Madeleine Boschan (born 1979) is a German artist.
Biography
editMadeleine Boschan studied at the Hochschule für Bildende Künste Braunschweig from 2000 to 2006, where she was taught by John Armleder.
Since 2010 she has participated in numerous institutional exhibitions throughout Europe and North America focusing on: artistic strategies dealing with preconditioned role-models and relationships of people and architecture,[1] as well as new tendencies of Abstract art,[2] contemporary art from Berlin or Germany,[3] and the interdisciplinary impact of the cabinet of curiosities on contemporary thinking, science and exhibition practice.[4]
Practice
editStarting in 2008, Madeleine Boschan built her sculptures from found material. These first objets trouvés were modified, reassembled and brought into relation with each other by colour interventions.[5] The different components lost their common value of utilization. With their machine-like appearance these sculptures seem to suggest expedience, still, they inhere in a kind of defunctionalised dissociation – as do indigenous fetishes or desolate and disused apparatus.[6]
From her extensive occupation with Samuel Beckett's TV-pieces, such as "Quod I" and "Quod II", which he realized in 1981 for the German SDR, and his late "closed space stories" as "Worstward Ho" (1983) Madeleine Boschan has derived genuine poetics of space: Space 'itself' is empty and incomprehensible. It is for a body to appear within this void to designate it as a place, to grant contour, form, and shape to it, to constitute it as 'surrounding space'. According to Beckett, Boschan emphasises that spatial experience is first and foremost a physical experience: how does a body gain its halt and stand within the void, how does it find its appropriate place and holds up this position, how does it interact with other bodies?[7]
In 2013 and 2014, she revised and reconsidered her primary pictorial vocabulary: standing, reclining, towering, tilting, arching as well as expansion, contraction, colour, form, measure, and positioning. For in a prudently arranged turn and, particularly, in contrast to the gestalt-like linearity of her prior works, she addresses herself to purely planar bodies; situated residing freely throughout the given space in utterly different phenomenal states; each for itself, yet, constantly in relation to each other.[8] Furthermore, Madeleine Boschan has inseparably incorporated "Technicolor's" base colours (red, blue, green, yellow, magenta, cyan, + black and white) into her forms. Colour is, thus, not just appended or appliquéd to her sculptures; rather, the specific chromaticity, being an immediate part of the sculptural operation, originates its very own specific forms.[8]
In the years following, a most elementary question, Roland Barthes' final enquiry constituted the basis of her practice: "How to live together?" As she herself stated: "The earlier sculptures were linear, for sure, intrinsic and averted, withdrawn from us. And after some years, I simply longed to make them more planar, to give them more surface, realign them towards the surrounding space and relate them closer to us. If you like as a broadside at the beholder. And honestly, to me they are still all the same. Not visually, of course, but they all pose the same existential question of spatial corporality, of how a body gains its own stand, finds its appropriate place and holds up this position."[9]
After 2016, "pieces dwelling on the concept of 'spaces within space' and, at the same time, of passage or transition"[9] emerge, "fictive and functionless artefacts" which "retain the utopian ideas that are contained in the architectural strategies she references":[10] Brazilian Tropicália, Jorge Ben, Astrud Gilberto, and Oscar Niemeyer, or James Cameron's cinematic use of the L.A. River-bed, Blade Runner's electric billboards, the topic of a ruinous antiquity, and the pastel colours of 1980's Miami.[9]
In 2018 and 2019, Madeleine Boschan boldly turned the negative void space of the open passages and walk-through situations of her previous portals into positive shapes or entities. The beholders are confronted with a new corporeality. Accordingly, the surrounding walls and spaces associate themselves with these planar objects, conveying both their given objecthood as well as their potential pictorialness.
