ProjekTraumFN is pleased to present Brian Cirmo All the Feels paintings and drawings July 5 & 6 from 12 – 7pm.
Brian Cirmo has spent the past two decades traveling throughout the country visiting museums, large cities, small towns, national parks, Civil War battlefields, assassination sites, graveyards, and national monuments. He is a lifelong student of the vast profundity of American music and a glutton for history, literature, western painting, film, comic strips, and cartoons; all of which have consumed his nights and days. These interests and practices are harvested and used within his process to create intertextuality in the paintings. Using Western painting, literature, popular culture, personal memories, history and travel as sources, He has focused on building paintings that encapsulate characteristics of the human condition.
Brian Cirmo is an internationally exhibiting artist and a 2023 recipient of the Lillian Orlowsky and William Freed Foundation Grant for American painters from the Provincetown Art Association and Museum.
Solo exhibitions include Where Teardrops Fall, 532 Gallery Thomas Jaeckel, New York, NY; Paintings, Lake George Arts Project, Lake George, NY; Doldrums, the Burrell Roberts Triangle Gallery, Sinclair College in Dayton, OH; Black, the Rice Gallery, McDaniel College, Westminster, MD, and Patterns, Cycles, and Change, Wilson Gallery, Le Moyne College, Syracuse, NY. Group exhibitions include Schloss Salem, Salem, Germany; GR Gallery, New York, NY; 19 Karen Gallery, Mermaid Beach QLD, Australia; Mills Gallery, Boston Center for the Arts in Boston, MA; The Hyde Collection Museum in Glens Falls, NY; Kellogg Gallery, Cal Poly University in Pomona, CA; and Antenna Gallery, New Orleans, LA.
Cirmo’s work has been featured in numerous art fairs including, CONTEXT Art Miami, Pinta Miami, and Aspen Art. Artist Residencies include the Lake Constance Cultural Department, Salem, Germany, The Vermont Studio Center, Salem Art Works, Salem, NY, and the Elizabeth Murray Artist Residency. Publications include Vast Magazine, Lunch Ticket Magazine, the Matador Review, and Studio Visit Magazine. Curated exhibitions include Our Heads and Masters of War at Albany Center Gallery; Abstract /’kelCHer/, OCC Art Gallery, SUNY Onondaga, Syracuse NY, and The Roaring Twenties, Joyce Goldstein Gallery, Chatham, NY.
Cirmo was born in Utica, NY (1977). He has an M.F.A.from the State University of New York at Albany. He lives and works in Albany,NY.
Microscopic organisms have existed on earth for thousands and millions of years. They are the first life on this planet. Maybe they will be the last? They are invisible and may not, therefore, seem of importance but they are essential for human life to exist. We depend on them. We need to be aware of their importance and perhaps make them as visible as do these works.
Dilys Jackson was born in Sri Lanka, and her family lived in South Africa before settling in the United Kingdom. She lives in Cardiff and works at the Bluetown Artists’ Studios. She has traveled and worked across the world, and has exhibited in Wales, Sweden, Ireland, Germany, Russia, France, Spain, and the United States.
Jackson has been the Arts Development Manager for a UK Environmental Trust and has undertaken a number of residencies producing public and other works with local communities in the UK. She formed the exhibiting group Iron Maidens (UK and US women sculptors working with cast iron), which she toured in the UK before it was exhibited in several galleries in the US.
Jackson has work in the collections of The National Museum and Gallery of Wales, The National Library of Wales, The New Hall Art Collection, Cambridge, South Wales University, the Sculpture Park, UK, Llandough Hospital, Wales, and in the United States at Salem Art Works and Franconia Sculpture Park . Her publications include Dilys Jackson: Sculptor and Dilys Jackson 7 to 77.
This is the first solo exhibition by Dilys Jackson at ProjekTraum FN.
Baker pays homage to the spirit of innovation that defined Friedrichshafen’s industrial past with delicate steel forms, and fabric with patterns generated by AI. Simultaneously, she prompts contemplation on the implications of emerging technologies, such as self-driving cars and AI, urging viewers to reflect on the delicate balance between progress and caution. Open by appointment through May 25th, 2024
Emily Baker (b.1989) is an interdisciplinary artist and researcher based in Atlanta, Georgia. She was born in Grass Valley, California and received her BFA in Interior Design from California State University, Chico. She received her MFA from the University of California, Santa Barbara in 2016.
Emily has shown her work nationally and internationally. Residencies include Salem Art Works (Salem, NY), The Vermont Studio (Johnson, VT), The Steel Yard (Providence, RI) and The Santa Fe Art Institute (Santa Fe, NM) during their 2020 Labor theme.
In 2022, she presented her work at the International Conference on Contemporary Cast Iron Art in Berlin, Germany. She was also awarded an exploratory research grant from the Center for the History of Business, Technology, & Society at the Hagley Museum & Library to examine DuPont’s contribution to the textile industry, specifically their role in women’s fashion in the United States during the rebirth of nylon’s image post-WWII.
She now is an Assistant Professor of Sculpture at Georgia State University in Atlanta, Georgia.
Baker’s research explores the rich history of metal manufacturing, paying homage to industrial legacies while re-envisioning the path forward. Her practice focuses heavily on the idea of identity, repair, and healing, both within the body and of place and considers the fragility of industry along with the economic and seismic shifts that will define the future of work. This exhibition specifically examines the diverse modes of transportation that have thrived in Friedrichshafen, Germany, spotlighting the pivotal industries that sustain global connectivity on a daily basis to further stress our interconnectivity. The internal structures found within modes of transportation are captured as delicate, abstracted steel forms.
Through a subtle collection of fragments, the artworks honor the region’s pioneering spirit while prompting a reflection on the greater society’s eagerness to embrace new technologies, including AI and autonomous vehicles.
Attic_EW 1 von 46 einzigartigen genähten Dia-Collagen, die bis zum 20. April auf Toniq Marketplace Launchpad zu sehen sind.
Video der gesamten Kollektion (mit 12 Memory Quilt Piece Project) hier: (7 Minuten)
Felicia Glidden (Ferose) prägt seit September 2022 auf den Internet-Computer-Socials nicht-fungible Kunstwerke (NFTs) aus fotografischen/skulpturalen Arbeiten. Nicht-fungible Token (NFTs) bieten einen digitalen Eigentumsnachweis. Die NFTs von Ferose sind Fotografien und Videos, die aus physischen Kunstwerken hergestellt wurden. Sie stellt ihre Sammlungen zusammen mit physischen Werken vom 15. März bis 21. April 2024 im ProjekTraumFN aus.
Gezeigte Sammlungen :
Basement: 212 Fotografien, die den Entstehungsprozess ihrer Skulpturen, Gemälde und Drucke aus ihrer Trashquilt-Serie zeigen. Geprägt auf NFT Anvil 22. September 2022
Video installation view at night: Ferose Attic_ICP 15. März – 21. April
Memory Quilts Pieces: 12 Photographs, die ihre erste Sammlung von genähten Diacollagen aus ihren Diasammlungen zeigen. Die physischen Arbeiten von neun der 12 wurden erstmals 2019 in der Mitgliederausstellung von Einmaleins im Kunstverein Friedrichshafen, Deutschland, ausgestellt. Diese physischen Kunstwerke werden ebenso wie die NFTs gezeigt werden. Diese Kollektion wurde im November 2022 auf dem Entrepot-Marktplatz geprägt.
Road Trip: 117 animierte Diafilme 13-Sekunden-MP4-Videos aus 6 x 6 cm großen Diafilmen, die in 4er-Gruppen zusammengenäht wurden. Diese Dias wurden in einem Lagerhaus in Washington DC aufgegeben und später an Ferose übergeben. Sie zeigen Dias von Reisen zu Denkmälern, Gärten und einer Vielzahl von Orten vor allem an der Ostküste der USA. Sie wurden im August 2023 an eine Online-Gemeinschaft, die Mitglieder ihres Attic-Portals auf DSCVR sind, abgeworfen (verschenkt). Sie werden derzeit auf dem Toniq-Marktplatz gehandelt.
