editions 2015 - Kunstverein in Hamburg

 EDITIONS 2015
This year, the Kunstverein in Hamburg again offers its members an exclusive selection of editions.
Several of the artists have already been presented in shows in 2015: Works by James Benning and Nina
Beier were on view in solo exhibitions; Peggy Buth, Charlotte Dualé and Abrie Fourie participated in the
exhibition “The Day Will Come - When Photography Revises”; and Katja Aufleger, Christoph Blawert,
Christin Kaiser, and Verena Schöttmer showed works in the presentation series “I, Too, Wondered
Whether I Could Not Sell Something And Succeed In Life.” The works by Birgit Brenner, Martin Eder and
Dawn Mellor will be on display through January 10, 2016, in the current show, “Malerei, böse.” We were
able to win further artists for this year’s editions, including Thorsten Brinkmann, Jon Kessler, Astrid
Klein, and Jutta Koether.
Only members of the Kunstverein in Hamburg may purchase the current editions. Orders by nonmembers can only be taken into account when a declaration of membership is simultaneously submitted.
The prices for the editions are valid until the end of November 2016 and may possibly be altered
thereafter. The editions are also available for members of other Kunstvereine.
Please order the desired edition(s) using the order form which you can find below each edition. The
written order is binding and is directly transmitted to the Kunstverein in Hamburg. Orders by mail or fax
are also possible. Orders by phone are not valid. Each member can order only one copy of each edition. In
case more orders are placed for an edition than the number of copies, lots will be drawn.
In the event that lots are drawn, all orders which we receive by Wednesday, December 9, 2015, will be
treated equally. Orders of editions for which no lots are drawn will be processed in the sequence of
receipt.
If your order can be taken into account, you will receive an invoice from us that we ask you to settle within
14 days. After receiving the invoice amount on our account, the editions can be collected at the
Kunstverein or, if desired, delivered to you by courier on your own account. When collecting the edition,
we kindly ask you to arrange a date in advance.
The editions 2015 are on display at the Kunstverein in Hamburg from November 22, 2015 – January 10,
2016. The presentation will be opened on November 21 at 3 p.m. Coffee and cake will be served. Please
note that the Kunstverein will be closed from November 23 through November 30, 2015. If you have any
questions, please do not hesitate to contact us at [email protected]
Kunstverein in Hamburg
Klosterwall 23
20095 Hamburg
T +49 40 322158
F+49 40 322159
[email protected]
www.kunstverein.de
Katja Aufleger
#EGO, 2015
Glass, plastic, brass, ceramic, gold, silver, nail polish, 50 x 33 x 12 cm
3 unique works, signed, dated
1.100,- Euro
Katja Aufleger (*1983 in Oldenburg, Germany, lives and works in Hamburg, Germany) intertwines
different methods and forms of representation with a wink in her works, which shed light on the system of
art and not least its ironic aspects. Her edition is an oversized necklace with the word “ego” in lieu of a
pendant. Aufleger makes reference to concepts or dynamics that currently determine the art discourse. In
her exhibition at the Kunstverein in Hamburg this year, the object was part of a systemic constellation in
which Aufleger elucidated the relationship between object, institution and viewer. She produced the work
#EGO in an edition of three exclusively for the Kunstverein in Hamburg.
Exhibitions
2015 Kunstverein in Hamburg, Germany (S), 6th Beijing International Art Biennale, Beijing, China (G),
Stampa Galerie, Basel, Schwitzerland (G)
2014 Municipal Gallery Wolfsburg, Germany (S), Municipal Museum Oldenburg, Germany (S)
2013 Bonnefantenmuseum Maastricht, Netherlands(G), Bundeskunsthalle Bonn, Germany (G)
2012 Kunsthalle Wilhelmshaven, Germany (G)
Nina Beier
Tilables, 2015
Offset color print on cardboard, printed ceramic tile 59,4 x 42 cm
50 of an edition of 100 + 10 AP, in various combinations, certified
400,- Euro
Nina Beier (born 1975 in Denmark, lives and works in Berlin, Germany) combines objects, materials, and
motifs from heterogeneous contexts, presenting them in a new, extraordinary, even paradoxical light. Her
compositions trace how shifts in time, context and presentation, affect the inherent intention in things,
uncovering the various ways mediation mutates information from things to representations and back
again. The subject of permanence appears again in ceramic tiles, titled Tileables (2014) which, upon
closer inspection, reveal themselves to carry prints of digital renderings of stone textures. These are
borrowed from 3D programs to build temporary visions of architectural constructions. Imitations of massproduced marble, shale stone and plaster work, play on reality and fiction and the obvious representation
that is taking place.
