In the end, it is about the possibilities of reception through the cerebral cortex of the viewer. About individual coding of matter and energy and thus about the perception of one‘s own laws of nature.
Adriane Wachholz, 2020 VERTIGO VORTEX digital printing on fabric, 4-channel videoprojection, carbon rods, fabric ribbons, 5 printed bean bags dome diameter 380 cm, height 150 cm 2019
Vertigo Vortex is conceived for a basement vault, opening a visual and kinesthetic opening to the infinite in the deepest and darkest corner of the exhibition building. The viewer lies in a beanbag and looks at digitally translated drawings, abstract marbling and through the video projection, beyond the confines of the white dome surface. Light plays from the public space as well as movements of drawings translated into the video, allow to look into the depths of the imagination of the viewer. INTERBORDERLOVE graphite on paper, wooden frame, videoprojection 93 x 93 cm, 66 x 66 cm, 36 x 36 cm, projection area 300 x 300 cm 2019
The installation works with the schematic representations of distant stars and solar systems, their magnification techniques and the resulting spatial and temporal gaps. Which space exists between the images? On the material space level, this interspace is represented with a perspective transposition of three different image formats: The largest drawing seems to show a galaxy-like formation and is based on a superimposition of all territorial boundaries of planet Earth. In the projection, these shadow-like lines shift on the recessed white surface of the paper. In the second image, the recessed circle, which is tunnel- like due to the drawn lines, serves as a projection surface for irises of all classes of vertebrates. The lower picture shows abstracted, coincidentally developed forms of graphite, similar to an elementary mass. The interspace of the video projection captivates by movement, suction, reaction, influence and transformation. https://vimeo.com/356890384 HORIZONT 1808 potassium aluminium sulfate, iron(III)chloride, potassium hexacyanoferrate(III), graphite on paper 30 x 21 cm 2019, since 2017 ongoing
The drawings, made with graphite on paper, were placed in a saturated salt solution. Over time, these sheets were overgrown by crystalline structures. The crystalline forms, which form a horizon, thus evoke references to a landscape image, which is a fundamental means of human orientation. At the same time, topographical mountain ranges or lakescapes emerge. The temporally processual and the change through an external influence, become part of the work. My work recreates the horizons that disappear from day to day with every building and every growing city. The work gives back to the viewer the natural overviews and perspectives to be one with the original. HORIZONT 0504 potassium aluminum sulfate, watercolor, graphite on paper 42 x 30 cm exhibition view Tyson Cologne, 2019 2020 HORIZONT 0917 HORIZONT potassium aluminium sulfate, graphite on paper potassium hexacyanoferrate(III), graphite on paper 30 x 21 cm 30 x 21 cm 2017 2019 HORIZONT 0806 HORIZONT 1307 potassium hexacyanoferrate(III), copper sulfate, copper chloride, ink, potassium hexacyanoferrate(III), graphite on paper graphite on paper, 42 x 30 cm 42 x 30 cm 2019 2020 HORIZONT 1508 HORIZONT 2805 ink, copper sulfate, graphite on paper copper sulfate, copper chloride, graphite on paper 42 x 30 cm 42 x 30 cm 2020 2020 HORIZONT 1609 HORIZONT 2003 ink, potassium hexacyanoferrate(III), graphite on paper ink, potassium hexacyanoferrate(III), graphite on paper 42 x 30 cm 42 x 30 cm 2020 2020 In the equal interplay of different media, Wachholz examines real space and opens it up to imaginary worlds of imagination. Spaces are opened for thoughts around concepts such as temporality and finitude or infinity, knowledge and interpretation, culture and society. Wachholz creates works that can be experienced by the senses, whose statements deliberately remain open and which encompass more levels of perception than language or formulas can convey.
