Author Archives: PILOTENKUECHE

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

________________________________________________________________________________________

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

________________________


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: 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

________________________________________________________________________________________

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

______________________________________________________________________________

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

Artist Spotlight: Elisabeth Kraus

Sometimes the moral duty of the artist, whether conscious or not, is to wrestle with the soul of society and the pitfalls of human nature. Often we deal with larger issues by turning inward and examining our inner worlds. In this case, the inner world of current Pilotenkueche resident Elisabeth Kraus is rich with analysis, emotion and playful exploration. In the last few years she has been on a winding path led by intuition, pursuing art inspired adventures across the globe. Most recently this path has landed her in Leipzig, a burgeoning cultural hub.

Elisabeth’s inquisitive spirit seeps into her practice through the themes and motifs she engages in as well as through the mediums she experiments with. This means she is constantly analyzing and searching, always observing and at times simply waiting. Her works encompass themes of societal responsibility, nature and humanity, and human nature in some of its most extreme forms. The common thread that keeps her engaged is the power of empathy as a catalyst for change. The result of this mixture of inspiration and analysis is a broad spectrum ranging from sculpture and sound installation to conceptual pieces and performance, and, more recently, a return to painting. This all amounts to ‘creating a playground for all the senses’. This playground becomes the sensorial vocabulary through which Elisabeth communicates.

This kind of ‘playground’ also translates into a way of being. Through her extensive travels with an openness to surprise and a flexible sense of the meaning of home she has exhibited throughout Germany and has found a nurturing creative and social network in Beirut, where she connected with the Haven for Artists – a non-profit arts organization bolstering the underground art scene in Lebanon and the Middle East. At this safe space and residency she was able to settle a bit and create a meaningful network through which her art practice could thrive.

photos by PILOTENKUECHE International Art Program

Several of the works that arise from Elisabeth’s idiosyncratic sensorial vocabulary take the form of interactive sculptural pieces. Most notably, a recurring project, are the small spheres she makes cast with an image of her face on them that fit snugly in the palm of one’s hand. They are meant to bounce around, move from hand to hand, and occasionally gaze into the participants eyes. The literal bouncing and transient nature of these balls becomes a direct metaphor for the nomadic lifestyle that Elisabeth has been living and all of the ups and downs that it entails. Many more of her works deal with more outward societal concerns. With the ways in which humans transmit knowledge and culture and how this is filtered, understood and absorbed.

During Elisabeth’s time with Pilotenkueche she will keep her spirit open to inspiration and continue investigating these recurring themes through her work while also experimenting with different media and processes. Upcoming, as well, is a collaborative sound installation piece on-site at Kunstraum Kesselhaus, in the artist’s hometown of Bamberg where she will be working with past collaborator and sound designer Paul Hauptmeier.

The expanse and depth of Elisabeth’s experimentation comes from a passion for knowledge, an openness of spirit and an inclination towards play. It is all of these traits that, when considered, become the portrait of a person looking for answers. Although certain questions may not be answered in the process, the right questions are being asked.

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

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

Vernissage: Sat 18 May 2019, 7PM
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: Kate Jones

Chains suspend a mattress from the ceiling. Paintings of pinks, purples and deep reds surround me. I am sitting in Kate’s studio. But don’t be fooled. They depict dystopian nightmares of sacrifice, torture and dark fairy kingdoms. Taxidermy, or ‘re-purposed dead matter’ as she calls it, is strewn amongst the chaos of paint and paint brushes. Kate’s atelier is an enclosed space of rampant creative exploration.

She begins to tell me about her interests in esotericism and occult mythologies. This often forms the basis of the subject matter of her work as well as influencing her methods of production. Kate tells me that her technique is indicative of automatism – a Surrealist term which denotes subconscious expression. Her paintings are often completed in a trans-like state in which she uncovers information from a more celestial source.

The South-Carolinian born artist spent most of her life back and forth from California, with the exception of completing her undergrad at the School of Visual Arts in New York. Describing her aesthetic as very ‘Californian Macabre’, she tells me how her work is influenced by her surroundings. She uses the term ‘Genuis Loci’- a shamanic term of Latin origins, literally translating to ‘the spirit of the land’.

Often undertaking research in the form of ‘field work’, so to speak, this then informs her practice, and at times, becomes part of the work itself. She tells me of some video work she created at the Isis Oasis Lodge in Northern California using an analogue camera. The old-cult is now a non-profit and an animal sanctuary which carries out Egyptian rituals and religious ceremonies devoted to the Egyptian goddess Isis.