Exhibitions
2016 Walker Art Center, Minneapolis, USA (G)
2015 STANDARD (OSLO), Oslo, Norway (S), La Biennale de Lyon, France (G), Kunstverein in
Hamburg, Germany (S), Contemporary Art Centre, Vilnius, Lithuania (S), Metro Pictures, New York,
USA (S), Objectif Exhibitions, Antwerp, Belgium (S), Goss Michael Foundation, Dallas, USA (G), Frutta,
Rome, Italy (G)
2014 David Roberts Art Foundation, London, UK (S), Proyectos Monclova, Mexico (S), Kunsthaus
Glarus, Glarus, Switzerland (S), Preis der Böttcherstraße, Kunsthalle Bremen, Germany (G)
James Benning
Decoding Fear, 2015
Silkscreen print, 65 x 65 cm
Edition of 20 (10 exclusively for the Kunstverein), signed, dated, numbered
2000,- Euro
It all started with maintenance work that James Benning (*1942 in Milwaukee, Wisconsin, USA, lives in
Val Verde, California, USA) carried out on his own house in Sierra Nevada, California. After he was done,
he immediately began with a new building project on his property, the precise replica of the cabin of Henry
David Thoreau (1817—1862), and then the dwelling of Theodore Kaczynski (*1942). Both had withdrawn
to modest log cabins at different times. Benning’s edition, produced exclusively for the Kunstverein in
Hamburg, is a silkscreen print depicting the reproduction of the cabin of the Unabomber Ted Kaczynski.
Benning takes up Kaczynski's skepticism toward technological developments and their social
consequences, and reflects on the ambivalence of the big American dream of (technological) progress,
endless opportunities, freedom, and independence.
Exhibitions
2015 Kunstverein in Hamburg, Germany (S)
2014 Kunsthaus Graz, Austria (S), Galerie neugerriemschneider, Berlin, Germany (S), Fridericianum,
Kassel, Germany (G)
2013 Kunstmuseum Basel, Switzerland (G), Artists Space, New York, USA (G)
2012 Centrum Voor Kunst en Media, Brussels, Belgium (S), 21er Haus, Vienna, Austria (G), Hessel
Museum of Art am Bard College, Annandale-on-Hudson, New York, USA (G)
Christoph Blawert
Blumen, 2015; Der Gentleman, 2015; Obst, 2015
Flowers: oil on canvas, 55 x 66 cm; The Gentleman: oil on cardboard, 66 x 55 cm; Fruits: oil on
canvas, 40 x 40 cm
Unique works, signed, dated
Flowers: 2.800,- Euro, The Gentleman: 2.600,- Euro, Fruits: 2.000,- Euro
Christoph Blawert, Blumen, 2015
Christoph Blawert’s (*1981 in Offenburg, Germany, lives and works in Berlin, Germany) painting
resembles an eclectic outline of art history: surrealism meets pointillism, kitsch compares itself with
classical still lifes or landscape painting. His works are permeated by references and symbols, bizarre
and humorous figures. Blawert stages ambiguity, vacillating between art and entertainment, attitude and
style, and juxtaposing little stories with the big well-known and acknowledged ones. His appropriations
result in poetically exaggerated depictions. The three paintings, Der Gentleman, Obst and Blumen, are
unique works that Blawert created exclusively as an edition for the Kunstverein.
Exhibitions
2015 Kunstverein in Hamburg, Germany (S)
2013 Galerie Matthias Jahn, Munich, Germany (G), ph-projects, Berlin, Germany(G)
2012 Produzentengalerie Hamburg, Germany (S), SØR Rusche Sammlung, Werkschauhalle, Leipzig,
Germany (G)
2011 Art Cologne, Förderkoje, Cologne, Germany (S)
Birgit Brenner
Weder etwas noch nichts, 2015
Poplar plywood, hot-melt adhesive, synthetic enamel, 42 x 29.7 cm
Unique edition of 10, signed, dated, exclusively for the Kunstverein
1.200,- Euro
With her filigree and fragile installations and objects, Birgit Brenner (*1964 in Ulm, Germany, lives and
works in Berlin, Germany) engages with multilayered contingencies of our times and the parallels of
reality. She often supplements her works with textual elements that are reminiscent of advertising or
election campaign slogans. The edition titled Weder etwas noch nichts (Neither Something nor Nothing)
makes a mockery of the call for “All or Nothing” and heralds a pessimism imbued with black humor. Next
to it, she places a female figure in delicate pink underwear, holding a Smartphone in her hand. Whether
she attempts to photograph the audience or to take a selfie remains a matter of opinion. In an acute and
witty manner, Brenner addresses our permanent compulsion to take pictures and male and female role
images and gender stereotypes in that regard.
Exhibitions
2015 Kunstverein in Hamburg, Germany (G), Hudson Valley Center of Contemporary Art, New York,
USA (G)
2014 Galerie EIGEN + ART Berlin, Germany (S), Marc Straus, New York, USA (S), Gallery of the City
of Backnang, Germany (G)
2013 Kunsthalle Tübingen, Germany (S), Museum Kurhaus Kleve, Germany (G), Villa Merkel, Esslingen,
Germany (G), Kunsthallen Nikolaj, Copenhagen, Denmark (G), Haus am Waldsee, Berlin (G)
2012 Art Collection Jena, Germany (S)
Thorsten Brinkmann
Mappelpipe, 2015
C-print + found object (assemblage), 56 x 42 x 3 cm
Unique edition of 10, signed, dated, numbered, exclusively for the Kunstverein
1.800.- Euro
Thorsten Brinkmann’s (*1971 in Herne, Germany, lives and works in Hamburg, Germany) artworks are
surrealist assemblages composed of used-up everyday objects. Brinkmann created the edition
Mappelpipe exclusively for the Kunstverein in Hamburg – a word that functions like a rhythm and can be
found in the ten unique works: At first sight, they appear almost identical, but, similar to a quiz, one can
gradually recognize that something has shifted, has been added or relocated. Brinkmann is a player who
turns found and discarded things into new image worlds that function as an interrogation of art and its
effects, while captivating the viewer with a peculiar poetry of their own.
Exhibitions
2015 Pablo’s Birthday Gallery, New York City, USA (S), Schloss Agathenburg, Germany (G), Arab
Museum of Contemporary, Sakhnin, Israel (G), Falckenberg Collection Hamburg Harburg, Germany (G),
Museum of Modern Art, Wuhan, China (G)
2014 Hopstreet Gallery, Brussels, Belgium (S), Palais für aktuelle Kunst, Glückstadt, Germany (S),
JaLiMa Collection, Düsseldorf, Germany (S), Poznan National Museum and Raczynski Library, Poland
(G), Port Gallery, Osaka, Japan (G)
2013 Kunsthalle Bremerhaven, Germany (S), Mediterranean Biennale, Sakhnin, Israel (G), Abbaye de
Montmajour, Arles, France(G)
Peggy Buth
The only one (Politics of Selection - Blanks/Shifter), 2015
Photograph, pigment print 33,8 x 44,9 cm, framed
1.200,- Euro
In her artistic practice, Peggy Buth (*1971 in Berlin, Germany, lives and works in Berlin) focuses neither
on a particular medium nor on a narrow concept of art. Rather, she examines the representational
systems of art, literature, politics, history and science in terms of what is repressed in them and what
comes to light in it unintentionally. The edition The only one is part of a bigger installation that
demonstrated an ambivalent homage to Hollywood. For her installation Stars (Politics of Selection —
Blanks/Shifter), Peggy Buth photographed stars from the Walk of Fame that have not been given to
anyone yet. In 183 black-and-white photos and in a projection, she shows baseplates that are unlabeled,
covered with graffiti, or that are already weathering. Due to its seriality, the work exposes the merciless
mechanisms of the dream factory. At the same time, the stars are like placeholders for unfulfilled hopes.
Exhibitions
2015 Herbert Gerisch Foundation, Neumünster, Germany (G), Arts Horizons LeRoy Neiman Art Center
in Harlem, New York, USA (G), MACBA, Barcelona, Spain (G), Württembergische Kunstverein,
Stuttgart, Germany (G), Mu.Zee, Ostende, Belgium (G), Kunstverein in Hamburg, Germany (G), Museum
der Bildenden Künste, Leipzig, Germany (G)
2014 Frankendael Foundation, Amsterdam, Netherlands (G)
2013 Weltkulturenmuseum, Frankfurt am Main, Germany (G)
2012 Galerie Nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria (S)
Charlotte Dualé
Gluckskunst, 2015
Textile, transfer foil, buttons, 37 x 52 cm
Unique edition of 10, certified, exclusively for the Kunstverein
650,- Euro
In Charlotte Dualé’s (*1982 in Paris, France, lives and works in Berlin, Germany) installed
arrangements, different elements that often refer to a photograph stand in relation to each other. Her
pieces describe the emotional state of people faltering under the strong pressure of an achievementoriented society. The edition Gluckskunst captures this critique of society in a positive manner by
depicting a fortune cookie that seems to generate hope at the end of the tunnel. On the surface of a
pattern which appears to be taken from a jockey suit are different sentences that are initially hidden or
only revealed – like a fortune cookie – after the object is purchased. The jockey suit stands for
performance and competition, while the fortune cookie stands for the chance that arises in life and to
which one can resort when things aren’t going too well. The work questions the relation between what one
deserves and the happiness, emulation, and fatalism of chance.
