Ulrich Eller’s extensive series of annotated monotypes describes sound. They are visualisations of the memory of the rustling of poplars, trees that have been felled to make way for a building project.
The imprint of the horizontal sections created when the trunks are sawn apart is the starting point of the works, extended by comments on the listening experiences of these often very large trees with their expansive acoustics.
The prints stand for a listening that took place in the past: a memory of intense listening experiences, of the rustling of leaves moving in the wind.
Opening on Saturday, 1 October 2022, 5 p.m.
Artist Talk: Norbert Weber and Ulrich Eller
Born in Düsseldorf in 1951, René J Goffin has presented his work at numerous exhibitions since the early 1980s, mainly in Denmark and Germany. A retrospective show of his work entitled “Dirt and Imagination” was shown in parallel in the museums in Flensburg and Tønder in 2012. Characteristic of René J Goffin’s work is his engagement with non-European cultures, which he found through numerous journeys and supplementary studies in ethnology and Austronesian studies.
It is a special characteristic of Goffin’s art that the artist himself tests the colours in their possibilities, makes use of their flowing properties or density, lets them communicate in his paintings: Dripped, shaken, dragged, squeegeed, flowing, faltering, floating, floating up, sinking, the colours appear on the canvas as stains, pools, streaks. The paintings do not get their glossy appearance from a final varnish but from the overlapping of the numerous layers of acrylic paint. Beneath the reflective surface, the realm of painting reigns supreme – bound only by its own laws. René J Goffin himself characterises his new bright and open paintings as a “pause in viewing”.
Imagine you are in a room with a monitor playing a video that is so
unobtrusive that you just ignore it. Every now and then, however, you
feel like engaging with it. In a moment of leisure, you realize that
there is no trite piece playing. You become attentive without being
driven by a drama you cannot escape. It’s easy to turn your attention
back to other things. The affair is uncomplicated, but not mindless.
Video art is particularly affected by a lack of time in exhibitions.
Our offer is to give space to this art genre. We provide borrowers the
opportunity to live with video art. The videos may be jointly used not
only by the borrowers themselves, but also by family members, employees
Art libraries lend exclusively original works of contemporary art free of charge or for a small fee. Ambient videos for rent.
Artothekenverband Schleswig-Holstein und Hamburg e.V.
Bootshaus am Südstrand
Telefon 04351 712500
Works from Helgi Thorgils Fridjónsson, Tuomo Manninen and Kain Tapper.
The art of storytelling is highly regarded in Nothern Europe. Perspective, voice, consciousness, and focus of artists unfold in a special way under subarctic conditions. An unpredictable nature and the extreme living conditions prevailing here have inspired many artists to create works of great poignancy.
There are pictures in which
whole stories appear. They sum up what moves the narrator: “Their eyes
met, he on the horseback on his way north, she on the train heading
south.” What image is evoked by this story? The representations may be
different. Nevertheless, they are all true, if they only correspond to the
The story of a moment is by
Helgi Thorgils Fridjónsson, the painter of the exhibition’s title painting. Kain
Tapper’s view of the “paws” is due to the fact that he completely
puts himself in the perspective of an animal. Finally, Tuomo Manninen succeeds
with his skills as a director to create stagings that bring the team spirit of
people to the very point.
“Art belongs to the basic supply” claims Marcus Woeller, a freelancer in the feature section of the newspaper “Die Welt”, and reaps contradiction in a series of retweets, ranging from the lapidary “Äh. NEIN!” to the objection “Sport too!” to the apodictically presented demand “Only the bratwurst belongs to the basic supply”.
Be that as it may, the supply of original art is a matter of concern to us, which we can offer again with the relaxation of the corona measures. After all, museums and exhibitions will be allowed to open again from 4 May. The number of visitors is limited to one person per 15 square metres of accessible exhibition space. Calculated on the size of our facilities in the gallery and art library, this is a maximum of 5 people.