Press abstract Tyson Cologne, Patricia Schnurr, 2019 TORUS (SPOT) Collage from drawings, graphite on paper 220 x 116 cm 2020 THE WIDENESS HOME Collage from drawings, graphite on paper 250 x 300 cm 2020 TORUS (TUNNEL) Collage from drawings, graphite on paper 210 x 114 cm 2020 OHNE TITEL (CURTAIN) digital print on fabric 300 x 735 cm 2019
The curtain covers the entire wall up to the adjacent corners of the room in a site-specific manner. Thereby, the wave forms of the curtain are designed in such a way that further image levels open up with the individual wave depths of the fabric. The aim is to give a very small, narrow space a depth, to allow the viewer to dive into hidden levels of landscape and image. At the same time, the viewer passes levels of light, wholeness, the closed circle to then find himself in an unclear, abstract environment. OUR ELEMENTS metal shelf, 16 preparation glasses, graphite on paper, minerals 213 x 116 x 76 cm 2017
OUR ELEMENTS is based on the ancient doctrine of the four ele- ments developed by Empedocles. Four Elements doctrine developed by Empedocles, which states that all being arises from the four basic elements of fire, water, air and earth. Four examples from art history were chosen for each element and these were transferred by drawing. The graphic interpretations were then positioned in a mineral solution. They will be given over to the natural process of decay in the form of silicification, and over the course of several 100,000 years will be transformed back into nature as stone. Art, which in turn refers to other art, i.e. already appears medially, is transformed back into nature in a process that far exceeds a „human measure of time“. EXCERPT OUR ELEMENTS (THE SNAKE CHARMER) graphite on paper, preparation glass, minerals 33 x 23,5 x 7,5 cm 2017 OUR ELEMENTS _MIND 2018 artistic action (ongoing)
OUR ELEMENTS (DICHTE WOLKEN) and the original CHRISTINA KUBISCH DICHTE WOLKEN sound installation electromagnetic headphones, amplifiers, resistors, connecting cables, DVDs with sound tracks Museum Ostwall in the Dortmunder U 2011 OUR ELEMENTS _MIND
From the overall image of the installation, attention is focused on the microcosm of the work, presenting each self-sufficient preparative glass next to the original work. Viewed on a timeline, the original work meets the future petrifying drawing. In an artistic action, the museum visitor comes to the fore here, now acting as a cultural mediator between times, describing the original work to the future viewer of the petrifying drawing. These interpretations become part of a fluid catalog edition, in that they are freely assembled to show a content-related component of OUR ELEMENTS.
Petrification and interpretation are subjected to a random or uncontrolled process. While the fossilization is only partially scientifically verifiable, the viewer‘s interpretation also becomes a random, subjective perception. In doing so, they automatically become a testimony of our time and show the manifold ways of looking at reality and the future.
OUR ELEMENTS_EDITION
Individual text stamps are created from all interpretations of the action visitors. In a separate presentation, the entire catalog edition can be purchased and the respective card stamped, or an imprint created. With each action on all artworks the number of stamp interpretations grows, which can be used by the visitor at each presentation. ABLAGE (WASSER) MDF, mirror, graphite on paper size variable 2017
Ablage (Wasser) deals with the relationship between land, air and the eternal and variable relationship between the aggregate states of water and their influence on the land. Isolated water reflections on the shelf underside form at the same island landscapes or land movements in the reflection of the mirror. The frottages of the recessed water reflections become cloudy structures. The work deals with the paradox of the name of planet earth. It got its name when human understanding of the earth was very limited. No one saw the earth from the air and the effectively 70 percent of water surfaces. ABLAGE (FORST) multiplex, fabric, mirror, graphite, acrylic 165 x 170 x 37,5 cm 2016
The shelf serves as a horizontal intersecting line of two levels in space and in this way introduces through the mirror an indirect in- sight into a contorted land- and tree-landscape. The huge distance between work and observer reveals their limited viewing ability. The mirror with its analogue-reflecting image leads to an abstract perception of material. ABLAGE (TRABANT) multiplex, 2 mirrors, graphite, paper, acrylic, black plant seeds 25 x 30 x 40 cm 2016
The distance between work and observer turns the plant seeds into flat points and shows from the distance an inverted, astronomic cosmos. Both levels of the image deal with the process-like change of the total volume of plant and cosmos. Orbits of planets on the shelf address the chronology. How deep can a look into a picture go? Where is its origin? My works move as installative combinations of digital and analog media in a cross-temporal dialogue. Cross-media symbioses emerge in the service of dra- wing, interrogating the static matter of the medium on the one hand, and its influ- ence on the spatial image on the other. I use the image as a perspectival reflec- tion of imageability, leaving the viewer in a perceptual process that continues in time. Output images of nature serve as a psychological projection surface. Each image is carried by a light source, which always gives a hint to its actual space and place. Projection light, apparatus light, laboratory light, celestial light, or ast- ronomical light become part of a perspective projection within each work.
