Klasse Pumhösl
- Constanze Budcke
Constanze Budcke
OblivionExhibition at AkademieGalerie, 01.07.2023 - 11.07.2023, Academy of Fine Arts Munich
Foto: Dirk Tacke
2023
Derived and informed by three digital photographs selected from a social media archive, 247 monochrome inkjet prints are created through compression, scaling, decomposition, rearrangement, printing, cutting and layering.
Before executing the prints, I modified the photographs by editing them in Photoshop and printed them using an EPSON SureColor SC-P20000 inkjet printer. Once printed, I cut up parts, laminated them on aluminium and transferred the fragments into a black-and-white interface.
The resulting work can be described as the transcription of digital information into material related to the function of the body as witness and document.Constanze Budcke
OblivionExhibition at AkademieGalerie, 01.07.2023 - 11.07.2023, Academy of Fine Arts Munich
Foto: Dirk Tacke
2023
Derived and informed by three digital photographs selected from a social media archive, 247 monochrome inkjet prints are created through compression, scaling, decomposition, rearrangement, printing, cutting and layering.
Before executing the prints, I modified the photographs by editing them in Photoshop and printed them using an EPSON SureColor SC-P20000 inkjet printer. Once printed, I cut up parts, laminated them on aluminium and transferred the fragments into a black-and-white interface.
The resulting work can be described as the transcription of digital information into material related to the function of the body as witness and document.Constanze Budcke
OblivionExhibition at AkademieGalerie, 01.07.2023 - 11.07.2023, Academy of Fine Arts Munich
Foto: Dirk Tacke
2023
Derived and informed by three digital photographs selected from a social media archive, 247 monochrome inkjet prints are created through compression, scaling, decomposition, rearrangement, printing, cutting and layering.
Before executing the prints, I modified the photographs by editing them in Photoshop and printed them using an EPSON SureColor SC-P20000 inkjet printer. Once printed, I cut up parts, laminated them on aluminium and transferred the fragments into a black-and-white interface.
The resulting work can be described as the transcription of digital information into material related to the function of the body as witness and document.Constanze Budcke
OblivionExhibition at AkademieGalerie, 01.07.2023 - 11.07.2023, Academy of Fine Arts Munich
Foto: Dirk Tacke
2023
Derived and informed by three digital photographs selected from a social media archive, 247 monochrome inkjet prints are created through compression, scaling, decomposition, rearrangement, printing, cutting and layering.
Before executing the prints, I modified the photographs by editing them in Photoshop and printed them using an EPSON SureColor SC-P20000 inkjet printer. Once printed, I cut up parts, laminated them on aluminium and transferred the fragments into a black-and-white interface.
The resulting work can be described as the transcription of digital information into material related to the function of the body as witness and document.Constanze Budcke
OblivionExhibition at AkademieGalerie, 01.07.2023 - 11.07.2023, Academy of Fine Arts Munich
Foto: Dirk Tacke
2023
Derived and informed by three digital photographs selected from a social media archive, 247 monochrome inkjet prints are created through compression, scaling, decomposition, rearrangement, printing, cutting and layering.
Before executing the prints, I modified the photographs by editing them in Photoshop and printed them using an EPSON SureColor SC-P20000 inkjet printer. Once printed, I cut up parts, laminated them on aluminium and transferred the fragments into a black-and-white interface.
The resulting work can be described as the transcription of digital information into material related to the function of the body as witness and document.Constanze Budcke
OblivionExhibition at AkademieGalerie, 01.07.2023 - 11.07.2023, Academy of Fine Arts Munich
Foto: Dirk Tacke
2023
Derived and informed by three digital photographs selected from a social media archive, 247 monochrome inkjet prints are created through compression, scaling, decomposition, rearrangement, printing, cutting and layering.
Before executing the prints, I modified the photographs by editing them in Photoshop and printed them using an EPSON SureColor SC-P20000 inkjet printer. Once printed, I cut up parts, laminated them on aluminium and transferred the fragments into a black-and-white interface.
