Berlin/Vienna Contemporary Art and Culture Issue
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8 Voices of Berlin/Vienna Contemporary Art and Culture Issue Content Julia Bornefeld p.2 Clemens Wolf p.3 Adrián Villar Rochas p.4 Kim Simonsson p.5 Kunst Haus Wien p.6 Thilo Jenssen p.7 Daniel Gustav Cramer p.8 Tobias Zielony p.9 Angelika Loderer p.9 Jonathan Meese/ Tal R, Daniel Richter p.9 Anne Duk Hee Jordan p.10 How to Guide to Art Fairs p.12 Photo: © Jasmine Deporta In the Studio Julia Bornefeld, Bruneck Julia Bornefeld moves between canvas, objects and spatial installations, concreteness and abstraction, as well as between poetical introspection and concrete objectivity. Representations of death in art, sacred Christian imagery, the finiteness of life, and pagan rituals are characterizing her work. • read more on page 2 In the Studio Preview Photo: © Michael Kimmel Photo: © Michael Lori Hersberger Zurich Christoph Liebentritt Photo: © Photo: © Mario Corporali »How can I explore »I decided to exile myself the unknown?« from space-time.« Danner Photo: © Michael Clemens Wolf, who gained his first artistic experi- Adrián Villar Rojas builds his work upon a richly Karin Sander Berlin ences as a graffiti sprayer in the urban space has been sophisticated philosophical architecture that he often attracted by city maps, fences, and ruins. Today, turns into intensely photogenic projects of enormous upcoming stories the professional painter is occupied with an aesthetic scale that imply pop-cultural and historic codes in our Online Journal on of decay, which he captivates in a painterly, sculp- and make reference to social, political, geographical, collectorsagenda.com tural manner and in the form of installations. cultural, and even geological ecosystems. • read more on page 3 • read more on page 4 COVERSTORY In the Studio Julia Bornefeld, Bruneck, South Tyrol COVERSTORY In the Studio Clemens Wolf, Vienna Did your surroundings influence your as in the case of the body-related work series. appear both strange and familiar, the treated decision to study art? I slip in the sewn objects and these become a parachute clearly recognizable. But my artistic I come from a combination of teacher and second skin. I portray these skins in movement intervention into the “rescue object” initiates artist household – my grandfather was a via photographic sequences. a game with the cognitive memory, posing va- conductor, a music director, and a pianist in rious questions: What lets me recognize the Innsbruck and mother was also a musician. What is the relationship between painting sculpture? What remains unknown to me? How My biological father is a literary man and gra- and physical objects in your work? can I explore the unknown? The sculptures phologist and as a libertarian has lived for For me painting and drawing are the most im- tell a story that can be read through the mathe- decades on ships. This environment of music mediate means of expression. Through pain- matics of gravitation and in the manner of and culture was influential. As a child I drew ting I get to self-reflection. The act of painting the parachute’s “falling”. and painted constantly and at age sixteen I over hours and days is a highly concentrated learned welding. Some of my school friends activity. As a student I constructed objects from Why did painting become your preferred studied art, architecture, and theater or pur- unfinished canvases. I disassembled the can- practice? sued other artistic careers. vases encompassed and pressed things into I acquired an enormous amount of knowledge them, tore and rended them – in this way my in studying painting. It allowed me to experi- plastic works gradually began to develop. ment a lot and to discover the canvas as my new “Painting • read the full story on bit.ly/_JuliaBornefeld “playground”. All the experiences that I gained does not lie!” in the medium of graffiti and in dealing with the public space that I had used for quite some How would you explain to someone who time, entered into my painting. From the border- has never heard about you or your art what line between subculture and artistic demands your work is about? evolved my interest in ruins, subsequently my Originally, I studied painting, but in time my search for duration and interest in the beauty works became increasingly more space con- of decay developed; these themes have captivated suming. In the meantime, there were also me until today. Photos: © Jasmine Deporta photographic and video works, which are partly Photos: © Christoph Liebentritt • read the full story on bit.ly/_ClemensWolf Julia, can you remember your first contact integrated in the objects and installations. Clemens, how did your interest in art and Being a professional painter doesn’t mean that with art? In my work processes, I address psychological your art study develop? I spend my life in the