Sommersemester 2024, Bildhauerei Ausstellungen , Bildhauerei_Startseite , Hochschule
Two Sides of the Coin
Exhibition at Salon am Moritzplatz
Klasse Albrecht Schäfer und Tomke Braun
8.6. – 14.6.2024
Opening: 7.6.2024
Visiting the past can be challenging and often uncomfortable, it takes courage and trust to allow others into this process. Twenty-six students from Albrecht Schäfer and Tomke Braun’s class provide insight into their artistic development through an exhibition concept specifically created for Salon am Moritzplatz. Revisiting and echoing the past, the space downstairs offers a glimpse into the often-hidden past. Playing on the fact that the space was once a bank, the artists’ past works are hidden in the old vaults that once stored the bank's valuables. These works are usually stored away, long forgotten and rarely seen. They include childhood and teenage drawings, family photographs, pieces created during application processes, and early study works. These works, which often explain without words why we do what we do and show our first steps in our practice, are gathered safely in the vault. Visitors will need to unearth these artifacts and take the courageous step into the dark on their own. The space upstairs displays the present, allowing the artists to showcase their new works in the broad, well-lit space. Here, the diversity of each artist's growth and the direction their work has taken is highlighted. With their past in mind, they have created new pieces.
Partcipating artists:
Canberk Akçal, Mathilda Augart, Neda Aydin, Hanna Brenner, Sophia Henry Brown, Emma Brunet, Colette Callec, Weronika Czajka, Gauthier Drillon, Sophia Engel, Bimal Fabbri, Nina Frommelt, Aglaia Gronas, Mahmoud Ismail, Gabriela Lesmes López, Sofía Mariaca, Erin Périès, Claudia Redka, Belen Resnikowski, Esther Riegler, Linda Schwanz, Araiké Treccani Da Silva, Ida-Marie Simonsen, Liwia Stern, Lotta Stubenrauch
Alle Rechte vorbehalten Mahmoud Ismail
A letter to an old friend, 2024
Red envelope placed on an old ceramic tile
Alle Rechte vorbehalten Canberk Akçal
I know its not the way you wanted to be! (Packed and stored), 2022 - ongoing
Plaster, Papier, 3 Envelopes, 5 x 30 x 45 cm
Alle Rechte vorbehalten Canberk Akçal
my swing, 2024
analog photography, 40 x 50 cm
Alle Rechte vorbehalten Mathilda Augart
my swing, 2000
oil on canvas, 24 x 30 cm
Alle Rechte vorbehalten Mathilda Augart
Pain in the ass, 2024
Bronze, 10 x 30 x 40 cm
Alle Rechte vorbehalten Neda Aydin
Goodbye my Lover, 2024
Magnifying glass, sponge, blood, tooth, 13 x 13 x 8,5 cm
Alle Rechte vorbehalten Neda Aydin / Bimal Fabbri
Einen Moment lang schwebend, 2024
Oil and acryl on paper, 225 x 125 cm
Alle Rechte vorbehalten Hanna Brenner
Introducing Zero
Ink on Paper, 90x60 cm
Alle Rechte vorbehalten Hanna Brenner
Asshole!, 2024
Paper, marker, tape, 75 x 70 cm
Alle Rechte vorbehalten Sophia Henry Brown
Asshole!, 2000
Childhood drawing: marker, tape, 22 x 30 cm
Alle Rechte vorbehalten Sophia Henry Brown
Part II, 2024
Drawings, photocopies, screen prints, fabrics, threads, tape, 193 x 158 cm
Alle Rechte vorbehalten Emma Brunet
Archeology of the future, 2017
Plaster, 32 x 15 x 15 cm
Alle Rechte vorbehalten Emma Brunet
Bitte Lizenz eintragen!
Keine Lizenz Colette Colec
Bitte Lizenz eintragen!
Keine Lizenz
Bitte Lizenz eintragen!
Keine Lizenz Weronika Czajka
Bitte Lizenz eintragen!
