KATINKA PILSCHEUR

KATINKA PILSCHEUR
www.katinkapilscheur.de
27 - 04 - 2012 / gallery koal / Berlin
27 - 04 - 2012 / gallery koal / Berlin
Specifically for the dimensions of the gallery space, Katinka Pilscheur has developed an installation that
unites color and architectural structure. The work’s conception emerged following a stay by the artist in
Cuba in 2011-2012.
The basis of the installation is a wooden scaffolding - resembling constructions used in Cuba to stabilize
buildings in danger of collapsing - that is suspended between the two long walls of the gallery, where it
virtually “hovers”. This independent architectural-sculptural configuration is simultaneously the supporting structure for the large-scale color panels which are integrated by corresponding to the formal
structure and loosely lean against it.
This time, in contrast to her earlier color/paint works, Pilscheur chose from a range of Cuban automobile paints which she purchased on the island - not the vibrant colors typical of the Caribbean, but
instead ones which reflect the tones of the natural surroundings.
Fundamentally, Pilscheur’s artistic involvement with colors drawn from everyday contexts is propelled
by a double interest: they are the medium of her color field paintings, which are concerned with surface,
chromatic value and dimensions, and, at the same time, are material, which is to say substance, within
which a history inheres and that endows the paintings with an object character.
Jurriaan Benschop critics pick`s Artforum International online 2012
27 - 04 - 2012 / gallery koal / Berlin
Cuba (Series I)
azul metalico / rojo bermellon / verde jardin / gris perla
car paint on canvas / each 99 x 70 cm
Cuba (Series I)
azul metalico / rojo bermellon / verde jardin / gris perla
car paint on canvas / each 99 x 70 cm
13 - 09 - 2013 / gallery koal / Berlin
aluminum panel / 150 x 290 x 2 cm / covered with BMW night blue
brass pipe / rectangular bar structure 370 x 370 x 370 cm / neon arch
I was drawn to Katinka Pilscheur at the very beginning; I knew we had something in common. From the
moment I saw power tools and materials piled in wait, I knew: this was my childhood. The soft metal
memories of mine, bent into an arc of energy; the suffering of hard labour but the joy and understanding
of a true days work.
The destruction and rebirth of Berlin’s scenes of construction. The wait for something spectacular and
the result of something mundane. As we up look at the ivory tower of glass and metal only to feel dismay,
lower your eyes; change lies at the very core and center of being. Change is more than the world
building up around us.
Pilscheur captures still shots of seemingly benign pieces of the whole and cages them. She is tempting
the viewer to irritate these faux animals to see what they are really made of.
She will create an unease in our legs; hand painted white steel forms a perfect cube with 480 hand
drilled holes. Upon installation the cube will be set tilted and the perfectly symmetrical space will be
transformed. From a solid state underfoot to one of a nameless liquid form; Midnight blue refracting
light from a self-bent neon arc. Pilscheur has created something of stature from the pieces of everyday
norm and viewing, but pieces that will test the very balance of the minds equilibrium.
This will not be the work for the faint hearted, so while Pilscheur steps back to breathe and admire a
pinnacle in her career. We invite you partake, as it seems, our work as the viewer has only just begun.
Tristan Boisvert, Art Parasites, 2013
13-09 -2013 / gallery koal / Berlin
13-09 -2013 / gallery koal / Berlin
05-2012-1 / raw materials - Vom Baumarkt ins Museum / MKK Ingolstadt
230 x 250 x 450 cm / insulation material / construction material
05-2012-1 / raw materials - Vom Baumarkt ins Museum / MKK Ingolstadt
230 x 250 x 450 cm / insulation material / construction material
...........In Ingolstadt errichtest Du einen Stapel aus verschiedenfarbigen Dämmplatten. Diese Farbigkeit
ist ja vom Hersteller wahrscheinlich nicht zufällig gewählt. Weißt du etwas darüber?Die Farben haben
jeweils eine bestimmte Bedeutung - hellblau kennzeichnet einen anderen Dämmfaktor als gelb oder
orange. Die Farbe dient also einfach zur Unterscheidung der unterschiedlichen Materialeigenschaften und
- qualitäten, beziehungsweise der Hersteller auf dem Bau. Trotzdem ist es eigenartig: Wer sitzt eigentlich
da und designt diese merkwürdigen Farben und Muster? Das habe ich mich schon oft gefragt. Aber es
spielt für meine Arbeit keine Rolle. Was mich interessieret, sind hier die Farbe und das Stapeln an sich.
Mich fasziniert wie es, das etwas ganz Neues entsteht, was einen beeinflusst, verändert oder vielleicht
dafür sensibilisiert, wie man sich im Bezug auf den Raum und seine Umwelt bezieht..........
Interview aus: raw materials, Vom Baumarkt ins Museum, Herausgeber Amely Deiss und Tobias Hoffmann,
Kerber Verlag, 2012
exhibition view MKK Ingolstadt / 05-2012-1
RIO / 2012
cintura baixa / verde palmeira / agua fresca /amarelo sol / tech
brazilian nail polish on canvas / each 25 x 30 cm
25 25S 49 15W / 52 30N 5 56W / SIM galeria 2013 / Curitiba Brazil
25 25S 49 15W / 52 30N 5 56W / SIM galeria 2013 / Curitiba Brazil
...The chance meeting begins on the outside, with the painting barcode performed by Katinka Pilscheur
in the approximate color hue to a famous manufacturer of synthetic enamels, Colorama, names
Garota Verão, Summer Girl. As everyone knows, barcodes represent the product it refers to, or at
least its price. The artist, however, reifies the metaphor, inviting the passerby to come and decipher
the hidden meaning of this number installed as bright orange red object at the facade of the gallery,
blatantly alive. It’s a vain illusion. Inside the gallery, in the area set apart for her work, the artist
creates an ultra-complex space: a set of thin and thick silvery and slightly colored vertical bars of
variable density, propped from the ceiling to the floor. These groupings come to entrench the visitors,
turning the visit to the gallery into a slow drift, taking care not to bump into the vertical bars that bar
their steps, running up and down their reflective skins, seeing themselves and the other bars multiply.
The colored material of these bars, refer to the paintings, one dark blue, one yellow and one gray, she
will put up on the wall of the larger room. There will remain only three or four or five bars, arranged
asymmetrically, challenging the spectators with their presence, as well as the paintings, the stability of
the environment provided by the architecture.
...Painting, sculpture and installation; painting, photography, film and performance, the data that
composes the poetry of Katinka Pilscheur and Tony Camargo reinforces the idea, face to face in this
encounter, of the importance of working under the sign of rupture.
Agnaldo Farias, handout gallery SIM, 2013
25 25S 49 15W / 52 30N 5 56W / SIM galeria 2013 / Curitiba Brazil
25 25S 49 15W / 52 30N 5 56W / 2013 SIM galeria / Curitiba Brazil
6-2012-1 / Wie kommt das Neue in die Welt / Haus am Waldsee / Berlin
aluminum panel / 150 x 290 x 2 cm / BMW car paint night-blue /copper pipe / circular neon strip
6-2012-1 / detail
06-2011-01 / Rohkunstbau 2011 / Power and Transformation
aluminum panel / 150 x 290 x 2 cm / BMW car paint night-blue /copper pipe / rectangular neon
09-2010-01 / wood / 78 light bulbs / on / time switch / 110 x 160 cm
09-2010-01 / wood / 78 light bulbs / off / time switch / 110 x 160 cm
9- 2010- 2 / gallery koal
varnish on canvas - aluminum and wood (Buenos Aires series)
scaffolding / polysterene / equipment for species conservation
Pilscheur has conceived for this exhibition, among many other things, a series of five lacquer paintings.
The starting point of the series was the discovery of the colour verde illusion in Buenos Aires. The exhibition space facing the lacquer paintings is taken up by a construction type scaffolding and white polystyrene slabs, which exhibit a subtle rhythm by the black and red writing on the sides of the slabs and their
interplay with the metal struts. The installation is positioned in the exhibition space in such a way that it
becomes impossible to survey the lacquer series in its entirety. Rather, a kind of alley emerges through
which the viewer has to pass. While he is moving through it, the slightly reflective surfaces of the paintings as well as the relations between the works of art change with every step taken. The confrontation
of the differing groups of works - the conscious division and employment of the exhibition space - marks
Pilscheur’s endeavour to conceive of space as a frame of reference for her pieces. At the same time she
stages this very space, by the interplay of objects, as part of the installation and, by the confrontation of
the fields of colours, as part of the painting. In doing so, the artist, who studied with Rebecca Horn and
Frank Badur at the UdK Berlin, explores the interface of painting and sculpture.
handout gallery koal, 2010
9- 2010- 2 / gallery koal
9- 2010- 2 / gallery koal
01-2010-1 / wood panel / electronic cable / 80 x 60 cm
13-02-2009 / Dortmunder Kunstverein
construction materials / packaging materials / spools of sanitary tampon thread / neon lights /plastic
containers / plastic bottles, / pallets / electric cable / scaffolding and varnish on canvas
13-02-2009 / Dortmunder Kunstverein
2-2009-1 / plastic wrappers / 140 x 60 x 40 cm
4- 2008-1 / Galeria Braga Menendez / Buenos Aires
furniture etc. Salvation Army Don Orione Pompeya / Buenos Aires / 200 x 280 x 370 cm
Florencia, which temperature has my work?
