Katharina Hinsberg
22 May - 12 Jul 2015
KATHARINA HINSBERG
22 May - 12 July 2015
The expansive installation Feldern (Farben) by artist Katharina Hinsberg has fundamentally transformed the Kunsthaus Annex with its wall piece some 36 metres long – and has done so with quite a specific material. Wafer-thin 20-gram tissue in 16 different colours was layered by the artist and mounted onto a framework of square fields across the whole wall. The various colour tones and paper layers are, in turns, more or less visible thanks to the transparency of the material as well as air movements in the space. Over the course of the exhibition, which lasts several weeks, new images and colour combinations will continually be generated, both by the artist and artistic colleagues from Basel.
The first image, or rather the first basic motif, that the artist has arranged by partially removing the uppermost sheets, is a continuous, long line that runs across the whole wall without interruption. This first image is the precondition for all the images and adjustments that follow. Large new colour fields can emerge as layers of the paper are taken away, responding to previous arrangements, developing these further or even, in part, obliterating them – a process that links appreciation of the colour space with its own continual transformation.
Within her work, which can be read from the perspective of both painting and drawing, Katharina Hinsberg grapples with an important question regarding the power of images: is an image an open, mobile arrangement, that respects and incorporates space and time as well as processes and methods, yet can equally demonstrate its underlying power? Despite this open conception of images, one that involves the visitor, sustained precision within the spatial image that emerges is also important to Katharina Hinsberg. Over the weeks the exhibition runs she herself will intervene in the evolving image and thus enable a sustained exchange between artist and viewer via the work. With this work Hinsberg also discusses the question of the traditional use of the term ‘image’. Her image created in the Kunsthaus is one that continually changes, that claims monumentality while all the while availing of a material that could hardly be softer or more fragile. With her title Feldern (Farben) [Fields (Colours)] the artist plays knowingly with the concept of Colour Field painting of the 1950s, a movement which emerged primarily in the USA, engaged, amongst other concerns, with the perception of different fields of colour on canvases that were in part extremely large in scale. Thus the work in the Kunsthaus Baselland tells us much about the artist’s strategy of allowing a work to develop from a given space, fundamentally changing the perception and the physical experience of that exhibition space and in so doing instilling the image with great dynamism, poetry and extraordinary potential.
Katharina Hinsberg was born in 1967 in Karlruhe and lives and works at the Raetenstation Hombroich, Neuss. Studies at the Akademie der Bildenden Künste Munich, the Hochschule für Bildende Künste Dresden and the École des Beaux-arts de Bordeaux. She has been granted residencies from the Akademie Schloss Solitude, Stuttgart, the Chinati Foundation, Marfa, Texas, the Cité des Arts, Paris and MUKA Studio, Auckland, New Zealand. Artists’ Prize Nordrhein-Westfalen (2013) and Helmut-Kraft Prize (2014).
Selected solo exhibitions:
2015: Giornata, Saarländisches Künstlerhaus Saarbrücken; 2014 Feldern (Farben), Kunstsammlung NRW, K20, Düsseldorf; ajouré, Museum Goch; 2011: Spatien, Museum DKM, Duisburg; 2008: Streifen, Landesgalerie, Linz, Österreich; binnen, Staatliche Kunsthalle Karlsruhe; Perceiden, Kunstmuseum Stuttgart; 2000: Frieze of Fricatives, The Chinati Foundation, Marfa, Texas; 1999: Zeichnung heute, Kunstmuseum Bonn.
Selected group exhibitions:
2015: Walk the line. New Paths in Drawing, Kunstmuseum Wolfsburg; 2013–2015: Weltreise, Moscow Museum of Modern Art, Moscow, Russia / ZKM Karlsruhe / Busan Museum of Art, Busan, South Korea; dal il al di, artq13, Rome, Italy; 2011–2014: linie, line, linea, Museu de Arte Leopoldo Gotuzzo, Pelotas, Brazil / Centro de Arte Contemporáneo de Quito, Ecuador / Museo Nacional de Arte, La Paz, Bolivia / Museo de Arte del Banco de la República, Bogota, Colombia / Museo Nacional de Artes Visuales Montevideo, Uruguay; 2012: Aus Passion, Museum Kunstpalast, Düsseldorf; Rasterfahndung, Kunstmuseum Stuttgart; 2009: Die Gegenwart der Linie, Pinakothek der Moderne, Munich; 2008: Zeichnung als Prozess, Folkwang-Museum, Essen; 2004: Gegen den Strich, Kunsthalle Baden-Baden.