Solo exhibitions
edit2022
- Lying on stony ground the fragments, Kirche St. Getrud, Cologne
- it´s just a kiss away, Galerie Bernd Kugler, Innsbruck, Austria
2019
- In twilight these ridiculous and exquisite things descendingly move among the people, gently and imperishably, Sunday-S Gallery, Copenhagen, Denmark
- Tulips and chimneys, Galeria Maior, Palma de Mallorca, Spain
- the enormous room, Galerie Bernd Kugler, Innsbruck, Austria
2017
- BB 105/146, Galerie Lange und Pult, Zurich, Switzerland
- What lays bare in me, Collectors Agenda, Vienna, Austria
- Partance, Galerie Bernd Kugler, Innsbruck, Austria
2016
- in which its gaze, bent merely on itself, upholds and gleams, Hezi Cohen Gallery, Tel Aviv, Israel
2015
- Escapement (with Andy Hope 1930), Neue Galerie Gladbeck, Germany
- Galerie Bernd Kugler, Innsbruck
- or am I seduced by its ambient mauve, Herrenhaus Edenkoben, Germany
- what´s wrong with your eyes, Larry, Berlin, Germany
2014
- Technicolor: a) Feld, b) Fläche, Marburger Kunstverein, Marburg, Germany
- Capri, Vitamin, Reutlingen, Germany
- Deal with ´em, Jagla, Köln, Germany
2013
- Closed Space Stories, Hezi Cohen Gallery, Tel Aviv, Israel
- Don't you wonder sometimes 'bout sound and vision, Kunstverein Heppenheim, Heppenheim, Germany
- Say a body. Where none. Say a place. Where none. For the body. To be in., Kunstverein Ulm, Ulm, Germany
- Scope = immeasurable, Einraumhaus, Mannheim, Germany
- Anwesenheit unerreichbarer Bezugspunkte, Galerie Bernd Kugler, Innsbruck, Austria
2012
- An open Field, a Factory, a By-pass, Gloria, Berlin, Germany
2011
- Kayfabe, Galerie Bernd Kugler, Innsbruck, Austria
- RoidRage, Kwadrat, Berlin, Germany
- Niteflix, Autocenter, Berlin, Germany
2010
- Kalt, modern und teuer, Kwadrat, Berlin, Germany
- Cosmic Camping, Appartement, Berlin, Germany
Group exhibitions
edit2020
- 31:women. (Exhibition after Marcel Duchamp, 1943)., Daimler Art Collection, Berlin, Berlin
- Jubeljahr, Städtisches Museum Schloss Salder, Salzgitter Salzgitter
- Intermezzo, Galerie Bernd Kugler, Innsbruck, Austria Innsbruck
2019
- some trees, Nino Mier Gallery, Los Angeles, Los Angeles
- Comrades of time IV, Whatspace c/o Hardspace, Basel Basel
- Avanti, Michael Horbach Stiftung, Cologne Cologne
2018
- Junge Kunst / Junge Künstler, Skulpturenpark Heidelberg, Heidelberg
- Light in / as image, Daimler Art Collection Stuttgart-Möhringen
2017
- Zehn Jahre Zürich, Galerie Lange + Pult, Zurich, Switzerland
- Lob des Schattens (Italienischer Raum), Marc Strauss Gallery New York City, US
- Modern sculpture, Galería Casado Santapau, Madrid, Spain
- Artists´Books for Everything, Weserburg | Museum für Moderne Kunst, Bremen
- Berlin-Klondyke, Umetnostna Galereija Maribor, Maribor, Slowenia
- Three, two, one, Abbot Kinney, Venice, US
- The Gift Collection, Galerie Bernd Kugler, Innsbruck, Austria
2016
- Enea, Jona, Switzerland
- Moby Dick Filets, Secession, Vienna, Austria
- Welt am Rand, Kunsthaus Erfurt
- bedsitter, Mirante, Vienna, Austria
- Still Still Life, Galerie Bernd Kugler, Innsbruck, Austria
2015
- Wo ist hier?# 2: Raum und Gegenwart, Kunstverein Reutlingen, Germany
- Enea, Jona, Switzerland
- 18, Galerija Contra, Zagreb, Slovenia
- Vanitas extended, Stedelijk Museum, Ypres, Belgium
- Standard International – Post Spatial Devices No. II, Geisberg, Berlin, Germany
- Berliner Edition, Salon Dahlmann, Berlin, Germany
- Leipziger Edition, Kulturforum Altenkamp, Schloss Holte–Stukenbrock, Germany
- Caritatis, Semperdepot, Vienna, Austria
2014
- Luggage and observations, Galerie Klaus Gerrit Friese, Stuttgart, Germany
- Psycho Killer, qu'est-ce que c'est?, Galerie Börgmann, Mönchengladbach, Germany
- Present, Kunstraum Kreuzberg / Bethanien, Berlin, Germany
2013
- Publications, Galerie Bernd Kugler, Innsbruck, Austria
- Berlin Klondyke, Hipp Halle, Gmunden, Austria
- Novecento mai visto. Highlights from the Daimler Art Collection. From Albers to Warhol to now, Museo di Santa Giulia, Brescia, Italy
- The Legend of the Shelves, Autocenter, Berlin, Germany
2012
- Accelerating toward Apocalypse (Private / Corporate VII), Daimler Contemporary, Berlin, Germany
- Gare de l'Est, Esslinger Kunstverein, Villa Merkel, Esslingen, Germany
- En désordre, Philara – Sammlung zeitgenössischer Kunst, Düsseldorf, Germany
- Berlin Klondyke, Neuer Pfaffenhofener Kunstverein, Pfaffenhofen, Germany
- Gentle Giants II, Kwadrat, Berlin, Germany
- Abstract confusion, Kunsthalle Erfurt, Erfurt, Germany
- Status. Berlin (1), Künstlerhaus Bethanien, Berlin, Germany
- Black Oriental, Galerie Bernd Kugler, Innsbruck, Austria
- Eine Frau, ein Baum, eine Kuh, Museum für Konkrete Kunst Ingolstadt, Ingolstadt, Germany
2011
- Based in Berlin, Hamburger Bahnhof, Berlin, Germany
- Berlin Klondyke, Art Center, Los Angeles, U.S.