Adriane Wachholz, 2018 SEDIMENTS MDF, graphite, paper, cardboard, acrylic 160 x 140 x 60 cm 2015
Individual, horizontally tilted drawings create associations of geo- logical sediments. The discoid structure evokes a computer-tomo- graphic impression and reveals the four elements of present time: sugar, fat, yeast, flour. Through a natural process cultural tradition is shown as a mainstay of the world. WHITE ATLAS graphite on wall, video projection with sound, headphones 380 x 380 cm 2015
White Atlas consists out of an extensive graphite drawing which comes out a cable with headphones. The work oscillates between the outer view of a planet and a psychological inner view: The sphere mutates into a head and a vibrating body of resonance. The outer view shows stormy winds, which in whirls blow over the surface. The planet, on which through video projection stormy winds are blowing in whirls, is dissected at the same time allowing and preventing insights into its inner space. The hollow, whooshing sound lets the observer acoustically diffuse through both worlds. https://vimeo.com/174041278 SCROLL SUN wood, graphite, paper, acrylic, two video-flatscreens 75 x 100 x 44 cm 2016
In Scroll Sun two coded reflections face and react with each other. Those mediums are installed in a triptych which side panels are nearly completely closed. The drawing in the central panel and the video screens on the closed side panels are too close to each other so that a great part of the drawing can only be vaguely glimpsed and the video only indirectly through its reflection on the drawing. The actual media material is also barely visible. In this way the confrontation seems hermetical. The observer seems disinvited from perception and is therefore only more encouraged to catch a glimpse of the screens. https://vimeo.com/199715586 ALPHAS END graphite on paper, framed, each 50 x75 cm video projection 500 x 300 cm 2016
The frozen moment of dying cells (Apoptosis) is contrasted with a picture of developing life. The sonar seems to search for matter, neverthe- less the relevant information, as in the process of Apoptosis, remains invisible. Simultaneously two imaging techniques meet which are famili- ar but strange at the same time. The depiction through the electron microscope faces a his- torical, out-dated ultrasound technique (Com- pound-Scan-System) which can not be read any more. https://vimeo.com/199359003 GTN I MDF, acrylic, graphite, video projection 300 x 280 cm 2014
GTN I stands for garden and means rather than the artwork itself the real imperial gar- den, which surrounds the exhibition space. The room installation by Adriane Wachholz changes the view of this garden. By means of projection, superposition and cut-out, she makes changes to the known environment. The artist herself describes this through the three key words: architecture, view and abstraction. It transforms the familiar environment so that the viewer can approach it again. In doing so, Adriane Wachholz repeatedly makes cross-border passages, creating dividing and connecting things, distinguishing between an inside and outside. Also in this work she mixes different artistic media, one of which is always the video projection. The special quality of the work lies in the kind of combination that crea- tes new syntheses. It translates motifs found in nature into structures and uses them in the sense of a repetition and alienation from reali- ty. The viewer finds new, perhaps inner, places that escape material materiality.