22 May - 12 July 2015
The expansive installation Feldern (Farben) by artist Katharina Hinsberg has fundamentally transformed the Kunsthaus Annex with its wall piece some 36 metres long – and has done so with quite a specific material. Wafer-thin 20-gram tissue in 16 different colours was layered by the artist and mounted onto a framework of square fields across the whole wall. The various colour tones and paper layers are, in turns, more or less visible thanks to the transparency of the material as well as air movements in the space. Over the course of the exhibition, which lasts several weeks, new images and colour combinations will continually be generated, both by the artist and artistic colleagues from Basel.
The first image, or rather the first basic motif, that the artist has arranged by partially removing the uppermost sheets, is a continuous, long line that runs across the whole wall without interruption. This first image is the precondition for all the images and adjustments that follow. Large new colour fields can emerge as layers of the paper are taken away, responding to previous arrangements, developing these further or even, in part, obliterating them – a process that links appreciation of the colour space with its own continual transformation.
Within her work, which can be read from the perspective of both painting and drawing, Katharina Hinsberg grapples with an important question regarding the power of images: is an image an open, mobile arrangement, that respects and incorporates space and time as well as processes and methods, yet can equally demonstrate its underlying power? Despite this open conception of images, one that involves the visitor, sustained precision within the spatial image that emerges is also important to Katharina Hinsberg. Over the weeks the exhibition runs she herself will intervene in the evolving image and thus enable a sustained exchange between artist and viewer via the work. With this work Hinsberg also discusses the question of the traditional use of the term ‘image’. Her image created in the Kunsthaus is one that continually changes, that claims monumentality while all the while availing of a material that could hardly be softer or more fragile. With her title Feldern (Farben) [Fields (Colours)] the artist plays knowingly with the concept of Colour Field painting of the 1950s, a movement which emerged primarily in the USA, engaged, amongst other concerns, with the perception of different fields of colour on canvases that were in part extremely large in scale. Thus the work in the Kunsthaus Baselland tells us much about the artist’s strategy of allowing a work to develop from a given space, fundamentally changing the perception and the physical experience of that exhibition space and in so doing instilling the image with great dynamism, poetry and extraordinary potential.
Katharina Hinsberg was born in 1967 in Karlruhe and lives and works at the Raetenstation Hombroich, Neuss. Studies at the Akademie der Bildenden Künste Munich, the Hochschule für Bildende Künste Dresden and the École des Beaux-arts de Bordeaux. She has been granted residencies from the Akademie Schloss Solitude, Stuttgart, the Chinati Foundation, Marfa, Texas, the Cité des Arts, Paris and MUKA Studio, Auckland, New Zealand. Artists’ Prize Nordrhein-Westfalen (2013) and Helmut-Kraft Prize (2014).
Selected solo exhibitions:
2015: Giornata, Saarländisches Künstlerhaus Saarbrücken; 2014 Feldern (Farben), Kunstsammlung NRW, K20, Düsseldorf; ajouré, Museum Goch; 2011: Spatien, Museum DKM, Duisburg; 2008: Streifen, Landesgalerie, Linz, Österreich; binnen, Staatliche Kunsthalle Karlsruhe; Perceiden, Kunstmuseum Stuttgart; 2000: Frieze of Fricatives, The Chinati Foundation, Marfa, Texas; 1999: Zeichnung heute, Kunstmuseum Bonn.
Selected group exhibitions:
2015: Walk the line. New Paths in Drawing, Kunstmuseum Wolfsburg; 2013–2015: Weltreise, Moscow Museum of Modern Art, Moscow, Russia / ZKM Karlsruhe / Busan Museum of Art, Busan, South Korea; dal il al di, artq13, Rome, Italy; 2011–2014: linie, line, linea, Museu de Arte Leopoldo Gotuzzo, Pelotas, Brazil / Centro de Arte Contemporáneo de Quito, Ecuador / Museo Nacional de Arte, La Paz, Bolivia / Museo de Arte del Banco de la República, Bogota, Colombia / Museo Nacional de Artes Visuales Montevideo, Uruguay; 2012: Aus Passion, Museum Kunstpalast, Düsseldorf; Rasterfahndung, Kunstmuseum Stuttgart; 2009: Die Gegenwart der Linie, Pinakothek der Moderne, Munich; 2008: Zeichnung als Prozess, Folkwang-Museum, Essen; 2004: Gegen den Strich, Kunsthalle Baden-Baden.