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#TOUR

LEVEL 1 | NINA RÖDER

In 2017, after the death of Nina Röder’s grandparents within one year, their house had to be cleared. The artist follows the decision-making process on which items to part with and which to keep as mementos, in her series Wenn du gehen musst willst du doch auch bleiben (When you have to go you also want to stay). Movingly and humorously, Nina Röder photographs the furnishings of the house and personal effects for the last time – presented performatively together with her mother and cousin wearing her grandmother’s clothes.

Flowers she got, from the series Wenn du gehen musst willst du doch auch bleiben (When you have to go you also want to stay), 2017, Fine Art Print, 50 x 50 cm, ©Nina Röder and Galerie Burster Berlin – Karlsruhe, VG Bild-Kunst, Bonn 2020
Glasses, from the series Wenn du gehen musst willst du doch auch bleiben (When you have to go you also want to stay), 2017, Fine Art Print, 50 x 50 cm, ©Nina Röder und Galerie Burster Berlin – Karlsruhe, VG Bild-Kunst, Bonn 2020

LEVEL 1 | MARIE ZBIKOWSKA

Untitled, from the series Im Bau (under construction), 2017, 9 Pieces, Gelatine Print, 80 x 64 cm, ©Marie Zbikowska, VG Bild-Kunst, Bonn 2020
Untitled,from the series Im Bau (under construction), 2017, 9 Pieces, Gelatine Print, 80 x 64 cm, ©Marie Zbikowska, VG Bild-Kunst, Bonn 2020

What do we remember, Marie Zbikowska asks, when we recall the perception of spaces, of structural circumstances from memory? The fragmentary nature of memory is reflected in her work process, as she starts by simulatively reconstructing an essence of something originally seen and in the next step allows the new construction to become the photographic subject. The submergence of remembered information, which is associated with its storage, leads to tackling of the aspect of archiving and the thematic examination of so-called time capsules, such as are also used in foundation stone laying ceremonies.

Kapsel (Capsule), 2019/2020, Inkjet Prints, each 93 x 75 cm, Objects (Capsules), Wax, Plaster, each approx. 30 x 8 cm, ©Marie Zbikowska, VG Bild-Kunst, Bonn 2020

LEVEL 2 | LOUISA CLEMENT

heads, 2014/15, Inkjet Prints, each approx. 37 x 22 – 28,3 cm, Installation View Remote Control, Ludwig Forum für Internationale Kunst Aachen, Detail, ©Louisa Clement, Cassina Projects, VG Bild-Kunst, Bonn 2020

Faceless portraits. Avatars. Empty bodies. The protagonists in the photographs of Louisa Clement are artificial beings, absolved of any identity. In the artist’s works, shop window dummies serve as stand-ins for people. The photographs – which at first glance appear visionary, fictional – paint a disconcerting picture of our present life. In anonymous encounters and in the unrelated togetherness of the figures, they raise the question of whether our concept of humanitarian belongs to the present or to the past.

Avatar 1, 2016, Inkjet Print, 115 x 86 cm, ©Louisa Clement, Cassina Projects, VG Bild-Kunst, Bonn 2020
Avatar 4, 2016, Inkjet Print, 115 x 86 cm, ©Louisa Clement, Cassina Projects, VG Bild-Kunst, Bonn 2020

LEVEL 2 | SABRINA JUNG

Mona, 2018, from the series WoMen, 12-Color Pigment Prints, Egg-White Glaze Colored, 60 x 40 cm, ©Sabrina Jung, VG Bild-Kunst, Bonn 2020
Jen, 2018, from the series WoMen, 12-Color Pigment Prints, Egg-White Glaze Colored, 60 x 40 cm, ©Sabrina Jung, VG Bild-Kunst, Bonn 2020

Following the tradition of appropriation art, Sabrina Jung uses previously reproduced images in her art: external materials with different temporal and medial contextuality. She creates collages of cut-out faces from current fashion magazines pasted onto photographic portraits of women from the 1920s to the 1960s. Whilst changed ideals of beauty come together in Schöne Frauen (Beautiful women), the artist addresses aspects of gender identity in the WoMen series. She uses feminine make-up to paint over historic portraits of women with androgynous-masculine features.

Untitled no 15 / Untitled no 9 / Untitled no 12 / Untitled no 8 / Untitled no 4 / Untitled no 7, from the Series Schöne Frauen(Beautiful women), 2011, 12-Color Pigment Prints, Collage, each 60 x 40 cm, ©Sabrina Jung, VG Bild-Kunst, Bonn 2020

LEVEL 2 | ISABELLE GRAEFF

Brighton, from the Series Exit, 2016-18, C-Print, Handprint, 149 x 103 cm, ©Isabelle Graeff, VG Bild-Kunst, Bonn 2020

In 2015 after the death of her father, Isabelle Graeff returned to Great Britain, where she had studied. From London, she once again grew closer to the country. The photographic series Exit emerges from this: emotional, poetic pictures that reflect the state of a nation shortly before the Brexit decision. As a long-term project, her My Mother and I series has been ongoing for almost twenty years and paints a picture of the relationship between mother and daughter.