two-dimensionality of I can still remember one truly life-changing topics using partly performative, partly ritua- I began to get interested in graffiti and street canvases. The perspectives of my work result experience: I grew up partly in Innsbruck, listic approaches, and I also pursue feministic art at age fifteen, becoming a “sprayer” myself. from the exploration of painting, sculpture, but mostly in Kiel in Northern Germany. The and socio-critical issues. I arrange my exhi- What began illegally with damaging the prop- and installation. Ultimately, it is important that permanent exhibition of the Museum für bitions so that the works become staged scenes erty of others became legal with commissioned viewers engage themselves in my work and I Kunst und Kulturgeschichte Schloss Gottorf appearing like set pieces from a drama. Often work. Later I studied art history and economics can formulate the origin of my ideas. in Schleswig presented the preserved body I become more interested in the exhibition space in Vienna, however, I abandoned these sub- of a young person, that had been found by peat and change the style or technique. jects in order to study art in Linz. cutters [in 1952] in a bog near Windeby. As a »Being a professional ten year old, this mummified corpse confronted You use diverse media in your works. Do You describe yourself as a painter but you painter doesn’t mean that me in a profound manner with the reality of these media have their own functions for you? also do installations that cannot really be 2 mortality and formed within me a connection There is painting. Painting does not lie. associated with painting. How do you explain I spend my life in the 3 with Viking culture. For nights I was torn A “good painting” simply is a “good painting”. that? two-dimensionality of between fear and fascination. In Tyrol the nu- And I can’t even say when and whether I Julia Bornefeld Jannis Kounellis once said that he was a painter merous crosses and representations of shall paint a “good painting”. A painting sur- is represented by and that his most important tools were light canvases.« Christ impressed me. At age nineteen, I saw prises the painter, one cannot plan it, it Galerie Elisabeth & Klaus Thoman, Vienna and space. This sentence has strongly influenced work by Beuys at the Hamburger Kunsthalle evolves. My objects on the other hand adapt their me. Kounellis’ installations are paintings that Which reaction is to be expected in viewing Clemens Wolf that left a deep impression on me. Death, forms and dimensions often relation to the CURRENT SHOW were created with his preferred tools and raise your art? is represented by representations of death in art, sacred, pagan, respective exhibition space. The choice of media Grenzgänge: Julia Bornefeld & Michael Fliri questions regarding the definition of painting It is important to me that looking at my art Galerie Clemens Gunzer, Zurich/Kitzbühel and Christian imagery dealing with death, may occur quite spontaneously, how this plays Festung Franzensfeste, South Tyrol, Italy and sculpture. I too, play with these questions by results in a reaction, but I do not provide refer- and Galerie Steinek, Vienna and the finiteness of life have characterized my out is important to me. Sometimes there are UNTIL 3 JUN 2019 using the romantic components of classical ences. In the case of the Parachute Sculptures Interview: Gabriel Roland work and me for thirty years. performative steps between one and the other Interview: Alexandra-Maria Toth painting of light, space, and depth in a new way. viewers stand in front of abstract objects which Still , 2012 © Andrea Witzmann Andrea , 2012 © leben 13.09.18–17.02.19 In der Fülle der Zeit 4 Zeit der Fülle In der Eigensinn der Dinge Untere Weißgerberstraße 13 | 1030 Wien | Täglich 10:00-18:00 | www.kunsthauswien.com Andrea Witzmann, Witzmann, Andrea KHW_180913_Stillleben_1/3Inserat_CollectorsChronicle_190x90.indd 1 collectorsagenda.com 06.09.18 16:23 collectorsagenda.com COVERSTORY In the Studio Adrián Villar Rojas, Rosario In the Studio Kim Simonsson, Fiskars Many of your works tap into a diverse network creatures. of references ranging from nature to ar- It is striking that none of them look really old. chaeology, art history, and pop culture. What At the same time these children make the fascinates you about these influences? impression of being very self-reliant, as if they The wide range of references is related to the had to grow up rather quickly. Why is that? epistemological fiction that guides my re- Yes, they are indeed very young. They are still search: the alien gaze playing with humanity's before their puberty. I think, before puberty, symbolic noise at the edge of silence with everything still seems possible. Everything cir- no value scales but only commitment to a deep culates around you and one may be comple- state of detachment.