Also labelled under various further (sub-)titles the exhibition is shaped around topics like camaraderie, respect, curiosity, haphazardness. The catalogue which accompanies the two shows illustrates the individual works of the participants and is backed with an essay by theorists and curators Léon Kruijswijk and Sarah Wessel. It is available at the venues and at KW bookshop.
The work is one recent result of my artistic practice in the use of the useless, of leftovers, bycatch, findings.
Earlier this year, when all together everyone at home, I started to use the most powerless tool I could find on my computer: MS Paint—which still comes with Windows. This is a very simple pixel-based painting tool. I put up a tiny canvas in oktavo ratio and placed some of the program’s template icons—carefully choosing their position and colour, in just using the standard palette.
I liked the result, but did not stop there.
The weakness of pixels is the resolution. I wanted my picture to be defined and sharp, so I translated it into a vector graphic. The picture now is rendered in mathematic curves—no more fuzzy pixel-stairs, but it is infinitely scalable. Throughout this transfer the forms on the canvas became more fluid, the shapes formerly put one on top of the other were melting and connecting.
To bring this abstract thing into everyday life I chose to render it in Riso—a digital printing technique with high quality inks. So my processed picture found its place on warm sheets of paper as a screen print.
There are still some prints available. Get your #Paint here:
Rebekka Beischall Svenja Kreh Astrid Brandt Lukas Bugla Miro Dorow Eva Grøttum Ole Hartmann Ronny Lischinski Enrico Niemann Daniel Rödiger Strahinja Skoko Sarah Steiner Oskar Klinkhammer Elmar Zimmermann
Juan Jose Acevedo, Céline Adamo, Yasmin Alt, Lucio Auri, Florian Balze, George Barber, Pedro Boese, Geeske Bijker, James Bockelman, Isabelle Borges, Katrin Bremermann, Ruprecht Dreher, DAG, Jay Gard, Jürgen Grewe, Mani Hammer, John Hodany, Maarten Janssen, Florian Japp, Klaus Kamptner, Alexander Klenz, Annette Knol, Jeschkelanger, Leopold Landrichter, Alex Lebus, Marco Meiran, Lawrence Power, Johannes Regin, Inken Reinert, Arne Schreiber, Carsten Sievers, Carlos Silva, Michel Vincenot, Jens Wolf, Elmar Zimmermann
Céline Adamo Elmar Zimmermann #2 24.11.2013 – 19.01.2014 Kunstverein Schwäbisch Hall Am Markt 7/8 74523 Schwäbisch Hall kvsha.de
In the composition of her works, the painter Céline Adamo addresses moments of pictorial creation. They are exclusively made with lacquer paints, and are created according to different frameworks she has devised simultaneously and constantly in interdependence. Some paintings she realizes in a few minutes, others develop in a process lasting up to several years. Elmar Zimmermann, in his works, recalls established modes of our pictorial traditions, associates them in an incisive new way, and improvises both precious objects and entire spaces of perception. In doing so, he does not care about responsibilities and thus also questions the “job profile professional artist” as such. From their Berlin studios, the two edit a lucid dialogue reduced to a substantial visual installation: sober but not dry.
A catalog brochure will be published to accompany and complement the exhibition. The artist designed split catalog with 40 illustrations Céline Adamo Elmar Zimmermann #2 is available at Kunstverein Schwäbisch Hall.
5 October 2010. With “Twisted Standards”, the Kienzle Art Foundation continues its series of exhibitions custom-tailored to the exhibition space. Based on the initiative of the Berlin collector Jochen Kienzle, whose both extensive and specific inventory of art since the 1960s forms the footing, the Kienzle Art Foundation has been dedicated to the public communication of art in the form of exhibitions, publications, and lectures.
“Twisted Standards” features two artists who are prominently present in the collection. They are Emilio Prini (born in 1943) and Elmar Zimmermann (born in 1976).
Jochen Kienzle has set himself the goal of investigating even marginalized and quasi-forgotten or little known positions and putting them up for discussion. In this respect this event is logical and: different.
Curated by Daniel Kletke. A publication accompanies “Show 2.” It appears as a large poster, presented as hardcover bound leporello with images and German / English texts. Available at Kienzle Art Foundation.
Hof has been a room at Bielefelder Kunstverein in 2009. I conceived it for the duration of one exhibition upon an invitation by Thomas Thiel. The temporary and specific installation was built up of the works Wappen and Schlitten as of chosen examples from the Artothek des Bielefelder Kunstvereins. This pretty representative picture-lending library – founded in 1978 – consists of multiple artworks, mainly prints. It was practically out of use at that time – due to local loss of interest. This then changed.
Hof installation at Bielefelder Kunstverein 2009
Wappen felt sewn on stretcher 200 x 200 cm 2008
Schlitten used laths and several framed pictures 90 x 240 x 65 cm 2009
From the Artothek des Bielefelder Kunstvereins: Horst Antes, Joseph Beuys, Felix Droese, Franz Eggenschwiler, Günther Förg, Günter Fruhtrunk, Dan Graham, Wenzel Hablik, Otto Herbert Hajek, Erwin Heerich, Thomas Huber, Horst Janssen, Gustav Kluge, Kurt Kranz, Vlado Kristl, Kaspar Thomas Lenk, Richard Lindner, El Lissitzky, Dieter Lott, Heinz Mack, Willy Maywald, Heiner Meyer, Lowell Nesbitt, Anna Oppermann, Petit Frère, Rainer Pöhlitz, Bernhard Prinz, Man Ray, Gerhard Richter, Alexander Rodtschenko, Dieter Roth, Sarah Schumann, Almir da Silva Mavignier, Elmar Stobinski, Georg Tappert, André Thomkins, Timm Ulrichs, Stefan Wewerka