Exhibitions
2015 Kunstverein Hamburg, Germany (G), Other Projects, Or Gallery, Berlin, Germany (G), Eigen + Art
Lab, Berlin, Germany (G)
2014 Braennen, Berlin, Germany (S), Goldrausch Ausstellung, Projektraum Flutgraben, Berlin, Germany
(G)
2013 Center for contemporary Art, Prague, Czech Republic (G), Stadtbad Wedding, Berlin, Germany
(G), Fotohof, Salzburg, Austria (G)
2012 Espace Le Chatelain, Brussels, Belgium (G)
Martin Eder
Suche, 2015
C-Print, 75 x 50 cm
Edition of 35; 5 e.a., signed, dated, numbered, exclusively for the Kunstverein
900,- Euro
Martin Eder (*1968 in Augsburg, Germany, lives and works in Berlin, Germany) has become known for
his paintings that depict seemingly trivial subjects with extreme painterly perfection.
His works trigger associations with classical art history as well as with our present-day popular
mainstream culture. His pictures go the absolute limits of what is deemed as good taste and beyond. With
the photograph Suche (Search), Eder composed a classical gaze triangle reminding one of Edouard
Manet’s Un bar aux Folies Bergère or Jeff Wall’s Picture for Women. A scantily clad young woman
confronts the gaze of the viewer through a handheld mirror. Her Lolita-like attire and posture stresses
the voyeuristic character of the photo. At the same time, the mirror in her hand symbolizes the model’s
self-awareness of being both an object and a subject that also observes the artist and the audience and
thus takes on an active part in the constellation.
Exhibitions
2015 Kunstverein in Hamburg, Germany (G), Galerie Eigen+Art, Berlin, Germany (S)
2013 Galerie Isa, Mumbai, India (S), Hauser & Wirth, Zurich, Switzerland (S), Neue Nationalgalerie,
Berlin, Germany (G), Patricia Low Contemporary, Gstaad, Switzerland (G)
2012 Asymmetry, Galerie Eigen+Art, Berlin, Germany (S), Klosterneuburg, Austria (G)
Abrie Fourie
Catania To Napoli Ferry, Tyrrhenian Sea, Italy, 2013
C-Type hand print, 60 x 60 cm, framed
Edition of 10 + 2 AP, certified, exklusively for the Kunstverein
1.400,- Euro
Working mostly in photography and digital media, Abrie Fourie’s medium (*1969 in Pretoria, South
Africa, lives and works in Berlin, Germany) is secondary to his concern for the subtle capturing of images
of the everyday world. His frame of reference includes places, encounters and sightings in New York,
India, Belgium, Switzerland, Germany and South Africa. Fourie’s work transcends didacticism, inducing
an almost cathartic viewing experience caught somewhere between fact and fiction. Like a "double take"
where something unexpected catches the eye, it is at this stage of relooking that Fourie presents the
obviously familiar, or the seemingly overlooked. The still moment of a rapt re-engagement appears
suspended and prolonged in his serenely simple images. Fourie states that his approach to image making
is “not so much defining a place, as circling the relationship between spaces, sign and self; it hints at that
silent tension between absence and presence, abstraction and reality.” For the Kunstverein, he decided
to produce a work that reflects the specific situation of Hamburg close to the sea while using an image
from the south of Italy in order to displace the obvious.