- Synecdoche, Bourouina Gallery, Berlin, Germany
- Abstract confusion, Kunstverein Ulm, Ulm, Germany
Private and public collections
edit- Daimler Art Collection, Stuttgart, Germany
- Philara – Sammlung zeitgenössischer Kunst, Düsseldorf, Germany
References
edit- ^ e.g. Es gibt … There is … Reflexionen aus einem beschädigten Leben? Reflections from a damaged Life?, b-05 Montabaur (http://www.b-05.org), May 15 – September 16, 2012
- ^ e.g. Abstract confusion, b-05 Montabaur (http://www.b-05.org), Kunstverein Ulm (http://www.kunstverein-ulm.de), Neue Galerie Gladbeck (http://www.neue-galerie-gladbeck.de), and Kunsthalle Erfurt (http://www.kunsthalle-erfurt.de), May 2011 – June 2012
- ^ e.g. Based in Berlin (http://www.basedinberlin.com), June 8 – July 24, 2011; see also: Based in Berlin, ed. Kulturprojekte Berlin, Walther König, Cologne 2011, pp. 82-83 as well as Gesine Borcherdt, Berlins wahre Kunsthalle, www.art-magazin.de, 18.03.2013
- ^ e.g. Wunderkammer, Autocenter Berlin (http://www.autocenterart.de), September 7 – 22, 2012
- ^ see: "Madeleine Boschan", in: Berlin. Status (1), ed. Künstlerhaus Bethanien, Kettler, Bönen 2012, pp. 26-29 as well as: Renate Wiehager, Madeleine Boschan, in: Accelerating toward Apocalypse (Private / Corporate VII) – The Doron Sebbag Art Collection Tel Aviv and the Daimler Art Collection, Stuttgart / Berlin 2012, pp. 98-101
- ^ see: Jeni Fulton, Madeleine Boschan – The rise of machines in sculptures, in: Sleek Magazine, vol. 37, Spring 2013, pp 110-111 as well as Ivona Jelcic, Technoide Wesen vom anderen Stern – Madeleine Boschan in der Galerie Bernd Kugler, Tiroler Tageszeitung, 04.10.2011
- ^ cf: Madeleine Boschan – Say a body. Where none. Say a place. Where none. For the body. To be in., exhibition catalogue Kunstverein Ulm, ed. Monika Machnicki and Christian Malycha, with texts by Samuel Beckett and Hendrik Lakeberg, Q.H.S.O.I.Q.O.C.M.S., Berlin 2013
- ^ a b see: Madeleine Boschan – Technicolor: a) Feld, b) Fläche, exhibition catalogue Marburger Kunstverein, ed. Christian Malycha and Anja Isabel Schneider, Harpune Publishers, Vienna 2015
- ^ a b c Madeleine Boschan in conversation with Peter Ibsen for Copenhagen Contemporary, August 2015: http://copenhagen-contemporary.dk/madeleine-boschan-qa-with-german-artist-madeleine-boschan/
- ^ Bridget Gleeson, Fresh Designs from a Modern Sculptor Invigorated by Architectural History, Artsy, March 21, 2016: http://madeleine-boschan.de/wp-content/uploads/Fresh-Designs-from-a-Modern-Sculptor-Invigorated-by-Architectural-History_20160321.pdf
External links
edit- Official website
- Galerie Bernd Kugler, Innsbruck, Austria
- Hezi Cohen Gallery, Tel Aviv, Israel