Künstlerhaus Dortmund
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Im Kielwasser / In the backwash

A cooperation with Kunstverein Haus 8 e.V., Kiel

Januar 25 – February 23



Backwash is the wave that spreads behind a boat as it moves forward. 'In the backwash' means to follow somebody or something, in order to benefit from it. Artists from the city Kiel follow the Kunstverein Haus 8 e.V. to the Kuenstlerhaus in Dortmund.

Participating artists:

Joanna Binge–Jastrzebska
Ute Diez
Rainer Gröschl
Nina Heidemann
Zuzana Hlinakova
Corinna Kraus-Naujeck
Anka Landtau
Kerstin Mempel
Anke Müffelmann
Birgit Saupe
Chili M. Seitz
Tamer Serbay
Elke Schweigart



Opening on 24/01/2014




Joanna Binge–Jastrzebska


Ink on paper, 2013



Ute Diez (in collaboration with Robin Romanski)


Kuenstlerparkplatz, an artistic intervention in public space

With this collaboration Ute Diez and Robin Romanski put the artist in the tradition of the indigent outsider of society. They do not focus on the image of the succesful artist but consider artists as individuals that need to be integrated with the help of a sign. A sign that differs from its real counterpart only in background colour and which is according to the text imposed by a non-existing authority.



Rainer Gröschl


Streumunition 2012

With drawings made with pencil, ink and tea that look harmonic at first sight Rainer Gröschl refers to situations that we all like to blind out in our daily life. As for instance the subject of cluster munition (“Streumunition”) that is depicted in the drawing in a fragile and playful way that stands in extreme contrast to its real danger. This discrepancy aims to provoke a critical discourse.



Nina Heidemann


Blühende Kakteen – installation at the museum freighter Cap San Diego, 2013.

A lot of family fotos, found on a flea market, documents life of a captain over several hundreds of decennia.



Zuzana Hlinakova



Tides, Installation with cut erratic boulders

Tide: coming and going, appearing and disappearing. The cosmic forces: Tides are periodic water movements of oceans powered by tidal forces.
A haiku of stone: Like a haiku the stones kept in abeyance between coming and going. A Moment. The boulders stem from the Schleswig-Holstein gravel-pits



Corinna Kraus-Naujeck


Göta Älv, 2012, mixed-media on a nautical chart (water colour painted with sea water, pen and algae print)



Anka  Landtau



A small sailor / look in, look out, telescope, video (length approx. 350 cm), 2010/11

A telescope is part of the essential equipment of a marine vessel. With a telescope you can see details as well as getting a view over long distances. A video in the telescope shows water, parts of a sailor suit, a story made by yourself...



Kerstin Mempel


steam asian 1

Kerstin Mempel investigates her environment with pencil and brush. Painting and drawing on site she can filter out and reduce her subjects to the most essential.



Anke Müffelmann



Tränenmelkmaschine, 2012, diverse materials

Having a background in ceramics, Anke Müffelmann is naturally dealing with vessels and their culturally laden meanings. Leaving the field of utility ceramics she creates objects with a traditional symbolism that transforms them into new allegories within the context of the present. Interculturality plays a central role in her work: in the shapes and rituals of the foreign, the inexplicable of the familiar becomes visible.



Birgit Saupe


Laboratorium: 1940

My art project is focused on the relationship between humans, machines, animals and their hybridization at the border areas of biology, myths of creation. It triggers the connections between life, science, art and engineering reflecting our rapport to nature within our current information society. The overlap between the natural and the artificial as a substantial dialog between body and material challenges the central, ethically sacrosanct principle of development based on progression and adaptation.



Elke Schweigart


o.T. , from the series  „Island“ 2012, ink on paper 29,5 x 42 cm.

Based on observed forms of landscapes I make extractions of the most important forms and characteristics. The landsape of Iceland  I studied last year is here coining.



Chili M. Seitz


own your own view, 2012, an artistic intervention in public space, here: documentation of the archival sheets / frames and text on wall

This work is an intervention in three spaces: in public space, in the world_wide_web and in gallery space.
„And this single moment
Will always be my mental property
Heaven won't get it back.”
12 park benches in the public space of Berlin furnished  with a brass plate, which  states: „own your own view – an art project by Chili Seitz.“.
Sitting in the middle of  the park bench with this brass plate attached, the bench becomes the central point of your own view at this very moment. Sitting on the bench, a view of the surrounding is opening up that compares to the view onto a painting or a photography. Your own view will always be an indiviual one, always different and cannot be copied. It is an immaterial, ephemeral view, only existing for the viewer, invisible for the counterpart. Even the actual owner of the view cannot hold on to it forever. “Own your own view” ignores this rule and declares each individual view a monument. The work is part of the archives of immaterial monuments, founded by the artist.



Tamer Serbay


Moin, moin, wohin damit?, installation Kuenstlerhaus Dortmund, 2014

A site-specific installation referring to nuclear fuel rods. 
 


Chili Seitz and Ute Diez

light installation in the mex basement

Photographs can be seen on old slide projectors. By splitting the images through glass planes and prisms their fragments are scattererd within the space. In this walkable installation the visitor is moving within the image. The temporal rhythm of the projectors creates a composition in which ever differing image elements are superimposed.
The work ‘Kellerschein’ (basement glow) was inspired by the the invitation of Künstlerhaus Kiel to exhibit at Künstlerhaus Dortmund and the actual identical use of both buildings and addresses the fragmental superposition of basement spaces. The basement as the basis of a building: the original function of the buildings – a former military hospital on one side and a former pithead bath on the other side –  is not preserved in both cases. The work expresses the differing history and the identical current use of the two buildings by means of the play with illusion and reality through light splitting.



Concept and Organisation: Elly Valk-Verheijen, Patrick Borchers with Tamer Serbay, Verena Voigt (Kunstverein Haus 8)
images of works ©: the artists
installation views ©: Hannes Woidich
photos opening ©: Hannes Woidich
kindly suported by:

Cultural Department of the City of Dortmund, Sparkasse Dortmund, DEW 21