Nina Dunkmann, curator
https://vimeo.com/174041472 In Wachholz‘s work, projection surfaces and processes of reflection are of a men- tal, metaphorical nature rather than being understood in purely material terms. House walls, canvases, mirrors are merely objects and actors of a specific form of appropriation of reality, which in contact with that other form give up their ontolo- gical status and become something third. The different media that meet here rub against each other and transform themselves in the process. One becomes the echo chamber of the other. This media-theoretical obfuscation, this „blurring“ brings to the point, as it were, what the „romantically gawking“ viewer might have ignored in his absorption before the motif. The artist pursues a cartography of differently coded spaces - from architectural, art-historical, natural but also cosmic to inner and mental spaces, which short- circuits the haptics of the drawing, the material with the ephemeral and deceptive appearances of the moving image and achieves interpretational added value from this short-circuit of blurriness.
Press excerpt Kunstraum Düsseldorf, Jan-Philipp Fruehsorge, 2016 STRATUM DISJUNCTUM graphite on paper, framed, series of 6 pieces 59 x 84 cm 2016
Stratum Disjunctum shows a barren, allegedly familiar earth landscape. Depicted in the shape of an open book the landscape on the surface of the coated paper seems to bounce back. No contact with the observer is possible. A belief in the technical devices together with the book as a storage device let the surface of Mars turn into an image of reality. The yellow frame asks for the position of the device and acts as a light source of an astronomic light outside the picture and the planet Mars.
HORIZONTALS graphite on paper, series of 50 single sheets 42 x 29,7 cm 2015/16
Through three lines three cosmic periods shape a spatial border of the infinite. At the same time three different periods seem to collide. Like infinity also the image has no proper aspect ratio. The installa- tional hanging provides for a search for a common horizon only to then reduce it again to its earthly physical laws.
OHNE TITEL (DOLINE) HD-video with sound 5:10 Min 2016
A crystalline, abstract image forms a vague landscape in front of the inner eye. The reflection of the landscape moves inwards like a funnel and constantly collapses. Hereby the perspective depiction of movement hovers between a top view and a frontal perspective of the depicted landscape. The analogue, reflecting image points, like pixels, turn into geological formations which continuously col- lapse like a crater. https://vimeo.com/202721960 The work by Adriane Wachholz, an untitled video installation (2016), is at first glance very similar to Thomas Zitzwitz’s paintings, but their emotional effects are at odds. Wachholz’s video shows how crystalline forms develop out of and interlock with one another, and thus also how a landscape emerges out of a two-dimensional image. However, this three-dimensionality is less a result of the viewer’s empathic imagination than of the video itself, which shows how a space is created and then how that space collapses again. This also goes hand in hand with a different way of perceiving the video image, at least for me. It is less em- pathetic and a swimming in the organic, however, and more an experience of rejection or frustration, or at least of the coolness. We can also say with Wor- ringer in mind that it is abstract. In the words of Worriger: “Just as the urge to empathize as the precondition of the aesthetic experience finds its satisfaction in the beauty of the organic, the urge toward abstraction finds its beauty in the life- negating inorganic, in the crystalline, expressed in general terms, in all abstract legitimacy and necessity.”4