The resulting work can be described as the transcription of digital information into material related to the function of the body as witness and document.Heeyoung Rosa Jo
Heeyoung Rosa Jo
Ausstellungsansichtwhat I saw when I woke up (2023), Acrylic on canvas, 166 x 116 cm
A moving thing (2023), Acrylic on canvas, 160 x 160 cm
Combing (2023), Acrylic on linen, 162 x 146 cm
Pick with a piece (2023), Acrylic on canvas, 143 x 119 cm
Tetiana Kornieieva
Tetiana Kornieieva
YOU DO (NOT) EXIST2023
performance, 60 min
installation (wood, soil, matches, old oil lamp); dress (knitting, burnt wood); video’7
Museum Villa Stuck Munich
22.07.2023, 19:00 - 20:00; Jahresausstellung, Kolossaal
Tetiana Kornieieva's performance explores the complex issue of cultural colonialism and raises the question of
why Ukrainian artists are often overlooked while Russian artists receive global recognition. Drawing on her
personal experiences and the collective trauma of many generations, Kornieieva reveals that the root of the issue
lies in the formation and spread of Russian imperialism, the repressive apparatus of the Soviet Union, and the
ongoing aggressive policies of contemporary Russia towards Ukraine. Growing up in a Ukrainian environment -
eating Ukrainian food, perusing Ukrainian art, and reading Ukrainian literature - Kornieieva experienced firsthand
the situation where Western Europeans still do not recognize Ukrainian culture as unique and original. To assert
her cultural heritage, Kornieieva references texts and visual art works of Ukrainian writers and artists in her
performance. Despite the suppression, destruction, and appropriation of their work, Ukrainian artists persevere
in creating significant works of art that embody the zeitgeist.photos by Jörg Koopmann
YOU DO (NOT) EXIST
2023
performance, 60 min
Installation (Holz, Erde, Streichhölzer, alte Öllampe); Kleid (Stricken, verbranntes Holz); Video’7
Museum Villa Stuck München
22.07.2023, 19:00 - 20:00; Jahresausstellung, KolossaalDie Performance von Tetiana Kornieieva erforscht das komplexe Thema des kulturellen Kolonialismus und stellt
die Frage, warum ukrainische Künstler*innen oft übersehen werden, während russische Künstler*innen weltweit
anerkannt werden. Mit Bezug auf ihre persönlichen Erfahrungen und das kollektive Trauma vieler Generationen
offenbart Kornieieva, dass die Wurzel des Problems in der Entstehung und Verbreitung des russischen
Imperialismus, dem repressiven Apparat der Sowjetunion und den fortgesetzten aggressiven Politiken des
zeitgenössischen Russlands gegenüber der Ukraine liegt. Aufgewachsen in einer ukrainischen Umgebung - mit
ukrainischem Essen, ukrainischer Kunst und ukrainischer Literatur - erlebte Kornieieva aus erster Hand die
Situation, in der westeuropäische Kulturen die ukrainische Kultur immer noch nicht als einzigartig und originell
anerkennen. Um ihr kulturelles Erbe zu behaupten, bezieht sich Kornieieva in ihrer Performance auf Texte und
visuelle Kunstwerke ukrainischer Schriftsteller*innen und Künstler*innen. Trotz Unterdrückung, Zerstörung und
Aneignung ihrer Arbeit erschaffen ukrainische Künstler*innen bedeutende Kunstwerke, die den Zeitgeist
verkörpern.Photos von Jörg Koopmann
Tetiana Kornieieva
YOU DO (NOT) EXIST2023
performance, 60 min
installation (wood, soil, matches, old oil lamp); dress (knitting, burnt wood); video’7
Museum Villa Stuck Munich
22.07.2023, 19:00 - 20:00; Jahresausstellung, Kolossaal
Tetiana Kornieieva's performance explores the complex issue of cultural colonialism and raises the question of
why Ukrainian artists are often overlooked while Russian artists receive global recognition. Drawing on her
personal experiences and the collective trauma of many generations, Kornieieva reveals that the root of the issue
lies in the formation and spread of Russian imperialism, the repressive apparatus of the Soviet Union, and the
ongoing aggressive policies of contemporary Russia towards Ukraine. Growing up in a Ukrainian environment -
eating Ukrainian food, perusing Ukrainian art, and reading Ukrainian literature - Kornieieva experienced firsthand
the situation where Western Europeans still do not recognize Ukrainian culture as unique and original. To assert
her cultural heritage, Kornieieva references texts and visual art works of Ukrainian writers and artists in her
performance. Despite the suppression, destruction, and appropriation of their work, Ukrainian artists persevere
in creating significant works of art that embody the zeitgeist.photos by Jörg Koopmann
YOU DO (NOT) EXIST
2023
performance, 60 min
Installation (Holz, Erde, Streichhölzer, alte Öllampe); Kleid (Stricken, verbranntes Holz); Video’7