Florecia Braga Menéndez:
This question is a trap because I had answered it before you have put it, and so it was: “Looking at your
work I have the strange feeling, that I cannot fix its temperature. However, your question suits your
whole method perfectly.”
Your work has neither a consistent temperature nor a consistent light. It has no flowing element, there
is no substance to be found that penetrates the overall entity, because it does not represent an entity,
there is no homogenity in your “system”.
And that is why it is a living system, it is open and heteronom, dependent on outside influences.
And your work, at first sight full of rigour, has resigned to your charming astonishment: And all that
happens shows us how Time, having become matter, resumes its place, as though you can wrap up
time, chests full of time, foto archives. The hostess is more outside her house than inside. She stands
on the sidewalk, watching the house now and then, in order to see if everything is ok., because soon,
but not now, everything must be finished. A Tetris.
Florencia Braga Menendez, Buenos Aires, 2008
4- 2008-1 / Galeria Braga Menendez / Buenos Aires
KATINKA PILSCHEUR
1974
1995 - 97
1994-1995
1998 - 2004
2003
2004
born in Herdecke an der Ruhr.
stage design assistances.
From Santiago de Chile to Mexico City by land in 14 month.
University of Art Berlin with Prof. Rebecca Horn and Prof. Frank Badur.
Erasmus, The Glasgow School of Art, Schottland.
Master, University of Art, Berlin.
grands
2014
Winner of Shifting Foundation, LA, USA.
2010
artist award, Kunstverein Münster.
2007/2008
Travelling scholarship, DAAD academic exchange
program, Argentina.
2005
Kunststudenten stellen aus, competition at
Bundeskunsthalle Bonn.
Travelling scholarship, NaföG, Argentina.
2004
(NaföG) Berlin subsidy scheme for young artists.
solo exhibitions
2013
25 25S 49 15W / 52 30N 5 56W , SIM, Curitiba Brazil.
13 -09 -2013, koal, Berlin.
2012
27-04-2012, koal, Berlin.
2010
10-09-2010, koal, Berlin.
29-01-2010, DREI, space for contamporary art, Köln.
2009
13-02-2009, Kunstverein Dortmund. (cat).
2008
21-11-2008, koal, Berlin.
Robben und Wientjes, Braga Menendez,
Buenos Aires.
2007
02-02-2007, koal, Berlin.
group exhibitions (selection)
2014
I‘m a painting, KUMU Art Museum, Tallin, Estland.(cat)
vertico, SIM Galeria, Curitiba, Brazil.
SUMMER color SHOW, koal, Berlin.
Raw Materials - vom Baumarkt ins Museum, Städtische
Galerie Delmenhorst.
Raw Materials - vom Baumarkt ins Museum, Städtische
Galerie Bietigheim-Bissingen. 2013
ABC Artfair, Berlin.
10 years ACC , Autocenter Berlin. (cat)
INformal Volume 1, Frédéric de Goldschmidt collection,
Bruxelles.
2012
Status Berlin, Künstlerhaus Bethanien, Berlin. (cat).
raw materials, MKK Ingolstadt. (cat).
Wie kommt das Neue in die Welt, Haus am Waldsee,
Berlin. (cat).
2011
Rohkunstbau XVI, Schloss Marquardt, Potsdam. (cat).
I love ALDI, Wilhelm Hack Museum,
Ludwigshafen. (cat).
De las calles de Buenos Aires – Von den Straßen Buenos
Aires´,Kunstverein Wolfsburg, Wolfsburg. (cat.).
neverwhere, Autocenter Berlin.
2010
Placed in the heat of the night, Westfälischer Kunstverein,
Münster.
2009
Zeigen, An Audiotour. Karin Sander. Temporäre
Kunsthalle Berlin. (cat).
„wasistdas“, espace artcore. Paris.
gathering, Scotty Enterprises. Berlin.
2008
macroeconomia, Museo Macro, Rosario. Argentinien.
blanco, Centro Cultural Borges, Buenos Aires. Argentina.
Art Biesenthal 3, Berlin.
2007
come together, gallery Koal Berlin.
chateau ivre, Schloss Sacrow, kuratiert von Rebecca
Horn. (cat.)
Art Biesenthal 2, Berlin.
2006
Gezeichnet, Galerie Weißer Elefant, Berlin.
2005
Studenten stellen aus, Bonner Kunsthalle. (cat)
2004
Master, University of Art, Berlin.
2001
Where Rock and Ocean Meet, Galerie am Lützowplatz,
Berlin. (cat)
2000
Proxecto de Arte e Peregrinacion, Santiago de
Compostela, Museo de Arte Contemporanea, Spain.
ocean drive red, yellow and blue / makeB nail polish Brazil on canvas / 25 x 30 cm