Excerpt from the exhibition Wuthering Heights text by Björn Vedder
4 Wilhelm Worringer, Abstraktion und Einfühlung, München 1908, p. 36.
* 1979 in Oppeln, Polen, lebt und arbeitet in Berlin
1999 Freie Kunst an der Kunstakademie Münster - bei Andreas Köpnick und Guillaume Bijl 2000 Ecole supérieure des beaux arts, Genf, Schweiz Meisterschülerin bei Guillaume Bijl
PREISE | STIPENDIEN | AUFENTHALTE
2018 Projektförderung OUR ELEMENTS, Künstlerische Aktionen, Ministerium für Kultur und Wissenschaft, NRW 2017 Projektförderung OUR ELEMENTS, Thematische Bewerbung, Ministerium für Kultur und Wissenschaft, NRW 2016 Ruhr.Residence 2014 Atelierstipendium, Salzamt Linz, Österreich 2012 Förderpreis Kulturstiftung Sparkasse Unna Ausstellungsförderung der IFA und GWK 2010 Saari Residenz, Kone Stiftung, Finnland Wilhelm Morgner Stipendium 2009 Nes Artist Residenz, Island DEW21 Kunstpreis 2008 Bellevue-Saal Stipendium ADRIANE WACHHOLZ Nam June Paik Förderpreis 2007 Ida Gerhardi Förderpreis 2004 DAAD Freemover Stipendium Zionskirchstraße 48 10119 Berlin fon +49 (0)30 – 46 72 91 38 KUNST IM ÖFFENTLICHEN RAUM mobil +49 (0)179 – 41 58 99 3 2016 COMING HOME, Wandmalerei, Ferdinand-Buchberger- Gasse, Landespflegeheim Mödling, Österreich [email protected] 2013 COMING HOME, installative Wandmalerei, Grenzgasse, www.adrianewachholz.de Landespflegeheim Mödling, Österreich AUSSTELLUNGSAUSWAHL
2019 Spielwerk, Oö Kulturquartier, Linz 2012 every context has its frame, Kunsthalle Bielefeld, SOLO Flüchtige Entwürfe, Deutscher Künstlerbund Berlin Anna Schmitt, Kunst am Hafen, Düsseldorf Animationen, Projektionen, Künstlerverein geballte Streuung, Quartier am Hafen, Köln Malkasten, Düsseldorf (dis)order, Galeria Sztuki Współczesnej, Opole, Polen contactination, Tyson, Köln, SOLO hbf-Häuser, Bilder Fenster, Münster hybrid realities, Kunstverein Bochum tracing paper, Charim Galerie, Wien, Österreich 2018 OUR ELEMENTS_Mind, Museum Ostwall im Förderpreisausstellung, Sparkasse Unna Dortmunder U 2011 Re-Writing Memory, Videospace, Budapest, Ungarn Kleine Champagnerbar, Codex, Berlin KaleidoScope, Aando Fine Art, Berlin, SOLO Schichtwechsel, Museum Ostwall im Dortmunder Der Kamin und sein Inneres, Kunstmuseum Morgner Haus, U, Dortmund Soest, SOLO Auswärts, Kloster Bentlage, Rheine Expression Beyond, Rizzordi Art Foundation, St. Petersburg Hier und Jetzt, Gustav-Lübcke-Museum, Hamm Art HK 11, Art Future Section, Hong Kong Sturmhöhen, Schafhof, Europäisches Künstlerhaus Was Geht!, Raumstation Soest Oberbayern, Freising 2010 dew 21 Preisträgerausstellung, MKK, Dortmund, SOLO 2017 Lapis Incognita, Kunstverein Unna, SOLO über ein Feld in den Wald, Kunstverein Paderborn, SOLO Auf Achse, Maerz, Linz, Österreich Stift und Zettel, Künstlerhaus Dortmund Auf Achse, Salzamt Linz, Österreich Treffpunkt Kunst 06, Bauverein, Darmstadt 2016 5x3, Kunstraum Düsseldorf von Anfang bis Ende, Halle Zehn, Cap Cologne, Köln sedimentals, Aando Fine Art, Berlin SOLO Nam June Paik Award, Museum Kunstpalast, Düsseldorf 2015 Echoes, Residencies