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Download Jana Schröder Press Packet JANA SCHRÖDER [email protected] WWW.MIERGALLERY.COM 7277 SANTA MONICA BOULEVARD LOS ANGELES, CA, 90042 T: 323-498-5957 Jana Schröder’s art-making practice seeks to question the validity of traditional painting gestures. Her work is a meditation on process and repetition, refusing the need to derive or represent intellectual meaning solely for the sake of being meaningful. She achieves this by creating an interaction of overlapping colors and layers of paint that create meaning not only on the basis of the gestures that created them, but also through their references to everyday acts of handwriting and scribbling. She uses oil paints to slowly transition initials, signatures and abbreviations onto a large-scale canvas, and by doing so, she manages to isolate and highlight their sheer form. In other paintings, the indelible pencil, with its absurd chemical nature (it irrevocably fades when exposed to sunlight), serves as the perfect platform for expressing gestures freely and as a finalizing act. Jana Schröder (b. 1983, Brilon, Germany; lives and works in Düsseldorf) studied at the Kunstakademie Düsseldorf under Professor Albert Oehlen. She has been included in numerous solo and group exhibitions at wellknown institutions, such as the Kunstmuseum Bonn, Germany; Kunstverein Heppenheim, Germany; T293, Rome; Natalia Hug, Cologne; Pinakothek der Moderne, Munich and the Yves Klein Archives, Paris. SELECTED WORKS Jana Schröder Kadlites L20, 2019 Acrylic, graphite and lead on canvas 94 1/2 x 78 3/4 in, 240 x 200 cm Jana Schröder Specshift L1, 2020 Acrylic and oil on canvas 94 1/2 x 78 3/4 in, 240 x 200 cm Jana Schröder PR2, 2017 Copying pencil and oil on paper 79 x 59 in, 200 x 150 cm Jana Schröder Spontacts DL13, 2015 Copying pencil and oil on canvas 78.7 x 61 in, 200 x 155 cm Jana Schröder Spontacts Ö12, 2014 Oil on canvas 70.9 x 59 in, 180 x 150 cm Jana Schröder Kadlites L5, 2018 Acrylic, graphite and lead on canvas 94 1/2 x 78 3/4 in, 240 x 200 cm (JSR19.008) INSTALLATION VIEWS Installation View of Jana Schröder Kadlites (March 16–April 27, 2019). Nino Mier Gallery, Los Angeles, CA Installation View of Jana Schröder Kadlites (March 16–April 27, 2019). Nino Mier Gallery, Los Angeles, CA Installation View of Jana Schröder Spontacts (September 1–October 10, 2015). Nino Mier Gallery, Los Angeles, CA Installation View of Jana Schröder Spontacts (September 1–October 10, 2015). Nino Mier Gallery, Los Angeles, CA PRESS Jana Schröder 8 Jun — 3 Aug 2019 at T293 in Rome, Italy 3 JUNE 2019 Jana Schröder returns to the gallery with a series of new monochrome paintings, a continuation of the Kadlites series. In these new works the pictorial surface is reduced in order to give a greater importance to the content, and it turns into a space for contamination of repeated and layered lines, that confer density, rhythm and harmony. Schröder presents conceptual painting in its multiplicity of action, in which the constant gestural practice is both meditative and performative. These ‘energy signs’ are repeatedly marked by the graphite pencil and the brush, mix- ing the turpentine with lead powder. By erasing some traits by means of a rubber or another painting, Schröder then multiplies the previously traced signs, which cross over into new directions. Repetition is “inverted memory”, according to Kierkegaard, a production of something new, and not merely a re- production of what already exists. The works of Schröder act in the substratum of abstraction: gestural signs form layers of levels and become actual experimentations. These temporal and spatial traces represent a record of the artist’s pictorial experience. The marks invite you to get closer to the canvas, to study the lines and their progres- sions more closely. They become a perceptive challenge for the viewers, who find themselves in front of an idea that is being energetically translated into painting. The boundaries between drawing, writing and painting appear to be already overcome. What the artist is interested in is the process, the repetition of the gesture, the study of the possibilities of the becoming of the work, as well as of the overcoming of its limits. The sign language expands on the surface of the canvas, in which the centre doesn’t exist anymore, and goes beyond the limits of the space. The Subtle Language Of Process — Jana Schröder On Abstraction And Concept Interview by Lara Konrad Photography: Nicole Schäfer for Collecteurs When Jana Schröder stands in front of a bare canvas and begins her gestural scribbles with copying pencils and oil paint, the formal rules of the act of painting are abandoned, yet not entirely forgotten. Monochromatic rivers of lines and curls leisurely percolate through, turning the aesthetic effects into an interactive space between artist and material. And, eventually, between artist and viewer. Unlike other traditional forms of painting where