Unfortunately, we will still have to refrain from guided tours for groups and exhibition openings. However, we do offer individually guided visits, which can be arranged outside of regular opening hours (Mon-Fri 15-18 h) by telephone (04351 712500), by e-mail (firstname.lastname@example.org) or by filling out the form on our homepage (https://nordcult.de).
The exhibition “many handed” with monotypes by René J Goffin and Michael Jäger, which was closed in the past weeks, will continue until the beginning of June.
In addition, all loans in the art library will be extended by 12 months without fees. Those who prefer an exchange should also make an appointment here so that the necessary precautions for distancing and hygiene can be taken beforehand.
Works of art can only be discovered when dealing with originals.
Two painter friends, René J Goffin (Kiel) and Michael Jäger (Cologne), worked on monotypes in Norbert Weber’s print shop during a week-long phase last summer. The workshop became a laboratory in which the close collaboration of three people involved in the “monotype experiment” on one and the same work led to unexpected results.
The process of working on a painting surface on which
paint does not adhere, in order to subsequently print the painting on paper, throws questions. Why does the artist not paint directly on a receptive material? What is the point of printing if only one print
can be made? Is it not the purpose of printing to duplicate templates?
The best information is provided by the work itself. The effect of monotypes is intense, their aesthetics incomparable.
Amanda Ziemele (1990) lives and works in Riga. She regards her artistic practice as an open field. The focus of her interest is the formal quality of painting. It is the source for further ideas and associations.
In 2018, the artist completed her diploma studies at Hochschule für Bildende Künste Dresden in the class of interdisciplinary and experimental painting under Chistian Sery.
Her diploma project Gaining Ground was awarded the Diploma Prize 2018 by the Friends of the HfBK. She was then nominated for the Startpoint Prize 2018. The prize, which is aimed at graduates of art academies, has developed in the sixteen years of its existence from a national exhibition of diploma theses to a prestigious international project in which the most outstanding talents of up-and-coming generations of artists from various European countries are presented every year.
In the exhibition titled Lamprey, Amanda Ziemele explores the process of monotype for the first time.
On 23 November 2019, the NEMO Gallery will offer a video screening with a selection of productions from Latvia between 6 p.m. and 8 p.m. as part of the city’s “4 Long Nights” series of events.
Media art from the Baltic state owes its international esteem to the excellent education at the Visual Communication Department of the Riga Art Academy. The collection ranges from cartoons to experimental strips to poetic video loops.
Videos by Nils Jakrins, Katrīna Neiburga, Dace Džeriņa, Ģirts Korps and Evelīna Deičmane will be shown under the motto “Bank Attack and Other Dramas”.
Mica Cabildo, born 1986 in Metro Manila/Philippines, works with installations, photography, video and graphic works. During her stay at the Schleswig-Holsteinisches Künstlerhaus, she created a series of monotypes in collaboration with the printmaker Norbert Weber.
These became part of the presentation at the end of her fellowship, an expansive work entitled “Tropical Gothic: Doublegoer”. The installation reflects themes such as rising sea levels, storm surges, doublegoers and mirroring reflections.
The monotype entitled “Pag-Hampas Ng Alon” (“Big Storm Wave”) went into the collection of the Schleswig-Holstein Association of Art Libraries.
An iron column stands clamped between the floor and ceiling, from which two arms point horizontally about one metre cross-shaped outwards at eye level. At the ends hang two bells cast using the traditional clay moulding process. In the “base” there is an electric drive that uses a control module to rotate the column about its own axis. At the beginning of the rotation, the two bells are made to ring when the clappers pass through a vertical bar. With increasing speed, the bells are lifted by the centrifugal force, so that the clappers no longer strike. The clappers do not hit again until deceleration.
Carsten Höller’s construction of 1997 is characterized by the fact that it questions the postulate of the autonomy of the art object and presents it in its dependence on the people who deal with it. The aesthetic appearance is not independent and permanently fixed; it is variable and subject to the interdependencies triggered by the participation of the visitors. Nicolas Bourriaud examined the significance of this relational aesthetic. “Form exists only in the encounter and in the dynamic relationship.