Exhibitions
2015 Fried Contemporary, Preotria, South Africa (S), Kunstverein in Hamburg, Germany (G), Galeria
Municipal Almeida Garrett, Porto, Portugal (G)
2014 SCAD Atlanta, USA (S), 1st Cool Capital Biennale 2014, Pretoria, South Africa (G)
2013 SMAC Art Gallery, Cape Town, South Africa (S), NGBK, Berlin, Germany (G)
2012 Haus der Kulturen der Welt, Berlin, Germany (G)
Christin Kaiser
Old Hat Living 5, 2015
Pigment print behind varnished glass in an aluminum frame, 60 x 85 cm
Edition 7 + 1 AP, signed, dated, numbered
1.000,- Euro
Christin Kaiser’s (*1984 in Erfurt, Germany, lives and works in Berlin, Germany) artistic practice has
derived from photography. Her edition Old Hat Living 5 shows a fictive architecture model referring to
modernist modes of construction and simultaneously taking up the form and format of a hat. As a status
symbol, the hat went out of fashion in the 1950s, and today the idiomatic expression “old hat” means
outdated ways of thinking or habits. In her edition created exclusively for the Kunstverein in Hamburg,
Kaiser thus confronts a sign of social prestige with the social utopias of modernism, and lets different
concepts of society, identity and representation clash with each other.
Exhibitions
2015 Kunstverein in Hamburg, Germany (S), temporary art space STATION, Berlin, Germany (G)
2014 Kunsthaus, Hamburg, Germany (G), KIT Düsseldorf, Germany (G), Galerie Max Mayer, Düsseldorf,
Germany (G)
2013 Am Gleise 10, Hamburg, Germany (S), Kunsthaus Hamburg, Germany (G)
Jon Kessler
Keeper Of The Key, 2013-2015
Ceramic, 22 x 18 x 14 cm
Unique edition of 8, signed, dated, numbered, exclusively for the Kunstverein
1.800,- Euro
Jon Kessler’s (*1957, in Yonkers, New York, lives and works in New York) edition Keeper Of The Key is
from the series Kessler’s Gifts, which he has been creating for years on special occasions for friends and
close acquaintances. Many of the objects Kessler uses in his works are drawn from other cultures, like in
this work the kitsch objects found in Chinatown. He lends them a different status and simultaneously
addresses their changes in value. The person possessing this edition is very close to the artist – it’s the
key to his studio in New York. But the title also refers to a different topic. The protagonists of
"Earthkeeper Activation" count as the world’s top experts on energies, crystals & healing gems, sacred
sites, network nodes, vortices, portals, and the planetary grid system. Perhaps it is the key to a totally
different level?
Exhibitions
2014 Tracy Williams, Ltd., New York, USA (G)
2013 Swiss Institute, New York, USA (S), Museum Tinguely, Basel, Switzerland (G), Rachel Ufner
Gallery, New York, USA (G)
2012 Ethan Cohen Fine Arts, Beacon, New York, USA (S), Julia Stoschek Collection, Düsseldorf,
Germany (G)
Astrid Klein
Black Mirror (Für A.S.), 1989 / 2015
Iron, canvas, black glass, 60 x 40 x 40 cm
Edition of 10 + 3 AP, certified, exclusively for the Kunstverein
4.000,- Euro
Astrid Klein (*1951 in Cologne, Germany, lives and works in Cologne and Leipzig, Germany) is one of the
most prominent artists of her generation. She works with various materials and media, such as painting,
text, drawing, installation, and sculpture. Her large-format, black-and-white photo work titled
Endzeitgefühle, which was produced in 1982 in Hamburg during “the week of fine art” in a disused
subway tunnel, today still stands for the internationally acknowledged program of art in public space.
Shattered and destroyed mirrors or black paintings were already included in her works in the 1970s. The
black mirror hangs from a chain mounted to the sculpture she created exclusively for the Kunstverein. A
fabric showing a printed map conceals the sculpture. Her work is like a view to the aesthetics of presentday interrelations, in which the black mirror can be an indication of what should not be seen.
Exhibitions
2015 Hamburger Kunsthalle, Germany (G), Deichtorhallen Hamburg, Germany (G)
2014 Museum der bildenden Künste, Leipzig, Germany (G), Gallery MMB Goethe-Institut/ Max Mueller
Bhavan, Mumbai, India (G)
2013 Sprüth Magers, Berlin, Germany (S), Städtische Galerie Karlsruhe, Germany (G), Neue
Nationalgalerie, Berlin, Germany (G)
2012 Temporary Gallery Cologne, Cologne, Germany (G), OMC Gallery For Contemporary Art,
Huntington Beach, California, USA (G)
Jutta Koether
Woman Varying Her Pleasures, 2015
Pastel and acrylic on heart-shaped canvas, diameter ca. 30 cm,
Unique edition of 7, signed, dated, numbered, exclusively for the Kunstverein
4.500,- Euro
In addition to her painting, Jutta Koether (*1958 in Cologne, Germany, lives and works in New York and
Berlin, Germany) is also known as a writer, performance artist, and musician. The texts she published in
the 1980s and 90s as co-editor of the pop culture magazine Spex influenced the tone in which music and
pop culture have been negotiated in the German language since then. In line with her strategy as a
painter, she addresses and documents the transfers and interactions between painting, music, film, and
theory in her essays. In her painterly practice, she incorporates the potentials of these discursive
interconnections. The work Woman Varying Her Pleasures which she exclusively created for the
Kunstverein playfully deals with female clichés. The heart-shaped pictures present a variation of round
forms richly colored in red and pink – somewhere between the apple responsible for the Original Sin, a
bosom of a woman and cake topping.