it often be- comes about returning and staying within particular places of memory (our own, or those of others), the handwritten landscapes of Schröder emanate proximities of the present without wishing to retire elsewhere. Stark contrasts of overlapping colors — like yellow and shades of blue — cause an immediate recognition for whatever current reality. Our temporary alienation transforms into something warm and familiar, it’s nice to have arrived somewhere that doesn’t instantaneously encourage us to leave. A former master student of Professor Albert Oehlen at Kunstakademie Düsseldorf, Schröder’s artistic choices are about process, they don’t ask to be intellectually-exaggerated into meaning just for the sake of being meaningful. The further analyzed, the more her work turns into a consciously-systematic reduction of interpretation where po- tential philosophical musings are eventually left to die. Somehow, though, this notion of absence doesn’t conjure the concern of purposelessness. A new consciousness rises — empty and grand — it’s about seeing what is, not what might be. December 3, 2016 “Collectors Susan and Michael Hort’s Favorite Works from Miami Art Week 2016” By Artspace Editors The dynamic duo are at it again: Susan and Michael Hort, the New York-based art patrons and philanthropists, have decamped to Miami Beach for the annual round of art fairs, including Art Basel, NADA, and Untitled. Here, in their own words and photographs, they tell us about their favorite works; keep an eye out for both old Hort favorites and new discoveries. Jana Schröder MIER GALLERY You can't really appreciate this Düsseldorf-based artist unless you see the work in person. It is multi-layered, with beautiful line quality. October 2016 “Jana Schröder” By Marta Silvi T293 | ROME Via Ripense 6 September 14–October 14 In her first solo show at this gallery, Jana Schröder proceeds nonchalantly through a strongly performative pictorial practice. Her large canvases appear like monuments of automatic writing—in this case, notes and doodles—of the type one might imagine psychoanalysts encouraging patients to make in order to gain access to repressed memories. Schröder’s activity is a tribute of sorts to the paintings of Albert Oehlen, the artist’s professor at the Kunstakademie Düsseldorf from 2005 to 2009, who combined abstract and figurative elements in response to the neo-expressionist aesthetic that reigned in the 1980s. “Spontacts Paintings,” 2016, a series of large canvases executed in indelible pencil and oil, bring to mind the spontaneity and impulsiveness implicit in the title’s portmanteau, belying the true nature of the operation. Schröder’s camouflaged stratifications of paint that emerge upon close observation are more evident in works where grids and squares stabilize the background, creating a geometric platform and a circumscribed and pulsating space of action (Spontacts Ro andSpontacts UD 07). The artist applies various layers of indelible pencil, subsequently reworking the subtle lines, or even completely expunging them with a slow, more concrete pictorial stroke. Meanwhile, her process is linked to the alchemical qualities intrinsic to the ink, which tends to gradually dissolve and/or change color when exposed to sunlight. This is painting in a state of constant evolution, which offers the viewer a form that is never definitive. Spontaneity versus control, surface versus depth, and apparent speed versus slowness of gesture are the ingredients of an investigation that is more complex than it appears. Translated from Italian by Marguerite Shore. September 27, 2016 “Datebook: Jana Schröder’s ‘Spontacts FX’ at T293, Rome” T293 Gallery presents artist Jana Schröder's "Spontacts FX" exhibition, which will run through October 15, 2016 in Rome. The show features Schröder's new works that develop her aesthetic research on painting as a performative practice, as well as upon the colours v/s light interaction. With "Spontacts FX", Schröder creates a brand new aesthetic language based on the dynamic overlapping of layered marks, as well as on the artist's capacity to play things that are out of one's control. The exhibition is on view at T293, Via Ripense 6 00153 Rome. May 6, 2016 “The Twelve Young Painters You Need to Know at NADA New York” By Molly Gottschalk The fifth edition of NADA New York opened yesterday, and as ever, it was teeming with collectors and artists eager to set their sights on the fair’s 108 booths. The largest edition to date, this year sees exhibitors from 18 countries and 44 cities, including 51 first-time exhibitors. It also features an especially strong selection of painting, with works by a fresh generation of young painters—including these 12 you need to know. Jana Schröder B. 1983 IN BRILON, GERMANY. LIVES AND WORKS IN DÜSSELDORF ON VIEW AT MIER GALLERY Installation view of works by Jana Schröder at MIER GALLERY’s booth at NADA New York, 2016.
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