She continues to tell me of another trip to the former home of Alistair Crowley at Abbey of Thelema, Cefalu, Italy. Crowley was a mystic and occultist, infamous for his school of ‘magick’ and semi-satanic rituals. The space was used as a commune by him and 5 other artists, who painted many disturbing images on the walls. In 1923 Mussolini expelled Crowley from Italy and the murals were to be painted over. But in the 1980’s an avant-garde occult filmmaker named Kenneth Anger stripped the walls to reveal the paintings once again. Kate painted her own work on the walls; describing the result as a kind of ‘astro- collaboration’ between Crowley, Mussolini, Anger and herself. ‘It was like a forgotten piece of art history which I asserted myself into’, she comments.

photos by PILOTENKUECHE International Art Program

Most recently, Kate visited the town of Quendlinburg, which resides about an hour away from Leipzig, on the foothills of the Harz Mountains. The festival of Walpurgisnacht takes place every year during Beltane, or the Spring equinox. Folk magic and early modern witchcraft remains prominent in the cultural landscape of the region. Although she describes the festival as a kind of elaborate Halloween carnival, her work is highly indicative of the iconography of witchcraft, and it place within post-modern society.

Witchcraft is historically conflated with social deviance, promiscuity and anti-establishment. Today the complexities of gender politics are rifer than ever. With constant battles against social and institutional inequality, the notion of the witch has struck a chord with the modern woman. Kate is interested in exploring ways in which the archetype of the witch can be used to empower notions of femininity.

As the first group exhibition at Kunskraftwerk is rapidly approaching, what can we expect from Kate? Her work continues to explore the numinous realms of ritual and occultism through both painting and video work.  She’s also interested in exploring the ontological premise of her work. Stylistically, her painterly technique is quick, loose and expressive. She likens this with impermanence, forging a link between the temporal faculties of the art object with the decay of matter.

Now we know where the taxidermies come in.

Written by: Ellisha Walkden

_________________________________________________________________________________________

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

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

Vernissage: Sat 18 May 2019, 7PM
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: Marijn Roos Lindgreen

Is the space rigid or rather plastic? Where is the border between inside and outside? What would happen if outside became inside and inside became outside? Those and many other questions are addressed by Marijn Roos Lindgreen, Netherlands based artist, in her sophisticated installations.

My work is focused on the immediate space, space that is directly around us. It’s something that happens all the time. It’s impossible not to be in the space. I am curious how you can influence this feeling of being in the space. When I come somewhere, I try to understand how I feel there. Then I try recreate this experience of a space in my art work”.  

Marijn comes from the field of architecture. After she finished high school, she was determined to do something creative, but at the same time technically orientated. Thus, Marijn obtained her Bachelor’s degree in architecture at Technical University of Delft. Later on, during her Master’s she specialized in Interior Architecture, which she studied at Sandberg Institute in Amsterdam. “Architecture definitely had a big impact on my art work. It not only made me think of how people relate to space in general but also it made me more conscious about how I experience space myself”.

Although she really enjoyed studying architecture, Marijn felt that what she wanted to do was a little bit too crazy for this field. She was always more into constructing utopic and futuristic buildings rather than practical ones. Today in her art practice she combines theoretical concepts of architecture and philosophy as well as real life examples. Marijn likes working with figures and forms that we are all familiar with and using them in unusual, sometimes unexpected ways, but she also wants people to interact with her art within the space. For instance, in one of Marijn’s installations visitors were invited to go through doorways that had to evoke in them the feeling of entering the space without actually entering it.

Marijn also likes to play with different materials, starting from plexiglass, pigment, to sand and wood. The choice of materials depends on what fits best each project. In the upcoming exhibition she will be dealing with the topic of transparency and wax is going to be her main material. She chose wax for its flexibility but also for its temporality. “In my art practice I often work with the opposites. Therefore, I like materials that are both solid and breakable. I like to see how it can change over time”. During her residency at Pilotenkueche Marjin will be deliberating on how she can make something that can exist as a single object in a space.

It’s quite difficult to predict what the outcome will look like. Marijn belongs to those young artists who are still in process of discovering and experimenting with styles and techniques. “I would say I am still searching for my personal style. However, my work becomes more and more consistent with every project. Now I am more satisfied with the final result as it reflexes the initial idea I had in mind. Besides, I get a lot of positive comments on my art work from public lately”. Being an emerging artist, Marijn doesn’t yet know how your career will develop in the future. But one thing is for sure – she doesn’t want to be placed in the gallery or museum permanently. She prefers people encounter her work in more natural setting.

written by Kristina Nizamova

___________________________________________________________________________________________________

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

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

Vernissage: Sat 18 May 2019, 7PM
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: Louis Bouvier

Louis Bouvier has been steadily building a world all his own. Based in Montreal, he takes influence from traditional culture, the natural world and design elements. He, then, matches and layers form as well as aesthetic preference from different time periods in a collage based process to see what emerges. The end result is an anachronistic harmony, a harmony achieved not only by fitting the right forms and concepts together, but through technical execution. His graphite and colored pencil renderings shine in a muted texture, pulling the eye in and keeping it wandering within the frame of the paper. This pushing forward of ideas and connecting of seemingly disparate elements from nature and culture creates a sort of time capsule within his works and, ultimately, a search for a common thread.

This all comes from a curiosity about the human experience, how can we distill so much input, inspiration, and sensorial stimulation into something that makes sense? Does the human experience have to make sense? Bombardment of visual language, advertisements, and screen time is what influences Louis’ curiosity. We can bend genres of music just as we can mix and match visual cultures and differing aesthetics. It is this playfulness that keeps Louis exploring.

