied at Université du Québec à Montréal. It was a multidisciplinary program, that combined video art, glass, painting, ceramic and other art techniques. “I got completely lost there. I didn’t know what I actually want to do. For a long time, I was really into video art and you actually can see a big impact of that on my current art. But then I decided to focus on painting”. Karine obtained her Master’s degree in Painting and Drawing at Concordia University.

Her artist path was pretty straight forward, as Karine never did anything else but art. She always felt that the most meaningful thing she could do is to paint. “To be honest first I thought it is impossible or even too ambitious to have pretensions to become a professional artist. But I just kept doing what I enjoyed. It took me some time to get the confident to say: yes, I am an artist and that what I do in my life”. In 2018 Karine won a Joseph Plaskett Award in Painting, which helps fund emerging Canadian painters who will live, create artwork and travel in Europe for 9 months. That’s how she found herself at Pilotenkueche residency in Leipzig.

Here Karine is trying to work with new materials and apply new techniques. Instead of traditional canvas, for the current exhibition she used slightly transparent fabric and neon colors to create an illusion of flowing waves which represent circles of life. As much as she likes Op art, she doesn’t really like to follow regular shapes. To achieve more organic lines, she just tore a piece of paper and used it as her shape. “Usually there is no plan or even a sketch beforehand. It is a pure improvisation. I like that these is always something between control and working blind. I think it is important to have a feeling that you are working a little bit blind even if its controlled”.

Despite the fact, that it has been almost 10 years since Karine started her artist career, she still keeps experimenting with her style and trying out new things. “Even though I know that my style is not going to change radically, I am really scared to stuck in one way of doing things, that’s why I always want to move forward”. After the residency at Pilotenkueche, Karin is planning on joining a long-term residency back in Montreal. One of her future plans is also to do a project in which she wants to interact more with the space and light and try to involve audience to discover her painting in a new way. Depending on where a visitor stands, he or she can see different dimensions and the drawing become something different.

written by Kristina Nizamova

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You can see Karine’s work in the following Pilotenkueche International Art Program shows:

Elsewhere a Blue Line and the Absurdity of a Ghost on a Stone 

Open: Sun 19 – Sun 2 June 2019, 10AM – 6PM (closed Mondays)
Location: Kunstkraftwerk, Saalfelder Str. 8, 04179 Leipzig

Wrestling with Impermanence 

Vernissage: Fri 21 June 2019, 7PM
Open: Sat 22 – Wed 26 June 2019 1PM-5PM
Location: PILOTENKUECHE, 2nd Floor, Franz-Flemming-Str. 9, 04179 Leipzig, Germany
Performance: To be announced

Review: Elsewhere a Blue Line…

In the basement of an industrial power-plant in Kunstkraftwerk, visitors followed an imagined blue line through the murky labyrinth of exposed brick walls and blacked out spaces. In every corner there was a different narrative lurking amongst the shadows, just waiting to be told. Clementine Butler-Galle, round 39’s resident curator, begs the question  “Who defines a narrative?’ In Elsewhere A Blue Line And The Absurdity Of A Ghost On A Stone, she wanted to toy with our notions of storytelling. This idea was beautifully encapsulated in the exhibitions unique setting.

Anabel Najera-Lopez’s piece ‘Absence Presence’ told multiple narratives. Upon entering the second room the work sits strikingly under a spotlight. Flesh coloured fabrics morph together to portray a figural form, the reminisce spilling out to create a dramatic effect. Her work often explores notions of selfhood, however in this piece she considers collective identity. Her use of unwanted clothes, cumulated from the streets of Leipzig, tell the stories of past owners. Through the act of ripping the material apart and repurposing it, forgotten narratives converge to form a ‘new self’. 

Some artists explored their own narratives. Coffee Kang’s ‘The Star (part 3)’ is part of an ongoing mixed media project, displaying four wooden boxes. Each box represented a different city in which she has lived; Shanghai, LA, and Leipzig. Through the daily act of drilling holes into the wood, Kang explored the temporal faculties of place. 

Other artists evoked past narratives. In ‘She’s A Cult’, Izdehar Afyoui re-tells the historical portrayal of ‘Judith Slaying Holofernes’; a painting created by the early Italian Baroque artist Artemisia Gentileschi. Through this direct re-imagining of male pain and anger in the realm of narrative art production, Afyoui sought to highlight similar contemporary paradigms of displacement with regard to the continued exclusion of women from artistic discourse. 

photos by PILOTENKUECHE International Art Program

Jos Diegal, one of our local residencies, too channelled an art historical narrative. In his piece ‘LOOSE FILM ANTHOLOGY IN TWO DIFFERENT STATES OF MATTER (MADE BY PEOPLE GATHERING AND ARMED WITH CELLULOID)’, Jos replicates the filmic reflexivity of the early cinematic avant-gardes. The spectacular sculpture comprised of used film strips which hung suspended from the ceiling, were displayed in conjunction to a series of projected film images. The film was manipulated by scratching and painting over it to create distorted static effects. Through the art of  anti-illusion and anti-narrative (a technique propounded by early Structuralist Film theorists), Jos seeks to challenge established conventions of cinema and its ideological underpinnings. 

In a similar critique of the technological apparatus, Daniel Long, who specialises in the art of ‘projection mapping’, created an inbuilt structure of suspended windows inside of one of the remains of the old industrial site. The windows contained an array of wires, circuit boards and other skeletons of technological parts. Upon closer examination, you see a projected image of two figures. The footage tells a dismal, though not too unfamiliar, tale of two lovers disconnected by ipads and smartphones in the modern world. Filmed from outside a living room window to create the voyeuristic impression of ‘looking in’, viewers are forced to watch the inevitable breakdown of the relationship in the story’s denouement. 

Every artwork in the space had a tale to tell. Kate Jones’ work conjured imagined narratives of psychedelic planes or demonic fairy kingdoms. Eliana Jacob’s evoked the narrative of a Nation in order to signify the importance of collective memory and remembrance. Jana Moser’s organic forms tell tales of the natural world. Christina Prudente played upon on poetic narrative, referencing Edgar Allan Poe ‘The Conqueror Worm’. Some dialogues existed less overtly in the temporality of the works production. Marijn Roos Lindgreen ’s piece, for example, which was produced from paraffin wax, told the story of ‘Becoming Solid’.

Overall, the night was truly one to remember. If you missed the vernissage, don’t worry. The exhibition is on until 2 June as part of the Kunskraftwerk experience. Each day two of the artists will be in the space to chat. This Saturday, 1 June, our curator, Clementine Butler-Galle, will be on hand for a Curatorial Tour.

Written by: Ellisha Walkden


Elsewhere a Blue Line and the Absurdity of a Ghost on a Stone 

Open: Sun 19 – Sun 2 June 2019, 10AM – 6PM (closed Mondays)
Curatorial tour with Clementine Butler-Galle: Sat 1 June 11.30AM-12.30PM
Location: Kunstkraftwerk, Saalfelder Str. 8, 04179 Leipzig