On my way to Inselgalerie in Friedrichshain, close to Frankfurter Tor, the area does not seem like a typical place where I would find a gallery. According to gallery director Eva Hübner, galleries must be located in every district of the city. “[…] This part of the Friedrichshain-Kreuzberg district has less cultural and creative offerings than, for example, the area around Warschauer Strasse, and as a result, there are not so many people who often go to galleries without fear of contact“, so Hübner. What does fear of contact mean? There is a certain fear of entering a gallery, but are somehow afraid to enter. I was one of them – but why? Perhaps because a visit to a gallery is not as anonymous as a visit to a museum? “Maybe, but I don’t exactly see it this way”, says Mrs. Hübner. Continue reading “Inselgalerie” – The everyday life of a gallery
Same place, different artist. I’m still at the Inselgalerie and visiting the exhibition “transformer” because another artist is presenting her artwork here.
Susanne Britz has focused on photographs, pigment prints, and installations of everyday objects. The working process behind these works is exciting and is based on each other, so Susanne Britz runs through different phases during her creative process: it probably starts with an idea, then a spatial installation follows. Here she uses everyday objects from the household, sports equipment, tools from the studio or children’s toys. Once the installation is finished, she takes a photo of this work. Afterward, the photo gets digitally overdrawn.
Many of her artworks that are exhibited here seem like instructions to me, even if I am not sure for what exactly. But if I am honest, it probably doesn’t matter.
I like the strong colors and the general idea behind this artwork. It’ s funny to see all the things and to realize what you can do with everyday objects.
Usually, I would recommend a visit to the gallery, as the exhibition has been extended. But nothing is normal these days: Unfortunately during the Corona COVID-19 Pandemic, it is not possible. If you are interested in the art of Susanne Britz, please have a look at her homepage or check the Instagram account of the Inselgalerie.
See you soon!
The artist Mia Hochrein works with many different tools for her art. She decides in the creation process which creative tools she uses for her work. As a result, she creates photographs and also installations or performances.
When I stood in front of these two photographs, it was instantly clear to me that I would write about them. Why? Well, let’s start:
What do I see immediately? Two people wearing different textiles and always several of them. The textiles look like old towels, shirts, tablecloths or window curtains. In both pictures, the faces are covered. In my opinion, this gives the photographs anonymity and something mysterious.
Gender is also not directly interpretable. Is it the artist herself, or is it a woman and a man? The hands in the right picture seem a little more masculine, but the feet in the left picture seem more feminine. Perhaps this is too much stereotypical thinking. In the left photograph, the toes also point towards the wall. The rest of the body, however, appears as if the person is looking at me with his or her face. I start thinking and I have to find out what these photographs represent.
I take a look at the titles of the photographs. They are called “Strangers 1” and “Strangers 2”. The exhibition has the title “transformer” and the gallery manager Eva Hübner tells me that the textiles are garments. Clothes that were once worn by the artist’s mother and grandmother. Several generations are thus connected, quite inconspicuously. Thus the photos express the following for me: Even if some of them are no longer with us, we still carry them with us throughout our lives. They are a part of us.
Because of the anonymity, I can identify myself more easily with the basic idea. Do you?
The exhibition is on until 23 of march at Inselgalerie Berlin. Have a look!
S O N I A B E N S O U D A
ARTIST STATEMENT: Through digital collage and photography, my intent is to explore the notions of Time and Space in the Urban environment. Trained as an Interior Architect, I have always been attracted to the cities around the world and how humans develop their identities in it. I try to create dystopian worlds yet similar to our own existing world so the viewer can imagine itself in it. I use geometry and colors as a tool and as a language that can be understood by everybody.
ARTIST BIO: I was born in France and grew up in Morocco. I received a BA in Interior Architecture in Lyon, France. I then moved to London to study for a Master’s degree in Interior and spatial design at UAL – Chelsea College of Art. I am now working as an Interior Architect and Collage artist. This multicultural background has strongly influenced my approach to photography and collages.
I M O G E N D A V I S
is a London-based photographer.
Artist statement: I use photography as a way of capturing and holding on to feelings that would otherwise escape my grasp. It’s a way of taking something like breath or the feeling of loss and sadness and holding on to it, making a photographic world of these immaterial things.
I believe that photography is used to capture moments of people’s lives, moments that would otherwise be lost in our memories forever, only to be manipulated and distorted by our own thoughts and other memories built on top, each overlapping and contorting the last. However, to document breath within photography is to capture something that is invisible. For these images I learned how to blow my own glass, making physical recreations of my breath that now have memories of their own.