Exhibitions
2015 Bortolami Gallery, New York, USA (S), Musée d'Art Moderne de la Ville de Paris, France (G),
Kunsthaus Zurich, Switzerland (G), Museum Brandhorst, Munich, Germany (G)
2014 Galerie Francesca Pia, Zurich, Switzerland (S), Reena Spaulings Fine Art, New York, USA (S)
2013 Dundee Contemporary Arts, Scotland (S), Whitney Museum of American Art, New York, USA (G),
Bonnefanten Museum, Maastricht, Netherlands (G)
2012 São Paulo Biennial, Brasil (G), Tate Modern, London, Great Britain (G), Museum of Contemporary
Art, Los Angeles, USA (G)
2011 Moderna Museet, Stockholm, Sweden (S), Saatchi Gallery, London, Great Britain (G)
Dawn Mellor
Here comes the judge, 2015
Linocut on lithograph, 43 x 26.5 cm
Unique edition of 10, signed, dated, numbered, exclusively for the Kunstverein
980,- Euro
In her artworks, Dawn Mellor (*1970 in Manchester, GB, lives and works in London, GB) confronts the
orthodoxies of various sub- and pop cultures. She often uses image worlds that are reminiscent of star
cult and fandom. Her mostly exaggerated and grotesque icons address excluding, normative categories of
our society, such as racism, sexism and classism. The edition Here comes the judge is based on a
lithograph of a drawing of the so-called King of Pop, Michael Jackson, which Mellor made as a teenager
in 1985. On this, she printed the linocut of a skull-like grimace with a venerable full-bottomed wig as it is
still worn today by judges in Great Britain. There are deliberate small defects in the print contrasting the
underlying professional lithograph.
Exhibitions
2015 Kunstverein in Hamburg, Germany (G), Migros Museum für Gegenwartskunst, Zurich, Switzerland
(G)
2014 Witte de With Center for Contemporary Art, Rotterdam, Netherlands (G), PAC - Padiglione d'Arte
Contemporanea, Milan, Italy (G), Rowing, London, Great Britain (G)
2013 Galerie Gabriel Rolt, Amsterdam, Netherlands (S), Southend Central Library, Essex, Great Britain
(S), Museum of Contemporary Canadian Art, Toronto, Canada (G)
2012 Cul De Sac Gallery London, Great Britain (G), Peter Bergman, Stockholm, Sweden (G)
2011 La Maison Rouge, Paris, France (G), The Drawing Room, London, Great Britain (G), Karma
International, Zurich, Switzerland (G)
Verena Schöttmer
Blue Velvet, 2014/2015; Maroni, 2014/2015
Both motifs: Inkjet print on watercolor paper, watercolor, shellac, 41 x 29.7 cm
Edition of 5 + 2 AP each, signed, dated, numbered
Each 750 ,- Euro
Verena Schöttmer’s (*1978 in Meppen, Germany, lives and works in Hamburg, Germany) works include
curtains, folding screens or carpets – partitioning elements that hide or receptacles that conceal and, as
projection screens for one’s imagination, can promise everything but needn’t deliver anything. The artist
addresses the unattainable invisible, which appears all the more desirable precisely for this reason. The
two motifs of Schöttmer’s edition allude to this play with expectations. The collages are created according
to a specific procedure: watercolor and digital print are layered on watercolor paper, giving the works a
special quality and reflecting of Schöttmer’s textile working methods.
Exhibitions
2015 Kunstverein in Hamburg, Germany (S)
2014 das weisse Haus, Vienna, Austria (G)
2013 Kunsthaus Hamburg, Germany (G)
2012 Academy of Fine Arts Vienna, Austria (G), Phoenixhallen Hamburg Harburg, Germany (G)
2011 Atelier Torstraße, Berlin, Germany (S)