*1960; lives and works in Berlin
Ute Wassermann tours the world as an improviser, she realises audiovisual voice performances / installations and compositions for soloists and ensembles. At the core of her research is an ongoing and uncompromised exploration of her voice. Ute Wassermann´s otherworldy singing transcends the human voice. She sings multidimensional sculptural sounds oscillating between electronic, animalistic, inorganic and human qualities. Her methods to extend and alienate the voice include the use of bird whistles, lo-fi electronics, resonators, objects, fieldrecordings and different types of microphones. Sound environments are an important source for her imagination as well as scientific research in anthropology and biology. Her performances engage with everyday objects or self invented instruments for voice which can take shape as acoustic costumes.
photo: Giorgia Fanelli
*1980; lives and works in Hamburg
Knut Sennekamp’s work revolves around an interest in fiction: its various languages, its particular logic, and the residue it leaves in a reading of reality. Working primarily in photography, he looks to find meaning generated at the margins of the actual images - for instance, what impulse motivates the taking of a particular photograph in a given moment, and how this significantly informs the image itself; or how formal strategies such as collages or photo-videos can be used to assert different meanings dormant in the images. An avid pedestrian, he collects most of his images during extended walks. On principle, these images are unplanned, and serve as the base material for later works, often combined with other media such as text or sound.
Landschaft und Montur, 2019, collage, 25 x 37,5 cm
lives and works in Moscow
Oksana Yushko is a photographer and visual artist, currently focusing on projects in Russia and Europe with a particular focus on the Baltic Sea region. Her visual approach combines documentation, sociology, and anthropology, and her media photography, video, sculpture, and installation. Yushko’s research lies at the intersection of memory and post-trauma, ecology and biopolitics. She is particularly interested in the relationship between humans and nature; and interest which is reflected in her artistic works. Yushko’s work has been critically acclaimed, and it is widely exhibited in galleries throughout the world and many publications.
Cast the Net, 2019, project installation
*1985; lives and works in Hamburg
As an interdisciplinary artist Kessler explores ideas, materials, processes and structures to translate them into numerous new artistic forms. These can range from installation, sculpture, object, object performance, photography, drawing to video. Simone’s artworks invite the viewer to enter new personal levels through reflection and emotion. With her artworks she wants to raise important questions about perspective and show cracks in the familiar. Simone‘s works are based on the ambivalence between expectation and aesthetic fascination.
SOMETHING FALLS APART — 1mm a decade, work in progress, Ahrenshoop
lives and works in Lucerne
Music and science inform Anna Kubelík’s practice. In the last years she has been exploring climate, thermodynamics, mathematical theories on particle collisions and most recently the issue of plastic waste. These themes inform the dimension, shape and material as well as the medium she choses for her facetted scope of work, which ranges from large kinetic installations over sculptures to performances. Her projects often lead to collaborations with artists from other fields as well as educational and cultural institutions and scientists.
work in progress, Ahrenshoop
*1975; lives and works in Berlin
„...Ruehle's principle is quickly recognized: He typifies the elevations and stylises the colours, pushes everything together along the imaginary line of the
horizon and has found the epitome of landscape. John Berger, who was born in London in 1926 and was an art critic full of inspiration, once wrote that we stop in front of sublime paintings like
"in front of an animal that looks at us". That we only recognize the "face of a thing" when it "looks at us“. Peter Ruehle's travel pictures look very directly into the viewer's eye; and this is
perhaps even more important than the solid oil on wood painting and the sophisticated aesthetics. For they are paintings with longings, doubts, hopes; very inner, just as one hears one's own
breath when bathing in the bathtub, when one keeps one's ears under water."
Landscape Study, 2019, oil on cardboard, 17,5 x 12,5 cm
*1961; lives and works in Cologne
„...Nevertheless, the pictures only live through the imagination of the viewer. "For the viewer of the picture, the background story may be completely meaningless
under certain circumstances," explains Becker and continues: "He only perceives the visual stimuli and feels a slight doubt about the title of the work. Much more important, however, is the
possibility for the viewer to place this picture completely freely in its own imaginary context". Such a possibility is most likely to arise in the field of abstraction, because the
representational end always brings with it a reference to reality and thus also to a true event. In contrast, the abstract or the abstracted is rather free and leaves a lot of room for own
interpretations and associations. For Boris Becker, the confrontation with the everyday is therefore the core of his artistic work. Banality is transformed into poetry. The tension in his
pictures arises because art is seen as autonomous and beyond the everyday. By advocating the everyday, by embracing the unspectacular, the artist also redefines our concept of art and provides us
with insights into things we thought we already understood. By transforming the everyday, by exploring the unspectacular, he opens up a new way for us to recognize not only the world around us,
but also ourselves.”
Gérard A. Goodrow
Griethausen, 2016, c - print on aludibond, 180 x 220 cm
*1975; lives and works in Berlin
„...As if to restate matters, there is simultaneously clarity and ambiguous uncertainty that pervades and quite deliberately unnerves the immediate viewing experience. Indeed, principles of the opaque and the transparent inform all of the paintings. The objects thus also take on a sense of faded memory and errant forgetfulness, a sense of presence expressed in the half-remembered. As with all the decorative objects referred to, though invariably period-based and stylistically recognisable, their contained lineament gives them a sense of frozen anonymity and abstraction. Rather than actual possessions the contents seem to retain only the status of a metaphor of possession, rather than meaningful objects of personal affection. A whole variety of different perspective viewpoints are used, and often a sense of artifice is reinforced in these spaces - and we could argue that this is also part of the intended perversity that has adopted to deliberately undermine the lifestyle feigned by these faded utopias. It is this very ambiguity and questioning dissonance that makes it so interesting."
Kurschatten, 2018, vinyl, glitter on vintage photo, 7 x 10 cm