Published with Bom Dia Books, Berlin
Painting Award of the Andreas Felger Kulturstiftung and the Heidelberger Kunstverein.
Artists (nominated by):
Mojé Assefjah (Chus Martínez)
Bradley Davies (Sergej Jensen)
Veronika Hilger (Jana Baumann)
Ada van Hoorebeke (Mathilde ter Heijne)
Anna Slobodnik (Julia Grosse & Yvette Mutumba)
The WERK.STOFF Painting Award conceives painting as an open concept. Beyond the connotation of the classical canvas painting, the prize embraces contemporary painterly practices that, among other things, expand the repertoire of materials and subjects by cross–culturally incorporating previously marginalized visual worlds and ways of working, extending into space, linking different media, and disrupting the common conception of painting. In this way, the prize emphasizes the polyphony of the medium, reflecting the ongoing transformation of artistic production and the plurality of experiences in a globalized world.
As this residency is focussing on editions, printing and a a sci-fi approach on starting from scratch on an island. I tried to figure out a way to reinvent colours and inks for printing as well as the paper to print on: made from local natural weeds.
I learn that the fjords on the island were a place where Vikings fought against any other potential population and settled about 9th Century. Now pollution is a fact here: hidden for the eye literally buried under the ground and poured into the sea... and along with that, a disappearing sea life, which is also not visible from this point of view. I am a stranger here, in a new assembled family the landscape looks like nothing ever changed.
I think of older cultures living along the water in other places, who came up with papyrus and insanely beautiful colours made from natural sources for writing materials. I don't know if Vikings used writing supplies other than stone and parchment. And if they did, would their paper look like this then?
If this is the future,
where the internet broke down,
and paper is no longer produced,
will we use the grass we find?
...Print on what is washed ashore:
dead bodies of seaweed
once dancing in the waves,
for premature shells.
Seaweed also happens to be a perfect natural base for silk screen printing. It smells like death and rolls smoothly over the screen. The colour is golden sepia. Mixed with oak gal ink and madder root, the colours range from black, brown to red.
Thanks to Terraform: Hannah, Johan, Caspar and Tea for inviting me and hopefully many others in the future to take part in this great experiment.
Also many thanks to Ulla Enevoldsen for introducing us residents: Chris Shields, Wilfred Wagner & me to the craft of paper making.
Rose Family Factory turns leaves into dye and berries into jam. It resambles a batik studio fused with a marmelade manufactory. Dye baths are made from oil barrels mounted on wheel barrows and industrial berry puree containers. In the Rose Family Factory textiles are dyed with leaves from plants belonging to the rose family. These are: blackberry leaves, strawberry - and raspberry leaves. The leaves of red fruits contain tannin, which results in different shades of earth colours ranging from pale ochre to black, when used in combination with different mordants such as alum and rust.
Apart from large scale batiks to minuscule samples, the installation presents an edition of home made marmalade with a batik lid as well as a batik workshop which is open to the public.
Rose Family Factory by Ada Van Hoorebeke was first shown at the group exhibition:
along with work by Okka-Esther Hungerbühler, Sonja Yakovleva and Ulrika Segerberg.
30 August - 1 November 2020 at the Städtische Galerie Nordhorn
With a batik workshop on 18-19 September.
still: 10001, Team S, 08/02 (first video)
I am participating to 10001 a colaborative virtual project organised by Undercurrent and co-organized by the European Union National Institutes of Culture’s New York Cluster. I am paired with artist Luisa Muhr to start a collaboration. Our thoughts and work in progress can be followed here: