Cologne Stockholm

Cologne10 Voices of Stockholm Contemporary Art and Culture Issue Content Heinrich Dunst p.2 Madeleine Boschan p.3 Marianna Uutinnen p.4 Jonas Lund p.5 Editions p.6 Tobias Hoffknecht p.8 Manuel Tainha p.10 Martin Lukáč p.11 Daniel Hug p.12 53. INTERNATIONALER KUNSTMARKT Photo: © Florian Langhammer 11 –13. APRIL 2019 In the Studio Heinrich Dunst, Vienna Heinrich Dunst combines pictorial, sculptural, and language elements in his works to create intermedial in- tersections. His “meta-linguistic” spatial interventions and performances deal with the visible and what can be expressed in language, and the impossibility of translating one form into another. • read more on page 2 Online Stories Photo: © Alexander Yakovlev AES+F Moscow Photo: © Florian Langhammer Photo: © Franziska Rieder »Art is no »I want my work to be open mini-golf course. « to many contexts.« Photo: © Christoph Liebentritt Madeleine Boschan’s sculptures make visible layers Marianna Uutinen refrains from making gestural Cäcilia Brown Vienna of historical, emotional, and spiritual aspects that masks in favor of an expanded notion of painting. characterize all manmade locations and spaces. In The Finnish artist builds up layers of acrylic paint to upcoming stories recent years, the artist’s work has developed from create a skin in her large-scale paintings which she in our Online Journal on working directly with everyday objects and objets then drapes directly onto the canvas. collectorsagenda.com trouvés towards an impressive chromaticity. • read more on page 4 • read more on page 3 COVERSTORY In the Studio Heinrich Dunst, Vienna COVERSTORY In the Studio Madeleine Boschan, Berlin It was rather a coincidence. In 2008, I used this unit consisting of two letters that expresses the der side. When Bruce Nauman in the 1960s prefabricated industrial material for the first locality in a completely paradoxical sense. walked in his studio in precise rectangles, it was time for a work at the Haus der Industrie in For what does it mean when I say: It is “DA”? certainly a physical experience, but it was also Vienna. I simply left it as it was, without any “DA” is not the place where the material of an affirmation of his own existence. further processing. I found the color very ap- the form was produced. The word, however, pealing. In addition to the color, the high level describes the location of a representation Your works sometimes make a very of conventionality that is used in the industrial and testifies to the existence of the sculpture, archaic impression – like ritual sites of an sector, the prefabricated material as a high- consisting of these two letters. DA carries an ancient culture. tech material of the present, was also decisive absurdity in it. But what then is “DA”? Suddenly I am glad that you perceive it like that. For for its use. I also left the logo that is used by we find ourselves in a paradoxical vortex! It is me it is as if the sculptures are being loaded the industry, on the insulation boards. By ap- a strange mystery that constantly eludes a clear by their environment and the people who propriating a letter, you transfer this material fixation of meaning. look at them. They function as memory. It is into something subjective, this is exactly the indescribable, one simply feels it. questions are important. Where and how are interface that interested me. Mike Kelley once Speaking of meaning, how you would ideally encounters possible? Is it even possible that wrote a paper about it: like your work to be perceived? How do you approach such works? one can come together? An idea of connection I see my work as texts that constantly provoke My starting point are questions: Where am I? possibilities, not one without the other, toge- “Pink is the hippie color. It's fairy dust color, misunderstandings and accompany me pro- How do I orientate myself? When I plan an therness. gender-bender color, anti-I-beam-sculpture ductively! There is no unambiguity that would exhibition I want to know everything about the color, the color of New Man, the hermaphrodite complete this process. A computer is different space and the location – historically and archi- Which concept are you pursuing with the color. Pink is the color of little girl's rooms, because there is no misunderstanding. There tecturally. A bit like the strategic spying out of color you choose? dresses, and playthings.” is only a one or a zero. That is not the case with unfamiliar territory before an invasion. To Here too the location provided is a decisive people. The higher the misunderstandings give the sculpture its place has always something factor. The sculptures that were shown in the Could one say that pink has become some- are, the more productive are the forms of com- to do with occupation. I walk the space and de- Neue Galerie Gladbeck