Keine Lizenz Weronika Czajka
Médication Mésosomique, 2024
Butterfly, resin, 7 x 7 cm
Alle Rechte vorbehalten Gauthier Drillon
Médication Mésosomique, 2024
Water, glass, 5 x 9 cm
Alle Rechte vorbehalten Gauthier Drillon
The void, thoughts on departure, 2024
Cotton paper A4
Alle Rechte vorbehalten Sophia Engel
Hanging in grief, 2021
Photography on transparent paper A3-A4
Alle Rechte vorbehalten Sophie Engel
Sagar/सगर, 2019
Found material: tree branch, chalk,
climbing rope, plastic, textile, wax, 100 x 30 x 80 cm
Alle Rechte vorbehalten Bimal Fabbri
Hiti/
Alle Rechte vorbehalten Bimal Fabbri
Gesegnet sei die Primarschule Schaan!, 2024
Chalk on photocopy, 42 x 60 cm
Certainly! Here is the revised version of your text:
Primary school, the first of various institutions one enters during the course of their life, often serves as a breeding ground for childhood traumas. This work symbolically aims to protect future generations from such events. Drawing inspiration from the Catholic tradition of blessing one's house by writing the letters C, M, and B along with the year’s numbers in chalk above the doors, the artist reenacts this ritual. They use a drawing of their imaginary childhood protector, created in response to an inflicted trauma, to bless various primary schools in Berlin. Within the gallery, a representation of this ongoing work is displayed through an image of the artist's primary school in Liechtenstein, where the same protective drawing has been scribbled in chalk to metaphorically bless the building.
Alle Rechte vorbehalten Nina Frommelt
Mein Imaginärer Beschützer (Verschrieben vom Kindertherapeuten), 2020
Fabric, 10 x 20 x 50 cm
Alle Rechte vorbehalten Nina Frommelt
The Last Tooth Fairy, 2024
Wooden window frame, burned clay, metal threads, plastic yarn, air dry clay
Alle Rechte vorbehalten Aglaia Gronas
Belomorsk, 2019
Photo series
Alle Rechte vorbehalten Aglaia Gronas
Advice to My Younger Self, 2024
Music Video, 16:9
Alle Rechte vorbehalten Mahmoud Ismail
Diary / Sketchbook, 2013 - 2017
Part of application for Kunsthochschule Berlin-Weißensee, 42 x 30 cm
Alle Rechte vorbehalten Mahmoud Ismail
I, 2024
Embossed rawhide, printed canvas, oil on canvas and pressed lupin and rose petals, 42 x 32 cm
I, 2024
Embossed rawhide, printed canvas, oil on canvas and pressed Anthurium, 42 x 32 cm
I, 2024
Embossed rawhide, printed canvas, oil on canvas, 42 x 32 cm
I,2024
Embossed rawhide, printed canvas, oil on canvas and pressed lily, 42 x 32 cm
Alle Rechte vorbehalten Gabriela Lesmes López
Marcelle, 2017
17 playboy magazines, transparent paper and rebar, Variable dimensions
Alle Rechte vorbehalten Gabriela Lesmes López
a conversation with my mother, 2024
Various textiles, threads, an old photograph from my mom, 19x10 cm10 cm
Alle Rechte vorbehalten Sofía Mariaca
i drew a cactus because i was angry, 2006
Scan of a drawing (pencil on paper)
Alle Rechte vorbehalten Sofía Mariaca
But it’s autumn again and I’m peeling myself with the moon, 2024
Hair, hair fixing spray, 38 x 26 cm
Alle Rechte vorbehalten Erin Périès
No, 2021
Filmed on HDR-CX405
Alle Rechte vorbehalten Erin Périès
what remains in the now is a vanishing trace in my ear, 2024
19 spectrograms on paper, text, 265 x 300 cm
How does the (sub)consciousness select past experiences so we can speak of them as memories? When we come back years later to a place, how is the present changing the past? What happens to the memorized events and emotions linked to those places? How is time structured in our mind?
To look at these questions based on my own experiences, I went to Halle in Saxony-Anhalt, Germany, where I lived several years ago. I visited places I was connected to, took notes before, during and after the stay, as well as photos. This resulted in 19 index cards with a text on one side and an analogue photo on the other, more or less related to each other. The texts consist of theoretical, biographical and fictional elements.