Museum Villa Stuck München
22.07.2023, 19:00 - 20:00; Jahresausstellung, KolossaalDie Performance von Tetiana Kornieieva erforscht das komplexe Thema des kulturellen Kolonialismus und stellt
die Frage, warum ukrainische Künstler*innen oft übersehen werden, während russische Künstler*innen weltweit
anerkannt werden. Mit Bezug auf ihre persönlichen Erfahrungen und das kollektive Trauma vieler Generationen
offenbart Kornieieva, dass die Wurzel des Problems in der Entstehung und Verbreitung des russischen
Imperialismus, dem repressiven Apparat der Sowjetunion und den fortgesetzten aggressiven Politiken des
zeitgenössischen Russlands gegenüber der Ukraine liegt. Aufgewachsen in einer ukrainischen Umgebung - mit
ukrainischem Essen, ukrainischer Kunst und ukrainischer Literatur - erlebte Kornieieva aus erster Hand die
Situation, in der westeuropäische Kulturen die ukrainische Kultur immer noch nicht als einzigartig und originell
anerkennen. Um ihr kulturelles Erbe zu behaupten, bezieht sich Kornieieva in ihrer Performance auf Texte und
visuelle Kunstwerke ukrainischer Schriftsteller*innen und Künstler*innen. Trotz Unterdrückung, Zerstörung und
Aneignung ihrer Arbeit erschaffen ukrainische Künstler*innen bedeutende Kunstwerke, die den Zeitgeist
verkörpern.Photos von Jörg Koopmann
Tetiana Kornieieva
YOU DO (NOT) EXIST2023
performance, 60 min
installation (wood, soil, matches, old oil lamp); dress (knitting, burnt wood); video’7
Museum Villa Stuck Munich
22.07.2023, 19:00 - 20:00; Jahresausstellung, Kolossaal
Tetiana Kornieieva's performance explores the complex issue of cultural colonialism and raises the question of
why Ukrainian artists are often overlooked while Russian artists receive global recognition. Drawing on her
personal experiences and the collective trauma of many generations, Kornieieva reveals that the root of the issue
lies in the formation and spread of Russian imperialism, the repressive apparatus of the Soviet Union, and the
ongoing aggressive policies of contemporary Russia towards Ukraine. Growing up in a Ukrainian environment -
eating Ukrainian food, perusing Ukrainian art, and reading Ukrainian literature - Kornieieva experienced firsthand
the situation where Western Europeans still do not recognize Ukrainian culture as unique and original. To assert
her cultural heritage, Kornieieva references texts and visual art works of Ukrainian writers and artists in her
performance. Despite the suppression, destruction, and appropriation of their work, Ukrainian artists persevere
in creating significant works of art that embody the zeitgeist.photos by Jörg Koopmann
YOU DO (NOT) EXIST
2023
performance, 60 min
Installation (Holz, Erde, Streichhölzer, alte Öllampe); Kleid (Stricken, verbranntes Holz); Video’7
Museum Villa Stuck München
22.07.2023, 19:00 - 20:00; Jahresausstellung, KolossaalDie Performance von Tetiana Kornieieva erforscht das komplexe Thema des kulturellen Kolonialismus und stellt
die Frage, warum ukrainische Künstler*innen oft übersehen werden, während russische Künstler*innen weltweit
anerkannt werden. Mit Bezug auf ihre persönlichen Erfahrungen und das kollektive Trauma vieler Generationen
offenbart Kornieieva, dass die Wurzel des Problems in der Entstehung und Verbreitung des russischen
Imperialismus, dem repressiven Apparat der Sowjetunion und den fortgesetzten aggressiven Politiken des
zeitgenössischen Russlands gegenüber der Ukraine liegt. Aufgewachsen in einer ukrainischen Umgebung - mit
ukrainischem Essen, ukrainischer Kunst und ukrainischer Literatur - erlebte Kornieieva aus erster Hand die
Situation, in der westeuropäische Kulturen die ukrainische Kultur immer noch nicht als einzigartig und originell
anerkennen. Um ihr kulturelles Erbe zu behaupten, bezieht sich Kornieieva in ihrer Performance auf Texte und
visuelle Kunstwerke ukrainischer Schriftsteller*innen und Künstler*innen. Trotz Unterdrückung, Zerstörung und
Aneignung ihrer Arbeit erschaffen ukrainische Künstler*innen bedeutende Kunstwerke, die den Zeitgeist
verkörpern.Photos von Jörg Koopmann
Florian Nöthe
Florian Nöthe
detail as part of Ware die Leere, der Lehre Wahre, Lehre ware das.Ausstellung | Filmprogramm | Décor with Klasse New Genres, Mumok Vienna
2023
Lena Scheller
Lena Scheller
Der SchneeInnenwandfarbe und Graphit auf Passepartoutkarton, verzinktes Aluminium.
20,5 x 9,0 cm
2023
Lena Scheller
Das HausInnenwandfarbe und Graphit auf Wellpappe, verzinktes Aluminium.
57,0 x 37,0 cm
2023
Lena Scheller
Der NebelInnenwandfarbe und Graphit auf Graupappe, verzinktes Aluminium.
30,5 x 21,0 cm
2023
Lena Scheller
Der FeldwegInnenwandfarbe und Graphit auf Wellpappe, verzinktes Aluminium.
29,5 x 65,0 cm
2023