Revisited, Künstlerhaus Dortmund 2009 Happy House oder kleine Reparatur der Welt, KIT, Düsseldorf SQNCE, Kunstmuseum Bochum dew21 Kunstpreis, DEW21, Dortmund Singapur Media Arts Festival, Singapur Ida Gerhardi Förderpreis Jubiläum, Städtische Galerie, 2014 Stromaufwärts, Ludwiggalerie Schloss Oberhausen Lüdenscheid Laubblau, Ausstellungshalle Hawerkamp, Münster contemporary art ruhr, Zeche Zollverein, Essen 2013 Rhizomée, EG-Null-Raum für Junge Kunst, 2008 new grass, Kunstverein Gelsenkirchen Generali Holding, Köln digital image not available, Förderverein aktuelle Kunst, Münster Side Kicks, Aando Fine Art, Berlin about surroundings, Bellevue-Saal, Wiesbaden, SOLO Art13London, London Märkte, Parties, Gottesdienste, Martin van Blerk, 2012 ternal, Youngprojects, Los Angeles, USA Antwerpen, Belgien, SOLO every context has its frame, Aando Fine Art, Berlin, SOLO MONOGRAPHIEN PUBLIKATIONEN ZU GRUPPENAUSSTELLUNGEN (AUSWAHL)
Adriane Wachholz, OUR ELEMENTS, Katalogedition, Textbei- Koneen Säätiö, Saari Residence Publication Vol. 5, Veera Schrey, Silja trag von Ludwig Seyfarth, 2019 Pasila, Mietoinen, Finnland, 2018 Adriane Wachholz, Coming Home, Textbeitrag von Cornelia Of- Schichtwechsel: Von der (bergmännischen) Laienkunst zur fergeld, (Hrsg. Amt der Niederösterreichischen Landesregierung, Gegenwartskunst, Museum Ostwall im Dortmunder U, Dortmund, Abteilung Kunst und Kultur) St. Pölten, 2013 2018 Adriane Wachholz - every context has its frame, Textbeitrag von Kemnade klingt! Kunstverein Bochum, text by Reinhard Buskies, (ed. David Riedel, (Hrsg. Kunsthalle Bielefeld) Druckverlag Kettler, Kunstverein Bochum), Hattingen, 2016 Bönen, 2012 5 x 3 – Kunstraum Düsseldorf, Textbeitrag von Jan-Philipp Adriane Wachholz, Wilhelm Morgner Stipendium, Druckverlag Fruehsorge, (Hrsg. Landeshauptstadt Düsseldorf) Düsseldorf, 2016 Kettler, Bönen, 2011 WIN WIN, EG-Null - Raum für junge Kunst, Generali Deutschland, Adriane Wachholz, Textbeitrag von Sascha Winter, extra verlag, Kerber Verlag, Bielefeld, 2015 Berlin, 2010 RuhrKunstSzene – Fünfzig Positionen, Zehn Museen, Eine Ausstellung, Bellevue-Saal Stipendium 2008, Textbeitrag von Ulrike Branden- Kerber Verlag, Bielefeld, 2014 burg (Hrsg. Ulrich Meyer-Husmann) Mainz, 2008 (Nie)porzadek, (Dis)order (Hrsg. Galeria Sztuki Współczesnej) zu Hause im Grünen, Wewerka Pavillon Münster, Textbeitrag von Opole, Polen, 2012 Gail Kirkpatrick (Hrsg. Kunstakademie Münster) Münster, 2008 hbf-häuser, bilder, fenster 2012 (Hrsg. ISG, Bahnhofsviertel Münster e.V.) Münster, 2012 Entwürfe (Hrsg. Verein Entwürfe für Literatur) Zürich, 2011 Kunstwelten (Hrsg. Boesner GmbH) Witten, 2011 NamJunePaik Award 2010 (Hrsg. Regina Wyrwoll) Walther König, Köln, 2010 Jetzt und Damals (Hrsg. Hilke Gesine Möller) Lüdenscheid, 2010 Lido 11 (Hrsg. Gertrud Peters, KIT) Düsseldorf, 2009 digital image not available (Hrsg. Christoph Platz) Münster, 2008 Ida Gerhardi Förderpreis 2007 (Hrsg. Hilke Gesine Möller) Lüden- scheid, 2007 Die Zeichnung als Medium der Reflexion (Hrsg. Kunsthaus Essen e.V.) Essen, 2006