Based on the exhibition concept, this work is a continuation of What remains behind is ahead of you. Together with a close friend I met in Halle, I made 19 audio recordings of her reading the index cards. Each card corresponds to a spectrogram representing her voice. Phoneticians, like my friend, are able to recognise so-called 'formants' in the spectrogram, which indicate the resonating body in which the vowel was formed. From observations like these it is possible to deduce emotions in the voice. For me, the ghostly trace of the voice reveals the present and the past at the same time and symbolizes our old, regained friendship.
Alle Rechte vorbehalten Claudia Redka
what remains behind is ahead of you, 2021
19 cards with photo and text, index card box, public transport ticket Halle, 15 x 17 x 25 cm
Alle Rechte vorbehalten Claudia Redka
Fallback, 2024
Soldered Hooks
22x22 cm
What was, what I was, and what I am. The artwork, titled "Sunday," is a happening from 2016 that questions the roles of women between dominance and submission. Through the exhibition "2 Sides of a Coin," it offers a deep reflection on the past and relationships, exploring sensuality and the inherent duality in these roles.
In "Fallback” 2024," a readymade object reinterprets the present moment, questioning unions and the illusions or preconceived ideas one has about love. This work aims to open a dialogue about how we perceive and understand relationships in our time, echoing the introspection and analysis of previous works.
Alle Rechte vorbehalten Belen Resnikowksi
Sunday, 2016
Photography Documentation
29,7 x 42 cm
Alle Rechte vorbehalten Belen Resnikowksi
Scorch mark 2024
Salt, starch, water, TOF distance, water atomizer, arduino, wood, 42 x 100 x 74 cm
The two artworks show the vulnerable desire and exploration of the calling of the inner voice—one's original path. It can feel like walking on thin ice, as there is no logic to support the intuitive. It's the decision to no longer think but to step out of the box, thus creating friction for social interaction. Its potential preserves a broader space of connection.
Alle Rechte vorbehalten Esther Valerie Riegler
No title 2020
Snow and rabbit path, 27 x 15 x 21 cm
Alle Rechte vorbehalten Esther
Shelf, 2024
Corn rods, 64 x 182 cm
The work "/, "2021 (1 of 74 pieces) is the starting point for the work "Shelf" created in 2024.
Seventy-four clay tubes are stored in Euro boxes. They are aging. They have been with me for three years now and have not yet found salvation. Neither shown nor disposed of, they exist in this intermediate state. I make many decisions and would like to decide on this too, but I can't. The idea of a shelf, a display as a possible solution for this problem, keeps arising, but the step of actually implementing it never follows. "Shelf" can be understood as an attempt to actively deal with this issue of doubt.
Alle Rechte vorbehalten Linda Schwanz
/, 2021
(1 of 74 pieces) Clay
Alle Rechte vorbehalten Linda Schwanz
Hymn to Resilience, 2024
Ink, pigments on fabric, 320 x 210 x 40 cm
Alle Rechte vorbehalten Araiké Treccani Da Silva
A mia madre, 2022
Mixed technique on canvas, 180 x 45 cm
Alle Rechte vorbehalten A mia madre, 2022 Mixed technique on canvas, 180 x 45 cm
Bitte Lizenz eintragen!
Untitled, 2024
Folder with photo and code documentation of phantom of the phoenix lights
The upstairs folder contains photo documentation and code of the “phantom of the phoenix lights”, forming a new archive documentation that reveals both the visual and the creative code behind the enigmatic phenomenon. The archive aims to unearth the underlying nature and mystery of the Phoenix Lights.
Downstairs its past, present, future; a small coquette of charm and vulnerability - an emotional engagement mystery of its development.
Keine Lizenz Ida-Marie Simonsen
Bitte Lizenz eintragen!
Phantom of softness, 2023
Beamer, latex, cast, thread, drawing in picture frame, epoxy, pigment
Keine Lizenz Ida-Marie Simonsen
Self portrait, 2024
Oil on canvas, 30x 40 cm
Alle Rechte vorbehalten Liwia Stern
Występ dla cioci Ani, 2007
Video, 2:13 min
Alle Rechte vorbehalten Liwia Stern
Steigert Holz hacken den Testosteronspiegel?, 2024
Photo print on Testosterol 250, 11,3 x 7,2 x 2,8 cm
Alle Rechte vorbehalten Lotta Stubenrauch
Kein Titel, 2018
Photo print, 27,7 x 42 cm
Alle Rechte vorbehalten Lotta Stubenrauch