Attic_EW: wird derzeit auf Toniqs Launchpad geprägt. Diese Sammlung von 46 Original-NFTs stammt aus der Diasammlung, die Ferose von ihrem Onkel EW geerbt hat. (1955 – 2001). EW. war als “Kite Gypsy” bekannt, der jeden Tag einen Drachen steigen ließ, und er war auch ein begabter Fotograf. In den 1980er und 90er Jahren verwendete er eine computergesteuerte analoge Kamera, um “Engel des Lichts” zu fotografieren, wobei er Mehrfachbelichtungen mit einer Kamera machte, die an einem mit einem Computer verbundenen Gestell im Studio hing. Diese Dias sind Überbleibsel dieser und anderer Arbeiten aus seiner Sammlung. Ferose erbte seine Dias im Jahr 2001 und zog mit ihnen von Studio zu Studio, bis sie 2017 von einer katastrophalen Überschwemmung heimgesucht wurde. Attic _EW ist die dritte in der Serie der überschwemmungsbeschädigten genähten Diacollagen. Die Originale aus dieser Serie sind als Quilts zusammengenäht und wurden bereits in Kunstgalerien in New York, der Schweiz und Deutschland gezeigt. Video der gesamten Sammlung (mit 12 Memory Quilt Piece Project) hier: (7 Minuten)
Attic_ICP ist ein NFT-Projekt von Ferose, die daran arbeitet, ihre Arbeit und die Arbeiten anderer traditioneller Künstler auf dem Internet-Computer als NFTs zu kuratieren.
Warum Web3? Felicia Glidden möchte Künstlern dabei helfen, ihren digitalen Fußabdruck im Internet zu besitzen und von Tantiemen aus zukünftigen Verkäufen zu profitieren.
Attic_ICP ist ein Projekt, das Glidden zusammen mit ProjekTraum FN durchführt, um Künstlern zu helfen, von ihrer kreativen Arbeit zu profitieren.
4 NFT collections on view with their physical counterpart artworks
Finissage April 21, 2024
Ferose Attic_ICP
March 15 – April 21th
2 pm to 6 pm
Birthday Cake at 3PM
Attic_EW 1 of 46 unique sewn slide collages minting through April 20 at https://toniq.io/sale/atticew
Video of entire collection (with 12 Memory Quilt Piece Project) here: (7 minutes)
Felicia Glidden (Ferose) on the Internet Computer socials has been minting Non-fungible artworks (NFTs) since September 2022 from photographic/sculptural-based works. Non-fungible Tokens (NFTs) provide digital proof of ownership. Ferose’s NFTs are photographs and videos made from physical artworks. She is exhibiting her collections, alongside physical works at ProjekTraumFN from March 15th through April 21th, 2024.
Collections on view :
Basement: 212 photographs showing the process of making her sculptures, paintings, and prints from her Trashquilt series. Minted on NFT Anvil Sept. 22, 2022
Memory Quilts Pieces: 12 Photographs depicting her first collection of sewn slide collages from her slide collections. The physical work of nine of the 12 was first exhibited at the Einmaleins (maleins) Members Exhibition, Kunstverein Friedrichshafen, Germany in 2019. This physical artwork will be shown as well as the NFTs. This collection was minted on Entrepot Marketplace in November 2022.
Road Trip: 117 animated slide film 13-second MP4 videos made from 6 x 6 cm slide film sewn together in groups of 4. These slides were abandoned in a Washington DC warehouse and later given to Ferose. They depict travel slides to monuments, gardens, and a variety of sites primarily on the east coast of the US. These were airdropped, (gifted ) to an online community that are members of her Attic portal on DSCVR in August 2023. They are currently trading on Toniq Marketplace.
Attic_EW: is currently minting on Toniq’s Launchpad. This collection of 46 original NFTs is made from the slide collection Ferose inherited from her uncle EW. (1955 – 2001). Known as the Kite Gypsy, who flew a kite every day, EW was also an accomplished photographer. In the 1980s and ’90s, he ran a computer-controlled analog camera to shoot ‘Angels of Light’, using multiple exposures with a camera suspended from a rig in the studio that was connected to a computer. These slides are remnants of this work and others from his collection. Ferose inherited his slides in 2001 and moved them from studio to studio until she had a catastrophic flood in 2017. Attic _EW is the third in the series of flood-damaged sewn slide collages. The originals from this series are sewn together as quilts and have been shown in art galleries in New York, Switzerland and Germany. Video of entire collection (with 12 Memory Quilt Piece Project) here: (7 minutes)
Attic_ICP is an NFT project by Ferose who is working to curate her work and other traditional artists’ work onto the Internet computer as NFTs.
What is the Internet Computer? Here is the website for more information
Why Web3? Felicia Glidden is interested in helping artists own their digital footprint online and benefit from royalties on future sales.
Attic_ICP is a project Glidden is running alongside ProjekTraum FN to assist artists in benefiting from their creative work.
Funded by the NEUSTART KULTUR program of the Stiftung Kunstfonds for the promotion of contemporary visual arts, current abstract reverse glass paintings will be shown.
Coincidence can be used as an explanation for many things, be it the question of the reason for our existence, whether a butterfly can actually trigger a natural disaster by flapping its wings, or prevent the same by doing so.
“Hans Vinzenz Seidl’s works oscillate between these poles of the imaginable (or less imaginable). The baroque exuberance of Seidl’s world of forms enters into an almost dangerous love affair with a color scheme that sometimes borders on kitsch. In the process, classically traditional painting materials meet, just as unexpectedly and quite naturally, with costly high-tech substances of the 21st century. Artistic calculation and control on the one hand, and playful chance on the other, lead in interaction to very astonishing results.”
(Clemens Ottnad, Managing Director Künstlerbund Baden-Württemberg)
Soft Outer Ring Installation | Video 24. July – 21. August 2022 Opening 24 July 2 -5 pm the artist will be present
Judy Stone is a Washington DC area artist who works in a variety of media including sculpture, drawing, installation, video, and performance. In her recent work, her drawings on paper expand onto walls, floors, and ceilings, creating immersive geometric environments that include neon, video, platforms, stairs, and industrial materials such as mirrors and artificial turf.Stone’s drawings depict spaces of condensed anxiety that reveal the tension between psychological structures and freedom. These structures are found on glass, walls, floors, windows, ceilings, and paper media such as scientific grid sheets, account books, targets.Her work is in private and public collections in the U.S. and abroad.“…there is a huge gift given by the Eastern philosophies in the idea of interconnectedness, interdependency. That nothing stands by itself. Things only stand because other things have helped them out.” Judy Stone
At first glance the works of Anne Carnein and Chris Duncan might appear to have little in common. Carnein’s sculpture is organic, literally rooted, often colored in umber shades. The materials – cloth and thread – seem natural, and intended to reflect nature. Like plants, the sculptures search out the light or push their way down into the earth.
Duncan’s work in paper, cardboard and resin is bright and artificially colored. The surfaces are shiny and industrial. The sculptures start from the floor and lurch or twist up. The forms originate in geometry and the language of constructed sculpture. What do they have to do with nature, and what do they have to do with Anne Carnein’s work?
Well…both artists have a studio-based practice. Both make objects that are hand built and mostly low-tech. Their sculptures are constructed, assembled from parts. They emphasize materiality. In Carnein’s sculptures, close inspection reveals a patchwork of fabric, color, and detailed stitching, creating surfaces and forms far more complex than they first appear. Duncan’s sculptures have torn and cut edges and visible hardware located casually throughout. Color is layered on, and surfaces switch from painted and epoxied to raw and exposed.
Both artists work and re-work materials and images looking for a structure that’s visually satisfying, layered, and open to different meanings. Both create sculptures that are intended to encompass and perhaps evoke feelings, sensations, memories. You could say that both artists value a kind of tension between the raw and the cooked. They each require an immediacy in their particular working process that allows for response to the way a work looks and feels; to qualities of gravity, balance, and surface that make sense visually, physically and emotionally. They value both rationality and passion, structure and gesture. And in the end they each want to be at least a little bit surprised.
The Covid – 19 Sculptors Drawing Project ‘I5OLATION’ came about via a conversation between Sculptors, Coral Lambert and Cynthia Handel when they were checking in on each other in early April 2020. They were discussing how the pandemic was affecting studio work and what kind of support artists needed.
Sculptors tend to work in collaboration or with a team of others to produce and install work so much of the artist’s practice had stopped altogether, been on hold or changed drastically. They found that many sculptors turned to drawing. Drawing is a practice that can be carried out alone and sometimes fits in-between other tasks such as teaching online.
The portfolio represents an international collection of women sculptors from the USA and Europe. All of the women in the portfolio are over 50 years of age and
approach sculpture in diverse materials and practices from public and process-based art to installation and performance.
The ‘I5OLATION’ portfolio includes various methods of drawing from mixed media and collage to traditional pencil and watercolor.
Limited Edition prints are available for purchase at $125 each. Proceeds go directly to support the individual artists in this era of uncertainty.
Alone, together // Alleine, zusammen features work made in 2020-21 individually by featured artist Kristen Tordella-Williams and collaboratively between Tordella-Williams and artists and musicians from the USA and Germany. The first work is a portfolio of drawings made solely by Tordella-Williams using watercolor and mixed media on toned Canson paper. Titled the Quarantine Portfolio, each lifelike drawing features items found around the artist’s home and were made in the early days of the pandemic. Due to the timing, all of the mundane objects have a sinister undertone while displaying the small moments of the early days of isolation.
The second work is Bound, an experimental video piece made by salem2salem residency alumni over the summer of 2020 into the fall. The twenty-minute video features original music scored by German musicians Michael T. Otto and Phillipe Wozniak as well as American musician Will Phalen. The video imagery features depictions of nature, performance art, destruction, and binding/unbinding with performances by American artists Amy Kaps and Kristen Tordella-Williams as well as German artist Hans Winkler. The lyrics focus on the international lockdown and its resulting ripple effect on our sanity and day-to-day experience. Multiple volunteers from America and Germany contributed to the final work by recording the text and contributing their own audio and video readings.
Finally, the bright red Alligator Dream sculptures greet viewers at the front of the gallery. Alligator Dreams is a transatlantic sculptural collaboration between Kristen Tordella-Williams and Susanne Zazo. The two artists met in 2019 at the salem2salem residency program in Salem, NY and have since made sculptures, performance art, photography, poetry, and drawings centered on an abstract alligator form. The Alligator Dream piece featured in this exhibition is a culmination of two years working together over video conferencing until they were finally reunited in person to make art together in July of 2021.
Ultimately, the exhibition describes these unprecedented times when we were often physically alone, but our hearts and minds were able to come together through creative perseverance and the marvels of modern technology. Alone, together // Alleine, zusammen celebrates the spirit of collaboration and imagination despite the overarching challenges of our present moment and the bonds made between makers that transcend physical and political boundaries.
Kristen Tordella-Williams is an interdisciplinary artist and arts educator based in the American South. She has exhibited nationally and internationally, most recently in an old slaughterhouse in Sigmaringen, Germany. She has been an artist in residence at Salem Art Works, the Ateliers im Alten Schlachthof, and Franconia Sculpture Park. Kristen has received grants from the Greater Jackson Arts Council and the Mississippi Arts Commission to support the creation of the Eudora Welty Wreath, a large-scale, community-engaged public sculpture. Kristen is the Vice-President of the Mid-South Sculpture Alliance board and is the coordinator of the Midtown Sculpture Walk in Jackson, MS. Thematically, her work shows the impact of the past on our present through labor, both personal and communal. Our imprint on the environment around us and the reciprocal impressions our bodies hold from the wear and tear of working are explored in her work using a variety of materials and processes including cast iron, hand papermaking, printmaking, and collaboration.
The ensemble ‘Project-Resonance‘ was born from the meeting of two musicians Peter Bácsi and Alain Wozniak, who are enthusiastic about the common search for the living sound and interpretation.
The French musician Alain Wozniak (clarinet, flute, saxophone, electronic instruments) completed his broad education in Germany, Austria, and France. The accomplished soloist and chamber musician taught at the Berlin University of the Arts and was for many years solo clarinetist at the Theater des Westens, Berlin. As a conductor, he has won national and international prizes with the Symphonic Youth Wind Orchestra Friedrichshafen and Swiss orchestras from Au and Schaffhausen. He has been teaching and conducting at the Music School in Friedrichshafen since 2002 and is also music director of the Stadtkapelle Albstadt-Tailfingen. Péter Bácsi is a classical guitarist from Budapest, born into a family of music-loving engineers. His musical career began at the age of 15, with László Vereczkei, and then developed further with the renowned teacher Ede Roth in Budapest and later in Győr. The years of study also brought success in competitions, both as a soloist and in ensemble playing – among others in Szeged International Guitar Competition, ‘Continuo’ Music Competition Budapest, and in Balatonfüred Guitar Festival. He received his Master’s degree in Performance in 2015 and worked in Frankfurt am Main from September 2015 to 2017. Since 2017 he lives in Friedrichshafen and works as a guitar teacher at the Musikschule Friedrichshafen.
* Visitor info:
Please note the current information on our website. According to the current status, access is only for those who have been tested, vaccinated or recovered. Please bring a proof of your health to the visit and read and follow the hygiene concept.
–> here you can inform yourself about the incidence in FN –> here the step plan of the opening steps in BW
Collaborator Bios:
Susanne Hackenbracht (DE) is a steel sculptor and painter born 1967 in Brannenburg, Germany. She has been a freelance artist since 1998 and is the co-founder of the sculpture park project “Neue Kunst am Ried” in Wald, Hohenzollern. “In Susanne Hackebrachts work every now and again elementary forms appear –like circles, semicircles, rectangles or cylinders. They seem to be like a concealed vocabulary, some sort of hidden system of notation that has to be read and decoded. Besides these forms, she often deals with the substance she uses in an elementary way. Steel, concrete, iron, glass and oil-based paint meet the observer often in a raw and visible materiality. This immediate treatment of the material – the forming out of the formless – is crucial to her work. The boundaries between wilful pieces and coincidentally made ones often become blurred. The spectre ranges as far as the appearance of the material as amor-phous mass to precisely crafted geometrical forms. In the work of Susanne Hackenbracht, these extremes aren’t mutually exclusive. Further the geometrical vocabulary provides a distancing perspective in the otherwise often intuitively and immediately appearing work.”
– Katharina Wetzel, Art Historian
Amy Kaps (USA) is an interdisciplinary artist recognizable by her signature palette of Black and White Stripes with Pink accents. Possessing a predilection for the abstract and surreal while emphasizing the human form and condition, she presents a psychological puzzle enticing the viewer to question what they see. Highly conceptual with the intention of altering perception and provoking thought, she questions the status quo while reveling in a feast for the senses, deciphering common denominators while recognizing the similarities within our differences connecting us regardless of age, race or gender. Working in the realms of performance, installation, video, photography, music and words in the United States, Germany, Cuba and Spain, Amy Kaps was conceived in Columbus, Ohio, born in Brooklyn, NY, raised in suburban New Jersey, schooled in upstate NY and Japan, lived in New York, Köln, Germany and currently resides in Venice, California and occupies a studio in DTLA.
Michael T. Otto(DE) Ausgebildet an der Hochschule für Musik und Tanz Köln. Otto ist Pädagoge, Komponist, Arrangeur und Gründer diverser Ensembles wie z.B. „STUBENJAZZ“. Nebenbei entwickelt er mit dem Instrumentenbauer Fritz Lüttke Trompeten und Flügelhörner, ist Erfinder des in Trompeten- /Posaunen-Kreisen bekannten Whisper-Penny® und führt die künstlerische Leitung des MONTFORT JAZZ CLUB am Bodensee.
Will Phalen (USA) is a composer, producer, and multi-instrumentalist born and raised in Wisconsin and currently living in Chicago, USA. His work focuses on the intersection of past, present and future in music and finding unique, innovative ways of wedding together the old and the new, the acoustic and the electronic, the fret board and the mother board — exploring folk modalities as they collide with contemporary and progressive frameworks. Will runs a record label (Sub-Urban Arts Collective), a recording studio (Cold Ghost Recordings), and a music school (Midwestern School of Music). When he’s not making music or teaching music or recording music, Will enjoys cooking meals at home, camping in the woods of Wisconsin, and visiting the Logan Square Farmer’s Market with his wife Anna, their daughter Lulu and their dog Ziggy.
Hans Winkler (DE) Hans-Christian Winkler was born in 1989 in the Black Forest and studied art education painting and graphics with Prof. Corinne Wasmuht at the Academy of Fine Arts in Karlsruhe. From 2014-2016, he then completed his studies in intermedia design at Discoteca Flaming Star in Stuttgart. In 2016, he also participated in the FART 1st Stuttgart South International Film Festival. Hans Winkler, participated in the salem2salem International Artist Exchange twice and trained as an art educator in 2017-2018.
Philippe Wozniak (DE) (*1985) is a German composer. His compositions never reveal the complete structure. This results in the fact that he can easily imagine his own interpretation without being hindered by the historical reality. With a conceptual approach, he tries to increase the dynamic between audience and musicians by objectifying emotions and investigating the duality that develops through different interpretations. His works directly respond to the surrounding environment and use everyday experiences as a starting point. Often these are framed instances that would go unnoticed in their original context. Philippe Wozniak currently lives and works in Freiburg (Germany).
The gallery is open Fr./Sa.from 2 pm -6 pm and by email or telephone appointment
“Felicia Glidden verweist in ihrem Ölgemälde “International Relations” auf die politisch angespannte und unbefriedigende Situation zwischen den Großmächten, mit einem Seitenhieb auf Donals Trump in Sachen Coronakrise” Erwin Niederer für Suedkurier 05.Juni 2020
“Felicia Glidden refers in her oil painting “International Relations” to the politically tense and unsatisfactory situation between the great powers, with a side blow to Donal’s trump in the Corona crisis”
Felicia Glidden Impression | Abdruck at Kunsthaus Caserne January 2020
Scroll for the English version of the following speech about the exhibition which was written and presented by Katrin Seglitz at the opening.
Katrin Seglitz
Rede für die Vernissage der Ausstellung „Impression/Abdruck“ von Felicia Glidden am 17.1.2020
im Kunsthaus Caserne in Friedrichshafen Fallenbrunnen
Wenn man in diesen Raum kommt, ist man beeindruckt von den großformatigen Arbeiten, die hier hängen. Impression/Abdruck hat Felicia die Ausstellung genannt, und beide Wörter haben einen Hof von Bedeutungen: In der Impression hören wir die Presse, das Pressen, den Druck, das Drucken und Drücken und Eindrücken. Begriffe, die mit Druck und Druckverfahren zu tun haben. Und der Frage, was einen Eindruck hinterlässt.
Diese Frage stellt sich Felicia, dieser Frage geht sie experimentell mit ihren Arbeiten nach, der Frage, was sie beeindruckt, so beeindruckt, dass sie nach einem Ausdruck dafür suchen muss.
Sie ist in Minneapolis aufgewachsen und hat in der Stadt gelebt bis sie 18 war. Danach ist sie zum Studium nach Duluth gegangen. Sie hat Mathe und Ingenieurwesens studiert und Kurse belegt in Visual Art und Dance. Duluth liegt am Oberen See, einem der drei riesigen Seen im Norden der USA, an der Grenze zu Kanada.
Duluth hat einen großen Hafen, von hier aus fahren Schiffe über den Sankt-Lorenz-Seeweg bis in den Atlantik. Rohstoffe werden in Duluth verschifft: Eisenerz, Getreide, Kohle, Öl und Holz. Die Stadt selbst ist mit 86 000 Einwohnern keine große Stadt, nur wenig größer als Friedrichshafen.
In ihrem 3. Studienjahr hat sich Felicia ganz der Kunst zugewandt.
Sie zog in ein altes Holzhaus mitten im Wald, in der Nähe des Sees, eine Stunde von Duluth entfernt. Sie hat sich in der Garage ein Atelier eingerichtet, mit Holz geheizt, Kunst gemacht und das Geld, das sie zum Leben brauchte, mit der Renovierung von Häusern und Booten verdient. Sie hat in der Natur und mit der Natur gelebt, eine Erfahrung, die sie bis heute trägt. Und prägt.
Womit wir wieder beim Druck sind und beim Eindruck, den etwas hinterlässt. Noch bevor sie die Mülltrennung in Deutschland kennengelernt hat, hat sie, als sie im Wald lebte, den Müll getrennt. Seit zwei Jahren sind die Verpackungen mehr und mehr in den Fokus ihrer Aufmerksamkeit gerückt.
Two-Faced Void Oil on aluminium-coated paper 57 x 56 cm 2020
Auch Verpackungen werden entworfen und hergestellt. Sie dienen dem Schutz von Lebensmitteln und Produkten. Werden geöffnet oder aufgerissen, abgerissen und entfernt. Sie haben eine dienende Funktion, werden in der Regel übersehen.
Felicia macht sie sichtbar, indem sie Kartons auseinanderklappt, unter Papier legt und mit Grafit darüber reibt, so dass ein Abdruck entsteht. Sie hat aufgeklappte Kartons und Verpackungen zusammengenäht. Und aus Plastiktüten Trashquilts gemacht.
Anfangs wurde die Entdeckung der Herstellung von Kunststoffen gefeiert. Der Erfolg führte zu massenhafter Produktion. Längst fühlen wir uns bedrängt und bedroht durch die Flut von Plastik in jeder erdenklichen Form.
Und doch gibt es Kunststoffe, von denen wir uns wünschen, dass sie uns überleben. 1856 wurde Zelluloid entwickelt, ab 1870 vermarktet und weiterentwickelt als Trägermaterial für Filme. 1951 wurde die Herstellung eingestellt, denn Zelluloid ist leicht entzündlich. In trockener Umgebung sinkt der Wassergehalt und Zelluloid wird zum Sprengstoff, der sich spontan entzünden kann.
Zelluloid wurde ersetzt durch eine mit einer Fotoemulsion beschichteten transparenten Folie aus Tri-Acetat oder Polyester. Streifen aus dem Zeitalter analoger Fotografie finden sich noch in vielen Haushalten. Auch bei Felicia.
Als der Keller von Felicia und Alain bei einem Hochwasser überflutet wurde, wurde klar, dass auch Tri-Acetat und Polyester verdirbt, wenn es nass wird. Die Dias in ihrem Archiv zeigen neben den festgehaltenen Augenblicken auch abstrakte Landschaften von sich ausbreitendem Schimmel. Felicia hat aus den zerstörten Fotos eine memory skin gemacht, eine Erinnerungshaut. Und sie zu einer Allegorie der Vergänglichkeit gemacht.
Felicia Glidden plastic, acrylic,thread, Chodachrome slide film, negative film, 178 x 113 cm 2019
Felicia: „Die Zeit ist wie eine Flut, die das, was mal Gegenwart war, überzieht und ausbleicht.“
Kunststoffe dienen der Verpackung, dem Schutz von Dingen, aber auch als Träger von Erinnerungen. Felicia geht es in dieser Ausstellung darum, ihre Materialität sichtbar zu machen und die Formen, die im Umlauf sind.
Das ist der eine Aspekt, der eine Teil ihrer hier ausgestellten Arbeiten. Der andere Aspekt ist das Sichtbarmachen von emotionalen Eindrücken. Andy Dunhill hat sie beeindruckt. Ihm hat Felicia ein Buch gewidmet mit Frottagen. Das Wort Frottage kommt aus dem Französischen von frotter – reiben. Ein Verfahren, das Max Ernst ab 1925 entdeckt und entwickelt hat. Bei der Frottage wird die Oberflächenstruktur eines Gegenstandes oder Materials durch Reiben mit Hilfe eines Stifts auf ein aufgelegtes Papier übertragen. Die Frottage ist ein künstlerisches Stilmittel zur Integration vorgefundener Strukturen.
Andy war ebenfalls Künstler, Bildhauer und Zeichner. Wir waren zusammen in Spetzgart, bei dem Künstleraustausch Salem2Salem, bei dem sich jeden Sommer deutsche und amerikanische Künstler und Künstlerinnen treffen, mal in Schloss Salem, mal in Salem Art Works im Staat New York. Felicia kannte Andy schon länger, von Amerika, von der Arbeit im Franconia Sculpture Park. Ich habe ihn erst in Spetzgart kennengelernt und war beeindruckt von seiner Ausdruckskraft. Er arbeitete mit schwarzer Tusche und heftete die Skizzen, die in rascher Folge entstanden, an die Wände seines Zimmers.
Ich sah sie durch das offene Fenster, sah ihn am Schreibtisch sitzen und zeichnen, und dachte: Wow! Da ist ein neuer Picasso. Geballte Kraft, geballte Fäuste, Pommes und lästige Fliegen, seine Skizzen verrieten großes Können, elementare Kraft und: Humor. Er war Brite und kam nach Amerika, weil Obama gewählt worden war. Für Felicia war er ein Künstlerkollege, dessen Urteil aufrichtig war. Wenn er etwas sagte, war das eine honest critic, eine ehrliche Meinung, er nahm kein Blatt vor den Mund.
Sein Tod war ein Schlag. Sein Vermächtnis ist seine Kunst. Und seine Art zu arbeiten: Mit Kraft, Können und Humor. Mit der Frottage als Stilmittel zur Integration anderer Strukturen thematisiert Felicia Einfluss und Eindruck durch andere Menschen.
Was beeindruckt uns?
Wer beeindruckt uns? Was geht unter die Haut?
Der Philosoph Schelling schrieb vor 200 Jahren, dass sich bewusste Tätigkeit mit einer bewusstlosen Kraft verbinden muß, damit ein Kunstwerk entsteht.
Felicia arbeitet immer wieder mit Traumbildern und Tagebuchnotizen. Zeichnet Buchstaben und Wörter aus diesen Traumbildern in die Farbe, die sie auf die Kartons aufträgt, bevor sie Abdrücke macht.
Felicia Glidden oil, ink on paper 275 x 150 cm 2017
Eine Serie von Trashquilts hat sie Tête du Travers genannt. Tête du Travers ist der Name des Bergs, gegen den ein Pilot 2015 ein Flugzeug mit 149 Passagieren gesteuert hat. Tête heißt Kopf. Le travers ist der Fehler oder die Quere. Esprit de travers bedeutet Querköpfigkeit. Gegen einen Berg mit dem Namen Querkopf hat ein Querkopf ein Flugzeug gelenkt und viele Menschen mit sich in den Tod gerissen.
Was ist im Kopf des Piloten vorgegangen?
Fünf Tage später schrieb Felicia unter dem Eindruck des Absturzes einen Text. Teile dieses Textes tauchen auf ihren Trashquilt Prints auf.
Kann dieser Vorgang zu einer Allegorie für unser eigenes Verhalten werden? Was geht in unseren Köpfen vor, wenn wir durch unseren Konsum, den hemmungslosen Verbrauch von Rohstoffen andere Menschen, andere Generationen schaden?
Für Felicia hat sich der Unfall am Tête du Travers verbunden mit der Wahlkampagne von Trump. Sein Verhalten ähnelt dem Verhalten des kranken Piloten. Der eine hat ein Flugzeug gegen einen Berg gelenkt, der andere ist dabei, ein ganzes Land gegen die Wand zu fahren. Und die halbe Welt.
Seine Worte: Trashtalk. Lügen, schön verpackt.
Believe me. Trust me.
Felicia Glidden oil, ink and thread on paper 50 x 40 cm 2017
Der Gegensatz von der Selbstdarstellung dieses Angebers und einem einfachen Leben im Wald ist groß. „Walden“ heißt das Buch von Thoreau, das zu einem Kultbuch geworden ist. Darin ist auch die Rede, heißt es: „Wozu diese verzweifelte Jagd nach Erfolg, noch dazu in so waghalsigen Unternehmungen? Wenn ein Mann nicht Schritt hält mit seinen Kameraden, dann vielleicht deshalb, weil er einen anderen Trommler hört. Lasst ihn zu der Musik marschieren, die er hört.“
Künstler folgen ihren Eingebungen. Sie ermutigen andere durch ihre Kunst, zu hören, was in ihnen laut wird, wenn sie allein und ganz still sind. Wenn sie im Wald sind. Oder am See entlang gehen. Am Oberen See bei Duluth. Oder am Bodensee.
Die Winter in Duluth sind kalt. So kalt, dass der Obere See zufriert. Es gibt Filme, in denen man sieht, wie sich das Eis aus dem See aufs Land bewegt. Knirschend bedroht es Häuser und Menschen. Natur ist bedrohlich. Kann bedrohlich sein. Bedrohlich wie Menschen. Bedrohlich wie ihre Worte.
Felicia hat Bricks aus Metall und Papier gemacht, mit denen sich Mauern errichten lassen. Aber sie hat keine Mauer gebaut. Die Bricks liegen in einem Haufen auf der Bühne. Bruchstücke einer abgrenzenden Haltung, der Felicia etwas anderes entgegensetzt: Den tänzerischen Schwung, mit dem sie Grafitstifte über die Papierbahnen führt. Damit bringt sie eine andere Energie zum Ausdruck, fegt das Starre, Erstarrte, Eisige und Vereiste weg, das sich in den letzten Jahren in der amerikanischen Politik ausgedrückt hat.
Im Sommer 2019 hat Felicia in Salem mit Kassandra gearbeitet. Eine Serie beeindruckender Bilder ist entstanden. Kassandra kam aus Troja und hat vor dem Untergang ihrer Stadt gewarnt. Und wurde doch nicht gehört. In ihre Kassandra-Bilder hat Felicia Schlagzeilen und Artikel über Amerika unter der unberechenbaren Führung durch Trump eingearbeitet.
Und sie hat das Motiv des kippenden Hauses entwickelt, ebenfalls nach einem Traum, in dem sie die Worte hörte, shore it up! Das Haus muss gestützt werden! Das Haus kann als Symbol für Amerika und seine aktuelle Regierung verstanden werden, aber auch für unseren Planeten.
Kurz vor dem ersten Weltkrieg hat Jan van Hoddis das Gedicht Weltende geschrieben:
Dem Bürger fliegt vom spitzen Kopf der Hut, In allen Lüften hallt es wie Geschrei. Dachdecker stürzen ab und gehn entzwei Und an den Küsten – liest man – steigt die Flut.
Der Sturm ist da, die wilden Meere hupfen An Land, um dicke Dämme zu zerdrücken. Die meisten Menschen haben einen Schnupfen. Die Eisenbahnen fallen von den Brücken.
We need to shore this up (blue) oil on aluminum-coated paper 21 x 20 cm 2020
Jan van Hoddis verbindet mit leichter Hand Banales und Apokalyptisches. Den Schnupfen und das Gefühl einer existenzielle Bedrohung. Es ist ihm gelungen, ein Bild zu schaffen für seine Zeit. Danach suchen wir, wenn wir Kunst machen. Und betrachten. Wir suchen nach einem Ausdruck für das, was uns unter die Haut geht. Felicia zeigt uns in dieser Ausstellung, was sie umtreibt, was sie beeinflusst und beeindruckt hat. Lassen Sie sich beeindrucken!
Katrin Seglitz
Speech for the vernissage of the exhibition “Impression/Abdruck” by Felicia Glidden on 17.1.2020 at the Kunsthaus Caserne in Friedrichshafen Fallenbrunnen
When you come into this room, you are impressed by the large-format works hanging here. Impression/Printing is what Felicia called the exhibition, and both words have a courtyard of meaning: In Impression, we hear the press, pressing, printing, pressing and pressing and pressing. Terms that have to do with printing and printing processes. And the question of what makes an impression. This is the question Felicia asks herself, this is the question she pursues experimentally with her works, the question of what impresses her, impresses her so much that she has to look for an expression for it. She grew up in Minneapolis and lived in the city until she was 18. After that she went to Duluth to study. She studied math and engineering and took courses in visual art and dance. Duluth is located at the Upper Lake, one of the three huge lakes in the north of the USA, on the border with Canada. Duluth has a large harbour, from here ships sail across the St. Lawrence Seaway into the Atlantic Ocean. Raw materials are shipped in Duluth: iron ore, grain, coal, oil and wood. The city itself, with 86,000 inhabitants, is not a large city, only slightly larger than Friedrichshafen. In her 3rd year of study Felicia turned completely to art. She moved into an old wooden house in the middle of the forest, near the lake, one hour from Duluth. She set up a studio in the garage, heated with wood, made art and earned the money she needed to live by renovating houses and boats. She has lived in and with nature, an experience that she still carries today. And shapes. Which brings us back to printing and the impression that something leaves behind. Even before she got to know waste separation in Germany, she separated garbage when she lived in the forest. For the past two years, packaging has become more and more the focus of her attention. Packaging is also designed and produced. They serve to protect food and products. Are opened or torn open, torn down and removed. They have a serving function, are usually overlooked. Felicia makes them visible by unfolding cardboard boxes, placing them under paper and rubbing them with graphite to create an imprint. She has sewn unfolded cardboard boxes and packaging together. And made trash quilts from plastic bags. In the beginning, the discovery of the production of plastics was celebrated. The success led to mass production. For a long time, we have felt oppressed and threatened by the flood of plastic in every conceivable form. And yet there are plastics that we wish would survive us. In 1856, celluloid was developed, and from 1870 it was marketed and further developed as a carrier material for films. In 1951, production was discontinued because celluloid is highly inflammable. In a dry environment, the water content decreases and celluloid becomes an explosive that can ignite spontaneously. Celluloid was replaced by a transparent film of tri-acetate or polyester coated with a photo emulsion. Stripes from the age of analogue photography can still be found in many households. Also with Felicia. When the cellar of Felicia and Alain was flooded during a flood, it became clear that tri-acetate and polyester also spoil when it gets wet. The slides in her archive show not only the captured moments but also abstract landscapes of spreading mould. Felicia has made a memory skin from the destroyed photos, a memory skin. And turned them into an allegory …of impermanence. Felicia: “Time is like a flood that covers and bleaches out what was once present.” Plastics are used for packaging, for protecting things, but also as carriers of memories. In this exhibition, Felicia is concerned with making their materiality visible and the forms that are in circulation. This is one aspect, one part of her works exhibited here. The other aspect is the making visible of emotional impressions. Andy Dunhill impressed her. Felicia dedicated a book to him with frottages. The word frottage comes from the French word frotter – to rub. A procedure that Max Ernst discovered and developed from 1925 onwards. In frottage, the surface structure of an object or material is transferred to a piece of paper by rubbing it with a pencil. Frottage is an artistic stylistic device for the integration of found structures. Andy was also an artist, sculptor and draftsman. We were together in Spetzgart, at the artist exchange Salem2Salem, where German and American artists meet every summer, sometimes in Salem Castle, sometimes in Salem Art Works in New York State. Felicia had known Andy for a long time, from America, from the work at Franconia Sculpture Park. I only met him in Spetzgart and was impressed by his expressiveness. He worked with black ink and pinned the sketches, which were created in rapid succession, to the walls of his room. I looked at them through the open window, saw him sitting at his desk and drawing, and thought “Wow! There’s a new Picasso. Concentrated power, clenched fists, chips and annoying flies, his sketches revealed great skill, elemental strength and: humor. He was British and came to America because Obama had been elected. For Felicia, he was a fellow artist whose judgment was sincere. When he said something, it was an honest critic, an honest opinion, he did not mince his words. His death was a blow. His legacy is his art. And his way of working: With strength, skill and humor. Using frottage as a stylistic device to integrate other structures, Felicia thematizes influence and impressions by other people. What impresses us? Who impresses us? What gets under your skin? The philosopher Schelling wrote 200 years ago that conscious activity must combine with an unconscious power in order to create a work of art. Felicia always works with dream images and diary notes. Draws letters and words from these dream pictures in the paint she applies to the cardboard boxes before making prints. She has called a series of trash quilts Tête du Travers. Tête du Travers is the name of the mountain against which a pilot piloted a plane with 149 passengers in 2015. Tête means head. Le travers is the mistake or the cross. Esprit de travers means head. Against a mountain called Querkopf, a Querkopf steered an airplane and took many people with him to his death. What was going on in the pilot’s head? Five days later, under the impression of the crash, Felicia wrote a text. Parts of this text appear on her trash quilt prints. Can this process become an allegory for our own behaviour? What goes on in our heads when we harm other people, other generations, through our consumption, the unrestrained consumption of raw materials? For Felicia, the accident at the Tête du Travers has become linked to Trump’s election campaign. His behaviour is similar to that of the sick pilot. One has steered a plane into a mountain, another is about to drive a whole country into a wall. And half the world. His words: trash talk. Lies, nicely packed. Believe me. Trust me. The contrast between the self-expression of this show-off and a simple life in the woods is great. “Walden” is the name of Thoreau’s book, which has become a cult book has become. It also says: “Why this desperate pursuit of success, especially in such daring ventures? If a man cannot keep up with his comrades, it is perhaps because he hears another drummer. Let him march to the music he hears.” Artists follow their intuition. They encourage others through their art to hear what becomes loud in them when they are alone and silent. When they are in the forest. Or walking along the lake. By the Upper Lake near Duluth. Or by Lake Constance. The winters in Duluth are cold. So cold that the Upper Lake freezes over. There are movies that show the ice moving from the lake to the land. It crunches, threatening houses and people. Nature is threatening. It can be threatening. Threatening like people. Threatening like their words. Felicia has made bricks of metal and paper that can be used to build walls. But she didn’t build a wall. The bricks are in a pile on the stage. Fragments of a demarcating attitude that Felicia counters with something else: …the dancing movement she uses to run graphite pencils across the paper. In doing so, she expresses a different energy, sweeping away the rigidity, congealment, iciness and icing that has been expressed in American politics in recent years. In the summer of 2019, Felicia worked with Cassandra in Salem. A series of impressive pictures has been created. Kassandra came from Troy and warned of the downfall of her city. And yet she was not heard. In her Cassandra pictures, Felicia has incorporated headlines and articles about America under the unpredictable leadership of Trump. And she has developed the motif of the tilting house, also after a dream in which she heard the words, shore it up! The house must be supported! The house can be understood as a symbol for America and its current government, but also for our planet. Shortly before the First World War, Jan van Hoddis wrote the poem Weltende:
The citizen’s hat flies off the pointy head, The air is filled with the sound of screaming. Roofers crash and split And on the coasts – one reads – the tide is rising.
The storm is here, the wild seas are honking Ashore to crush big dams. Most people have a cold. Railroads fall off bridges.
Jan van Hoddis combines the banal and the apocalyptic with a light hand. The sniffles and the feeling of an existential threat. He has succeeded in creating an image for his time. This is what we look for when we make art. And we look at it. We look for an expression for what gets under our skin. In this exhibition, Felicia shows us what drives her, what has influenced and impressed her. Let yourself be impressed!
Lakes / Lines ist eine Sammlung von Arbeiten, die sich mit Formen und Volumen sowie deren Dimensionen beschäftigen. Eine Linie ist eine Abstraktion einer einzelnen Dimension. Die Grenze einer Form ist eine Linie, die sich krümmt, um sich selbst zu treffen. Ein See präsentiert eine flache Oberfläche, bis ein Boot oder eine Brise das Flugzeug kippt. Breitengrad und Längengrad sind Teile eines gefertigten Gitters, bis sie sich zu den Polen der Erde beugen.
Leah Frankel spielt mit diesen bekannten geometrischen Abstraktionen und wie sie ins Reale und Organische einfließen. Sie interessiert sich für die Verformbarkeit eines Gitters oder den flachen, dimensionslosen Schatten eines Objekts. Sie malt Grids, die eine leere, gefüllte Gewebeskulptur enthüllen, die ihren Silhouetten gegenübergestellt ist, und animierte Formen, um Unvollkommenheiten der konzeptuellen Reinheit zu zeigen, wenn sie auf unsere greifbare Welt angewendet werden.
Leah Frankel ist eine bildende Künstlerin, deren Werk sich mit dem Verhältnis der menschlichen Existenz zu ihrer bemerkenswerten Umgebung beschäftigt. Frankels Installationen nutzen gewöhnliche Objekte, um die Aufmerksamkeit auf die Schwerkraft der Erde, den Lauf der Zeit oder die Ebenheit des Horizonts zu lenken. Frankels ortsspezifische Projekte umfassen die Earthcube Colony im Art Museum of the Americas in Washington, D.C., eine Reliefdarstellung des Wissahickon Watershed aus recycelten Baumaterialien in der The Art Gallery at Germantown Academy, in Fort Washington, PA, und eine Reihe von Installationen in, um und als Reaktion auf einen Hinterhofschuppen in Columbus, Ohio. Leah Frankel hat auch mit Choreografen zusammengearbeitet, die Sets für ihre Performances entwerfen und kreieren, und kürzlich Hardened Shapes ausgestellt, ein Gemeinschaftsprojekt mit der Dichterin Iris Cushing, das Farbe, Form und Muster untersucht: ein Dialog zwischen Text und Bild bei Bright Hill Press in Treadwell, NY. Frankel schloss 2014 ihren MFA an der Ohio State University ab und ist derzeit Assistant Professor of Sculpture am Hartwick College in Oneonta, NY.
Péter Bácsi ist ein in Ungarn geborener klassischer Gitarrist, der einer Familie von musikbegeisterten Ingenieuren angehört. Er begann im Alter von 19 Jahren in Budapest bei der renommierten Lehrerin Ede Roth formell klassische Musik zu lernen. Im Jahr 2013 schloss er seinen Master-Abschluss in Musikpädagogik ab. Peter hat an der Musikschule Bartók Béla und als Vertreter von Professor Roth in Budapest unterrichtet. Er ist erfolgreich bei Wettbewerben, sowohl als Solist als auch im Ensemblespiel – Höhepunkt ist der 1. Preis des Internationalen Wettbewerbs von Szeged.
Von 2013 bis 2015 setzte er sein Studium in der Klasse des angesehenen Lehrers und Konzertgitarristen Carlo Marchione fort. In Maastricht konzentrierte sich Peter auf Ensemble-Musik und hatte zahlreiche Konzerte mit Geigern, Sängern und Cellisten verschiedener Formationen. Sein Diplom schloss er 2015 ab. Von September 2015 bis 2017 lebte und arbeitete Peter in Frankfurt und seit 2017 in Friedrichshafen als Lehrer an der Musikschule Friedrichshafen. Zusammen mit dem Flötisten Eszter Simon hat er das Duo Favilla” gegründet, dessen Konzerttätigkeit 2019 begann.
ENGLISH VERSION:
Leah Frankel Lakes | Lines
07 – 28 July, 2019
Opening
Sunday 07 July 6 – 9 pm
Introduction
6:00 PM Interview with the artist
Péter Bácsi: Guitar
Lakes / Lines is a collection of works that explore shapes and volumes, and their dimensions. A line is an abstraction of a single dimension. A shape’s boundary is a line that curves to meet itself. A lake presents a flat surface until a boat or a breeze ripples the plane. Latitude and longitude are parts of a fabricated grid until they bend towards the poles of the earth. Leah Frankel plays with these familiar geometric abstractions and how they bleed into the real and organic. She am interested in the malleability of a grid or the flat dimensionless shadow of an object. She paints grids exposing a void, stuffed fabric sculptures juxtaposed with their silhouettes, and animated forms to show imperfections of conceptual purity when applied to our tangible world.
Leah Frankel is a visual artist whose work deals with the relationship of human existence to its remarkable environment. Using site as impetus, Frankel’s installations employ ordinary objects to draw attention to the earth’s gravity, the passing of time, or the flatness of the horizon. Her site-specific projects include Earthcube Colony at the Art Museum of the Americas in Washington, D.C., a relief rendering of the Wissahickon Watershed made from reclaimed building materials at The Art Gallery at Germantown Academy, in Fort Washington, PA, and a series of installations in, around, and in response to a backyard shed in Columbus, Ohio. Leah Frankel has also worked with choreographers designing and creating sets for their performances, and recently exhibited Hardened Shapes, a collaborative project with poet Iris Cushing exploring color, shape, and pattern: a dialogue between text and image at Bright Hill Press in Treadwell, NY. Frankel completed her MFA at The Ohio State University in 2014 and is currently Assistant Professor of Sculpture at Hartwick College in Oneonta, NY.
Péter Bácsi is a classical guitarist born in Hungary, into a family of music loving engineers. He started formally learning classical music at the age of 19, in Budapest, with the renowned teacher Ede Roth. Tand in 2013 he completed his Master Degree in Music Education. Peter has taught in the ‘Bartók Béla’ music school, and as a substitute for Professor Roth in Budapest. He has success in competitions, both as soloist and in ensemble playing – the highlight being the 1st prize of the Szeged International competition. From 2013 to 2015 he continued his studies in the class of the esteemed teacher and concert guitarist, Carlo Marchione. In Maastricht, Peter focused on ensemble music, and had numerous concerts with violinists, singers, and cellists with different formations. He completed his diploma in 2015. From September 2015 until 2017 Peter lived and worked in Frankfurt, and since 2017 in Friedrichshafen, as a teacher of Musikschule Friedrichshafen. Together with flutist Eszter Simon he has founded ‘Duo Favilla’, whose concert activity began in 2019.
ProjekTraum FN: l’Atelier Glidden Wozniak is a project space & studio for visual art and music. You can support us by you buying original artwork from artists’ studios through our SHOP | https://projektraumfnart.com/
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Joanna Klakla
Icon Body
05 Mai - 02 Juni, 2019
Vernissage | Sonntag 05 Mai. | 17:30 - 20:30
Einführung 18:00 UHR Ursula Erchinger | Künstlerin
Nicolas Wozniak | Oboe, Electronics
In den aktuellen Arbeiten wird der transkulturelle Aspekt der Schrift zur Grundlage für die Entwicklung von neuen Schriftkörpern und Kaligrafie Tafeln. Diese Körperlichkeit der Schrift entwickelte sich durch studieren und betrachten von mittelalterischen Handschriften von dem deutschen Mystiker Heinrich Seuse und der mitttelalterischen Miniaturenkunst (2018,Projekt Himmelskörper, SusoHaus,Überlingen) Sie ist aber gleichzeitig inspiriert worden durch die Kalgrafie Tafeln Weltweit, Kulturübergreifend und derren kontenplativen und meditativen Wirkung. Joanna Klakla, geb 1971 in Krakau, 1990-1995 Studium für Holzschnitt und Kunsterziehung am Kunstinstitut der Pädagogischen Universität in Krakau in Polen. Dozentin der Jugendkunstschule, Bodenseekreis in Meersburg.
Ursula Erchinger wohnt in Überlingen und arbeitet als freie Künstlerin im Bereich der Malerei und Zeichnung. Parallel gründete sie 2002 eine Kunstschule für Erwachsene, die Kunstwerkstatt Überlingen. Sie studierte Kunstpädagogik und Kunst an der Universität Freiburg.
Uraufführung der neuen Komposition 55dB von Nicolas Wozniak. Für den Musiker Wozniak erklingt die Religion in Deutschland öffentlich durch Glockengeläut und den Ruf des Muezzins. Mit der Oboe spürt er den Geräuschen und Klängen des Minaretts und Glockenturms nach und entwickelt Parallelen dieser unterschiedlichen Welten. Wozniak studiert an der Musikhochschule Würzburg bei Prof. Jochen Müller-Brincken.
Zu dieser Ausstellung werden wir einen Katalog veröffentlichen.
ProjekTraum FN Ausstellungskataloge| Xavier Tavera (2018), Felicia Glidden (2018), Fryderyk Heinzel (2018), Julie Anne Ward (2017) und Jim Denomie (2015).
ProjekTraum FN: l’Atelier Glidden Wozniak ist ein Projektraum & Studio für Bildende Kunst und Musik. Unterstützen Sie uns | SHOP
ENGLISH VERSION:
In Icon Body, the transcultural aspect of writing becomes the basis for the development of new typefaces and calligraphy tables. This corporeality of writing developed through the study and observation of medieval manuscripts by the German mystic Heinrich Seuse and medieval miniature art (2018, project Himmelskörper, SusoHaus, Überlingen). Joanna Klakla is inspired by the calligraphy tables worldwide, cross-cultural and their content-platative and meditative effect. Joanna Klakla, born 1971 in Krakow, 1990-1995 studied woodcut and art education at the Art Institute of the Pedagogical University in Krakow, Poland. Lecturer at the Youth Art School, Lake Constance District in Meersburg.
Ursula Erchinger will be introducing the work in Icon Body, she lives in Überlingen and works as a freelance artist in painting and drawing. In 2002, Erchinger founded the Art Workshop Überlingen. She studied art education and art at the University in Freiburg
Premiere of the new composition 55dB. For musician Nicolas Wozniak, the religion in Germany sounds publicly through the ringing of bells and the call of the muezzin. With the oboe he traces the noises and sounds of the minaret and bell tower and develops parallels between these different worlds. Wozniak is completing his Masters at the University of Music in Würzbug with Prof. Jochen Müller-Brincken.
We will be publishing a catalog for this exhibition.
ProjekTraum FN exhibition catalogs |Xavier Tavera(2018), Felicia Glidden(2018), Fryderyk Heinzel(2018), Julie Anne Ward (2017) and Jim Denomie (2015)
Next Exhibition |Leah H. Frankel | Lakes / Lines | July 7, 2019 | 6:00 pm
ProjekTraum FN: l’Atelier Glidden Wozniak is a project space & studio for visual art and music. You can support us by you buying original artwork from artists’ studios | SHOP
15. Die Neuwerk Kunsthalle e.V. hat für die Kunstnacht ein spezielles Konzept ausgearbeitet. Kunst wird in den Kellerräumen präsentiert – in den Werkstätten der Neuwerker – inmitten der Arbeitsatmosphäre zwischen Werkzeugen und Maschinen, Fertigem und Unfertigem. Der Keller hat eine Vielzahl von Funktionen und er ist eine besondere Art des Freiraums. Er ist Lager-, Werk- und Hobbyraum, er bietet Schutz oder dient als Versteck. Mit Kellerräumen assoziieren wir Dunkelheit, vielleicht auch Ängste, sie wecken Erinnerungen an Marmeladengläser und eingemachte Kirschen, Kartoffeln und Bier. Keller und Kunst haben eine mächtige Wirkung.
15. The Neuwerk Kunsthalle e.V. has developed a special concept for the Kunstnacht. Art is presented in the basement rooms – in the workshops of the Neuwerker – in the middle of the working atmosphere between tools and machines, the finished and the unfinished. The cellar has a multitude of functions and is a special kind of open space. It is a storage, work and hobby room, it offers protection or serves as a hiding place. We associate cellar rooms with darkness, perhaps also fears, they awaken memories of jam jars and pickled cherries, potatoes and beer. Cellars and art have a powerful effect.
Felicia Glidden,
Kodachome slide film, black and white photographic film
2019
Felicia Glidden Trashquilt Repose Felicia Glidden ist sich im Zeitalter der Plastik besonders des Übergangs vom Analogen zum Digitalen bewusst. Wenn sich Technologien ändern, wie werden unsere Erinnerungen gespeichert? Wird die nächste Entwicklung in der Bildspeichertechnologie vielleicht Kunststoff sein, der ewig halten kann? Ist der Griff nach dem Bild, die Aufbewahrung von Archiven immer ein sinnloses Rennen gegen die Natur, die es zurücknimmt, formt, verblasst, zerstört? Material: Kunststoff, Karton, Papier, Faden, Acryl- und Ölfarbe, Kodachrome-Dias, Negativfilm, fotografische Emulsion, LED-Leuchten Abmessungen variabel
Felicia Glidden Trashquilt Repose Felicia Glidden is particularly aware of the transition from analog to digital. When technologies change, how are our memories stored? Will the next development in image storage technology be plastic that can last forever? Is the grasp on the image, the storage of archives always a senseless race against nature, which takes it back, shapes, fades, destroys it? Material: plastic, cardboard, paper, thread, acrylic and oil paint, Kodachrome slides, negative film, photographic emulsion, LED lights Variable dimensions
Alain Wozniak at the opening reception for Davor Ljubicic’s Constellations-Drawing Installation
Dialogues Souterrains Klarinette, Komposition, Sounddesign: Alain Wozniak, Oboe: Nicolas Wozniak Alain Wozniak zeigt mit „Dialogues Souterrains“ eine musikalische Performance mit Klarinette und Oboe – vereint mit einer elektronischen Toninstallation. Diese Arbeit widmet sich der Architektur des Klangs im Raum in Interaktion mit dem Publikum. Alain Wozniak wurde in Frankreich geboren, spielt Klarinette, ist Lehrer und Dirigent. Begleitet wird er auf der Oboe von Nicolas Wozniak.
BasementDialogues clarinet, composition, sound design: Alain Wozniak, oboe: Nicolas Wozniak With “Dialogues Souterrains”, Alain Wozniak presents a musical performance with clarinet and oboe – combined with an electronic sound installation. This work is dedicated to the architecture of sound in space in interaction with the audience. Alain Wozniak was born in France, plays the clarinet, is a teacher and conductor. He is accompanied on the oboe by Nicolas Wozniak.
KunstMachtKeller zeigt Installationen und Projektionen der Künstler:
