Finally we could set up six of my paper works which will be presented at the Biennale in Schio, Vicenza in a couple of weeks. It was an easy ride to Italy and a very warm welcome at the Palazzo Fogazzaro.
Next to some of my garments you see the marble sculpture “The Weaver” by Antonio Tantardini from 1870. The figure of a young woman with a shuttle in her right hand has the intention of celebrating the ancient art of weaving, since the Fogazzaro family were textile industrialists. The female marble bust pictures Margherita of Savoy, Queen of Italy.
I am quite excited for the show as it is the first time that my works of such different residencies as Switzerland, China, Finland and Japan are shown together.
Selected by the Austrian Cultural Forum of Tokyo, photographs picturing three of my paper garments which I tailored in Onishi, Gunma were on display in Ginza, Tokyo. They are be shown together with the publication #JapanRevisited202x: then—now—after.
From June 8-13, 2021日本語 Suzuki Building, 1-28-15 Ginza, Chuo-Ku, Tokyo, Japan
Morioka Shoten, the Bookshop With Only One Book. The “world’s smallest bookstore” and a cornerstone of Tokyo’s art book scene.The concept of the famous bookstore reshuffles the idea of how to browse and experience books altogether. Selling only one book which is carefully selected by founder Yoshiyuki Morioka and only displayed for one week
The two month residency in Finnland was quite successful with an exhibition and feature in the newspaper. My working conditions in the studio were near perfect and the footage in the local thrift stores turned out amazing. Only the cold temperatures with mostly minus 20 degrees became a challenge to my daily commute by bike.
In my constructional garments I try to define the space of intimacy and the margin of distance to express a self-consciousness without being exploited. The title of the exhibition “The Distance of Faith” is supposed to describe a new understanding of the embodiness of our own space. In current times we are manoeuvred in that experience by different believes of science and faith. For sure we learned recently a new measurement of intimacy and privateness. I like to address this new space of self-awareness by my garments and wearable objects. For some reasons Finnland is quite an interesting place to research this kind of personal distance. Traditional cultural behaviour may be one reason that the people here connect much better with the new indicated rules of personal distance. As they cope well with a scientific approach to handle isolation rather than flee in certain patterns of conspirational belief. Part of handling this moment may be rooted in their own mythology “Kalevala” which has shaped Finnish culture and the national feeling in ways that should not be underestimated. The Kalevala differs from other saga cycles that it focuses on the common people and its heroes are distinguished mostly by knowledge and the art of singing. In that sense I try to reflect parts of the local identity in my artistic approach to reflect the Finnish embodiment of the personal space.
As a guest of the Kunstverein Oberwallis (KVO) and the municipality of Brig-Glis I worked in the studio in the Fernanda of Stockalperhaus. From July 4 on, I showed what was created there under the title “Prosthetic Memories” in the KVO gallery “zur Matze”.
Lothar Berchtold wrote in the Walliser Bote 2.7.2020: You can discover portable sculptures from old books and with current texts and drawings, lamb skulls covered with holy images and text, and reading woods. What she wants with her art? “To conserve things that are subject to decay and destruction, and thus to give old things a new existence,” the artist answers us during our visit to her studio.
This time in my second hometown Onishi I was showing the output of my three month of work. On display were five different garments at the Kinuya building. It is a cultural hub in and a former silk trader shop about 300 metres from my own house I bought a couple of month later.
A month before I was part of the group show with three of the same garments. This exhibition by all the artists of the Shiro Oni residency was held in the old sake brewery.
Open Day at the Copper Leg Residency in March. The venue was originally an old school building which was rededicated as a cultural hub for all kind of matters. By itself the building was a little remote but the opening was well attended and a good way to learn to know some people I would later work with.
It was one of the shortest residencies I ever experienced and therefor quite hard for me to fulfil my standards. Mostly because the process I need to evaluate and finish a work takes some time. The occasion in Latvia was the Photography Exhibition of the 5 Year Anniversary at the Mark Rothko Center. The event was huge but my part of it was quite modest. Nevertheless the experience and the hosts of the residency were amazing and I got befriended with some local artists which led to a road trip up the country.
At the end of my four month residency in March 2018 in Solothurn, Switzerland i was able to achieve a Soloexhibition at the Gallery S11. The gallery is run by a local art collective hosted in an old building in the centre of the town it runs over four floors. The opening was a great success with a lot of friends and we partied into the night. Distributed over the building I could show a wide spectrum of my work which I created at the spot. Photography, drawings, paintings, garments wax sculptures and some taxidermy pieces showed an impressive insight into my work. For the first time I was able to show my portfolio in Europe as I was busy all the time before running residencies in Asia mostly. This happened about two and a half years after I started again to concentrate on my professional art career.
about a year later I got again an invitation to the residency in Solothurn where I could finish my portrait sessions.
My first time in Korea started about three month after I left Shanghai. So actually I had to come to Seoul for some visa issues before but now I was invited for a three month residency. The exhibition took place at the end of my stay in a dedicated venue. This gave me due its space also the opportunity to create a performance with some of my garments I created in Korea. Alex, a fellow artist and the only non-Korean I met in this time became the protagonist in the play. Some of the Korean artists I learned to know were educated in German language which was a great relief for the opening. In retrospect it was a fine show with quite an audience which also led to a second exhibition in Busan a couple of weeks after this show.
At the time I was residing in Korea, but the opportunity in Shanghai was one of a kind for me. Sponsored by the Swatch company I had the exhibition floor of about 600m2 for my artwork to presented. The design of the exhibition was done remotely by Manuel at home as was the catalogue which was then printed in China . We enjoyed the work a lot as any difficulties were kept to a minimum. The prints were produced in Austria and framed in Shanghai. For the final setup, Manuel came to Shanghai for two weeks, and we met for the first time since a couple of month. Everything was finalised in a professional way with the a local team of workers and our own support. Everyday after the opening I wandered between the columns to inhale and enjoy this most beautiful exhibition. As it was set about a half year after I left my Shanghai residency I could also show some of the portraits I did back then. The other part was selection of my work from Japan.