Blackpool, from the Series Exit, 2016-18, C-Print, Handprint, 103 x 149 cm, ©Isabelle Graeff, VG Bild-Kunst, Bonn 2020
Spaldwick/ Lizard Point, from the SeriesExit, 2016-18, C-Prints, Handprint, each 95 x 65 cm, ©Isabelle Graeff, VG Bild-Kunst, Bonn 2020

LEVEL 2 | ANDREA GRÜTZNER

Untitled 1, 2014, from the Series Erbgericht Tavern) , Pigment Print, 149,3 x 100 cm, ©Andrea Grützner, Courtesy Robert Morat Galerie, Berlin, VG Bild-Kunst, Bonn, 2020
Ohne Titel 10, 2014, aus der Serie Erbgericht, Pigment Print, 149,3 x 100 cm, ©Andrea Grützner, Courtesy Robert Morat Galerie, Berlin, VG Bild-Kunst, Bonn, 2020

Andrea Grützner’s Erbgericht series is named after the place from which it originates. The inn (named “Erbgericht”) that has operated in her family’s home town for over 100 years is documented as a place of many memories. Yet, “the physical structure of the space volunteers nothing about itself; it is our projections that give it colour,” the artist says. Using analogue technology she cross-fades selected sections of spaces with coloured shadows. In so doing, she transcends the perceived reality of the place, sometimes to the point of its complete translation into a pictorial/graphical image.

Ohne Titel 21, 2019, aus der Serie Erbgericht, Pigment Print, 149,3 x 100 cm, ©Andrea Grützner, Courtesy Robert Morat Galerie, Berlin, VG Bild-Kunst, Bonn, 2020

LEVEL 2 | CHRISTIANE FESER

Partition 141, 2020, Photo Object, Unique, Archival Inkjet Pigment Print, 100 x 140 x 2 cm, © Christiane Feser, Courtesy Galerie Anita Beckers, Frankfurt a.M., VG Bild-Kunst, Bonn 2020

The abstract, relief-like photographic subjects of Christiane Feser are initially based on elements made of folded paper, which the artist produces, assembles into modular structures and then – using light and shade to give depth to the image space – photographs. The two-dimensional photographic copy of the three-dimensional structure is sculpturally remodelled by cutting and folding. Here, the photographic image inscribes itself into the object and makes its examination a game of deception between surface and space.

Partition 115, 2018, Photo Object, Unique, Archival Inkjet Pigment Print, 200 x 140 x 2 cm, © Christiane Feser, Courtesy Galerie Anita Beckers, Frankfurt a.M., VG Bild-Kunst, Bonn 2020

LEVEL 3 | MÅRTEN LANGE

Wave / Hotel ruin / Lizard / Birds nest, from the Series Chicxulub, 2016, Archival Pigment Prints, each 32 x 24 cm, ©Mårten Lange, Courtesy Robert Morat Galerie, Berlin, VG Bild-Kunst, Bonn, 2020

Mårten Lange – fascinated since his childhood by the lost world of the dinosaurs – travels to Mexico and visits the Chicxulub crater, where the asteroid struck, which ended the life of the prehistoric creatures. The pictures of creatures and landscapes in a perceived situation, retracing the long lost, are in stark contrast to The Mechanism, a group of works with pictures of a contemporary, urban world marked by an impersonal social coldness.

Melting man, 2017, from the Series The Mechanism, Archival Pigment Print, 120 x 90 cm, ©Mårten Lange, Courtesy Robert Morat Galerie, Berlin, VG Bild-Kunst, Bonn, 2020

LEVEL 3 | MORGAINE SCHÄFER

Archiv No. 2303 (Pose), 2016, Inkjet Print, 100 x 80 cm, © Morgaine Schäfer, Courtesy @ fiebach, minninger, VG Bild-Kunst, Bonn 2020
Archiv No. 2301 (Pose 2), 2016, Inkjet Print, 100 x 80 cm, © Morgaine Schäfer, Courtesy @ fiebach, minninger, VG Bild-Kunst, Bonn 2020

The self-portrait is a key topic in the art of Morgaine Schäfer. She presents herself in poses that appear antiquated, which originate from the iconographic tradition of the subject and therefore relate to one another in a way that is almost anachronistic to “posing” for digital selfies. In her work, considerable significance is attributed to old mounted slides of family snapshots: like the material attributes in historic portrait painting, they appear as references to personal identity.

explanatory (BWS 1069, Woman with a Cigarette), 2018, 3 Pieces, Inkjet Print, each 50 x 40 cm, © Morgaine Schäfer, Courtesy @ fiebach, minninger, VG Bild-Kunst, Bonn 2020

LEVEL 3 | JEWGENI ROPPEL

Skelling Michael, from the Series Mothar, 2017, Fine Art Print, variable Dimensions, ©Jewgeni Roppel, VG Bild-Kunst, Bonn 2020

Jewgeni Roppel looks at the past and present of Ireland in his piece entitled Mothar. On his journey through the country, he asks which places, which buildings, which topographical features, which myths and evidence from historic times and which phenomena of the present day shape its identity. Building on Aby Warburg’s atlas of images, Mnemosyne, he chronicles the cultural self-concept of the country through his photographs in a way that is both illustrative and associative.

Roots and the Readhead-Girl / Dunlough Castle, from the Series Mothar, 2017, Fine Art Print, variable Dimensions, ©Jewgeni Roppel, VG Bild-Kunst, Bonn 2020
Ruin, from the Series Mothar, 2017, Fine Art Print, variable Dimensions, ©Jewgeni Roppel, VG Bild-Kunst, Bonn 2020