This exploration began while attending the University of Quebec in Montreal, where he received his master’s degree in visual arts and media. Louis found time inbetween silkscreen printing and drawing to experiment with plaster, thinking more about sculpture and installation and how they fit into his fine illustrative style. This focus on form mixed with the concept of layering inherent to screen printing became a perfect conceptual starting point for the way Louis’ work has developed throughout the years.

photos by PILOTENKUECHE International Art Program

While Louis struggles, at times, with juggling different styles and an impulse towards change, he fits visual elements into his pieces in a fixed way that beautifully encapsulates his philosophy on art making in general – let things flow in an open manner and see what gravitates together, then allow them to create their own meaning.

During his residency at Pilotenkueche he will be expanding his visual vocabulary by sourcing images and forms not only from photographs that he has taken, but from sculptures and installations that he creates. In this way he can both make more focused and nuanced connections between his work and the outside world but between the works themselves. This also allows him to open up the spaces in which his works are displayed – by mixing sculptural and installation elements with more traditional feeling works on paper he allows space for the viewer to not be guided by circumnavigating the space but to let the eye wander and allowing the mind and body to follow. In this self-described ‘research mode’ he will be finding new ways of producing while using the techniques he has so adeptly honed in new and challenging ways. There are surprises within Louis’ work, and he wants you to find them, one need only look – with a little bit of curiosity.

written by Adrian Klaus Rotzscher

_____________________________________________________________________

See Louis’s work in his solo exhibition:

Stepping out of the Echo Chamber

Vernissage 31 May 2019 8PM
Open: Wednesdays til 19 June
Location: Helmut, Kohlgartenstr 51, Leipzig

and in the following Pilotenkueche International Art Program shows: 

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

Vernissage: Sat 18 May 2019, 7PM
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: Daniel Long

Daniel is a master of cognitive illusions and high-tech wizardry. While in some works he combines technology with the art of deception, in others, he unveils the material apparatus of the medium and its ideological constructs. Using the technique of projection mapping, a skill he has refined over the course of eight years, his current project focuses on providing a critique of man’s dependence on machine learning and artificial intelligence .

What exactly is projection mapping? Projection mapping is the process of transforming regular facades, such as industrial landscapes, into surfaces for the projection of imagery. Using light as his paintbrush, brick walls, glass and other surfaces become his canvas. Daniel uses live animation and programming software in order to create complex visual forms, altering various parameters in order to portray the illusion of movement in space.

Daniel was born in New York City to a family of second generation refugees of Vietnamese and Cambodian descent. Decisively, it was when he began to travel that his creative pursuits really took off. He lived in Spain, Denmark and traveled around Southeast Asia before settling in Vietnam in 2011. It was there that he became involved with a close knit artistic community which gave him the momentum to start creating.

He began experimenting with convergences of art and technology and various inter-media practices. While projection mapping usually involves the projection of pre-digitally rendered imagery, Daniel became interested in the ‘live’ aspect of real-time animation. This places the work on another ontological plane. It exists only in that moment, thus introducing an element of performativity to his practice. An example of such work involved painting with dyes onto the surface of an overhead projector; this would then be transposed into live visuals on a screen.

He was also interested in exploring the interplay of audio-visual narratives via the creation of immersive experiences which combined multi-sensory elements. In 2013, he co-founded the company Live Audio Visual (LAV). LAV collaborated with local events and electronic musicians through creating live visual effects. In the electronic dance music community, it has become increasingly common for DJ’s to accompany their music with synced visuals, paving the way for more compelling live performances. However, when Daniel began collaborating on these projects, the idea was relatively new.

But it was the ability of illusion augmented technology to play on his surrealist fascination with magic which intrigued Daniel the most. Perhaps the most apt example of this was his Infinity Box. It was an immersive sculptural installation involving moving LED lights and multiple mirrors, creating the optical illusion of cosmic space. In past events, he has also mapped a series of moving images onto a glass window, as well as constructed 3D geometry such as cylinders and cubes. This involved the technical precision of aligning the parameters of the projector with the object. Laughingly, he says the resulting effect, “really freaked people out.”

Daniel also experimented with the art of anti-illusion. He began manipulating video tapes through bending and breaking the film while it was playing, creating static and rollover effects. This filmic reflexivity, similar to structuralist and avant-garde cinema practices of the 1920s and 1930s, worked to demystify the viewing process, exposing the material apparatus which underpins its production.

In 2016 Daniel moved back to New York, where a talented painter named Cruz was to become his mentor. This was to have a significant impact on the conceptual trajectory of his art. He began to focus more closely on ideas and what lies beyond the aesthetic.

So what now? His on-going projects with Pilotenkueche will take a decisive step away from animation through the creation of a short film. This film intends to explore modern ramifications of technology, while continuing to experiment with the art of illusion through projection mapping techniques. 

Written by: Ellisha Walkden

____________________________________________________________________________________________________

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

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

Vernissage: Sat 18 May 2019, 7PM
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