200 years of the Academy of Fine Arts Munich graduates of Norbert Prangenberg´s class
01 Aug - 13 Sep 2008
200 YEARS OF THE ACADEMY OF FINE ARTS MUNICH
GRADUATES OF NORBERT PRANGENBERG ́S CLASS
Martin Fritzsche, Fanny Geisler, Jutta Immenkötter, Katja Maechtel,
Edith Plattner, Fumie Sasabuchi, Barbara Spaett, Essi Utriainen, Oliver Westerbarkey
Exhibition: August 1 – September 13, 2008
Norbert Prangenberg, one of the artists represented by the gallery, has taught ceramics and glass at the Akademie der Bildenden Künste in Munich since 1991. To celebrate the Akademie’s 200th birthday, he is curating an exhibition for us, featuring nine of his former students.
MARTIN FRITZSCHE (*1960) finds pieces in his everyday surroundings - plastic watering cans, little statues of saints, or carved wooden trays - and combines them with his own objects to create installations. The obvious contrast between the objects’ origins and their new significance leads to an enigmatic and humorous game involving Bavarian folklore and modern life.
Through her paintings, FANNY GEISLER (*1969) allows us to see a positive way of thinking and feeling, which affects all areas of life. They feature directly and spontaneously painted, colorful human figures. Another theme of her paintings can be the human relationships between man and women, or between children and parents.
JUTTA IMMENKÖTTER’s (*1976) works begin with her precise observations of urban and architectural forms. She takes souvenir postcards of famous buildings, punctures them along the outlines of the buildings, and then paints over all of the areas outside of the contours. Individual forms are thus taken out of their original contexts and associated with new meanings.
KATJA MAECHTEL (*1971) is interested in the translation of ordinary forms and patterns of speech into new visual structures. Using Braille, she reduces language to an abstract, two colored system of dots, which are turned into reliefs on small, thin wax plates and then hung on the wall. In this way, intangible language takes on the appearance of an image.
EDITH PLATTNER (*1967) is interested in the simple and the reduced form. Her ceramic works subsist on harmony and the simultaneous disturbance of harmony. A suspenseful relationship is developed in the confluence of different materials, surfaces, and contrasting forms.
By using drawing to re-work images from fashion magazines, FUMIE SASABUCHI (*1975) intervenes in the intact human body. With a ball-point pen she makes underlying layers - such as muscles or bones - appear on the surface of the body. She combines the smooth aesthetics of advertising and fashion photography with the vanitas symbols of past centuries.
BARBARA SPAETT’s (*1962) material consists of found objects or randomly assembled items, such as fabric and paper. Her sculptures are created through a process of experimentation, recycling, reduction, and addition. Dealing with material continues to stimulate associative thought. Her preferred themes are nature and human existence.
In her reliefs made of melted glass shards ESSI UTRIAINEN (*1975) works with the concept of landscape as idyll. Glittering glass transforms the landscape into images of fabulous beauty, while their medallion-like frames turn them into precious ornaments.
OLIVER WESTERBARKEY’s (*1969) theme is the distortion of reality. Through interventions, such as cutting out or painting over, books are visually altered and their context changed, as well. Projections onto objects and spaces create new, disturbing contexts of meaning, oscillating between illusion and reality.
GRADUATES OF NORBERT PRANGENBERG ́S CLASS
Martin Fritzsche, Fanny Geisler, Jutta Immenkötter, Katja Maechtel,
Edith Plattner, Fumie Sasabuchi, Barbara Spaett, Essi Utriainen, Oliver Westerbarkey
Exhibition: August 1 – September 13, 2008
Norbert Prangenberg, one of the artists represented by the gallery, has taught ceramics and glass at the Akademie der Bildenden Künste in Munich since 1991. To celebrate the Akademie’s 200th birthday, he is curating an exhibition for us, featuring nine of his former students.
MARTIN FRITZSCHE (*1960) finds pieces in his everyday surroundings - plastic watering cans, little statues of saints, or carved wooden trays - and combines them with his own objects to create installations. The obvious contrast between the objects’ origins and their new significance leads to an enigmatic and humorous game involving Bavarian folklore and modern life.
Through her paintings, FANNY GEISLER (*1969) allows us to see a positive way of thinking and feeling, which affects all areas of life. They feature directly and spontaneously painted, colorful human figures. Another theme of her paintings can be the human relationships between man and women, or between children and parents.
JUTTA IMMENKÖTTER’s (*1976) works begin with her precise observations of urban and architectural forms. She takes souvenir postcards of famous buildings, punctures them along the outlines of the buildings, and then paints over all of the areas outside of the contours. Individual forms are thus taken out of their original contexts and associated with new meanings.
KATJA MAECHTEL (*1971) is interested in the translation of ordinary forms and patterns of speech into new visual structures. Using Braille, she reduces language to an abstract, two colored system of dots, which are turned into reliefs on small, thin wax plates and then hung on the wall. In this way, intangible language takes on the appearance of an image.
EDITH PLATTNER (*1967) is interested in the simple and the reduced form. Her ceramic works subsist on harmony and the simultaneous disturbance of harmony. A suspenseful relationship is developed in the confluence of different materials, surfaces, and contrasting forms.
By using drawing to re-work images from fashion magazines, FUMIE SASABUCHI (*1975) intervenes in the intact human body. With a ball-point pen she makes underlying layers - such as muscles or bones - appear on the surface of the body. She combines the smooth aesthetics of advertising and fashion photography with the vanitas symbols of past centuries.
BARBARA SPAETT’s (*1962) material consists of found objects or randomly assembled items, such as fabric and paper. Her sculptures are created through a process of experimentation, recycling, reduction, and addition. Dealing with material continues to stimulate associative thought. Her preferred themes are nature and human existence.
In her reliefs made of melted glass shards ESSI UTRIAINEN (*1975) works with the concept of landscape as idyll. Glittering glass transforms the landscape into images of fabulous beauty, while their medallion-like frames turn them into precious ornaments.
OLIVER WESTERBARKEY’s (*1969) theme is the distortion of reality. Through interventions, such as cutting out or painting over, books are visually altered and their context changed, as well. Projections onto objects and spaces create new, disturbing contexts of meaning, oscillating between illusion and reality.