in 2015 have a direct thing like a trademark of yours? munication. Reception is never complete, velop a range of sensorimotor sentiments and reference to the color of Miami’s Art Deco archi- I wouldn't say that. It primarily characterizes never stops! An interesting work therefore has impressions and from that results my approach tecture and the colors of the 1980s. The color Photos: © Florian Langhammer Photo: © Florian Langhammer an industrial material that is used in indus- no end. to the work. of the works that I showed in my gallery in Tel Heinrich, you come from painting, but over trial production. It is used for building and in- • read the full story on bit.ly/_HeinrichDunst Madeleine, your development toward art Aviv in February 2016 originate in “antique the years you have moved quite far away sulating houses and is known throughout was not really straightforward because you polychromy”. It was Vinzenz Brinckmann who from it. Europe for that. That it now appears in another actually began in sports. »Sculptures function as proved with modern methods of investiga- I actually approached painting more through context was my attempt to show an interface. I was a gymnast: floor exercises, high bar, and memory.« tion that even the Acropolis was covered with reliefs and forms of objects, less typically from The question is what happens if you get lost balance beam. I participated in competitions green, ochre, pink, violet, and light blue. painting as such. For Heimo Zobernig and at this interface – in other words, at the point until I was sixteen. The physical experience of Do you have specific references in terms of • read the full story on bit.ly/_MadeleineBoschan Gerwald Rockenschaub, too, sculptural and lin- between the prefabricated and the appropriated. running through an almost empty space, to architecture? guistic concepts were decisive for their work. take a run-up for a jump, then come to a full No, I don’t have specific references, although »An interesting work stand while keeping your balance, to precisely my preferences are for Greek and Japanese Madeleine Boschan Like you, Zobernig and Rockenschaub are position yourself and to see in which direction architecture. I admire Gropius, Niemeyer, van is represented a.o. by counted as being within Neo-geo, what does has no end.« to expand, I am still in search for that. For der Rohe, Wright, but the sculptures with Galerie Bernd Kugler, Innsbruck 2 one understand regarding this movement? me the main goal in art regardless of whether their perspectives and angles are all mine. I first 3 The Neo-geo movement understood itself as Isn't it also a question of identity? In other in architecture, sculpture, or painting is to explore with card models how something CURRENT SHOWS an alternative to figurative-expressive painting. words: is it a letter or an insulating board? communicate a sense of the location so that the functions, what stands on its own and which In twilight these ridiculous and exquisite It manifested itself in the use of geometric, Yes, it is. When we discuss questions of iden- artist and the viewer know where they are. angles are to be chosen. Then I build larger things descendingly move often colored, basic forms, which are not limited tity today, especially in politics, I find the DA, installation view at Secession, Vienna 2014 with plywood or plaster. This way I can go to among the people, gently and imperishably to painting, but are also taken up in space- comments of the philosopher Chantal Mouffe Photo: © Michael Michlmayr Viewed from various angles the character extremes, adjust the angles until it holds and Sunday-S Gallery, Copenhagen filling installations or filigree works on paper. very interesting. She says that identity is of your sculptures changes considerably – in doing so, explore the vocabulary of form. UNTIL 26 APR 2019 An essential feature of these geometric forms not a fixed attribution, neither in national nor from one perspective they may appear fragile, is that they are coded, thus elevating the geo- ideological terms, but a structural relation from another quite massive. History and specifically the history of Tulips and chimneys metric elements to the status of a metaphorical that is constructed and that changes. For the A minimal change in angle changes everything. architecture are a great inspiration for you? Galería Maior, Palma de Mallorca medium of communication. This codification populists, identity is a fixed factor that can- Something becomes narrow or wide. We hu- Without a context one has no stance. It’s not UNTIL 25 MAR 2019 often leads to figurative associations. In 1986, I not be questioned in its construction. When a Wuerges Interview: Michael man beings also have a more narrow and a broa- just about physics.

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