German artist

Madeleine Boschan (*1979 in Germany) is a German artist.

Contents

• 1 Biography
• 2 Practice
• 3 Solo exhibitions
• 4 Group exhibitions
• 5 Private and public collections
• 6 References
• 7 External links

Biography

Madeleine Boschan studied at the Hochschule für Bildende Künste Braunschweig from 2000–2006, where she was taught by John Armleder.

Since 2010 she has participated in numerous ins*utional exhibitions throughout Europe and North America focusing on: artistic strategies dealing with preconditioned role-models and relationships of people and architecture, as well as new tendencies of Abstract art, contemporary art from Berlin or Germany, and the interdisciplinary impact of the cabinet of curiosities on contemporary thinking, science and exhibition practice.

She lives and works in Berlin, Germany.

Practice

Starting in 2008, Madeleine Boschan built her sculptures from found material. These first objets trouvés were modified, re*embled and brought into relation with each other by colour interventions. 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.

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 cons*ute 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?

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. 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.

In the years following, a most elementary question, Roland Barthes' final enquiry cons*uted 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."

After 2016, "pieces dwelling on the concept of 'spaces within space' and, at the same time, of p*age or transition" emerge, "fictive and functionless artefacts" which "retain the utopian ideas that are contained in the architectural strategies she references": Brasilian 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.

Solo exhibitions

2019

In twilight these ridiculous and exquisite things descendingly move among the people, gently and imperishably, Sunday-S Gallery, Copenhagen, DenmarkTulips and chimneys, Galeria Maior, Palma de Mallorca, Spainthe enormous room, Galerie Bernd Kugler, Innsbruck, Austria

2017

BB 105/146, Galerie Lange und Pult, Zurich, SwitzerlandWhat lays bare in me, Collectors Agenda, Vienna, AustriaPartance, 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, GermanyGalerie Bernd Kugler, Innsbruck, Germanyor am I seduced by its ambient mauve, Herrenhaus Edenkoben, Germanywhat´s wrong with your eyes, Larry, Berlin, Germany

2014

Technicolor: a) Feld, b) Fläche, Marburger Kunstverein, Marburg, GermanyCapri, Vitamin, Reutlingen, GermanyDeal with ´em, Jagla, Köln, Germany

2013

Closed Space Stories, Hezi Cohen Gallery, Tel Aviv, IsraelDon't you wonder sometimes 'bout sound and vision, Kunstverein Heppenheim, Heppenheim, GermanySay a body. Where none. Say a place. Where none. For the body. To be in., Kunstverein Ulm, Ulm, GermanyScope = immeasurable, Einraumhaus, Mannheim, GermanyAnwesenheit unerreichbarer Bezugspunkte, Galerie Bernd Kugler, Innsbruck, Austria

2012

An open Field, a Factory, a By-p*, Gloria, Berlin, Germany

2011

Kayfabe, Galerie Bernd Kugler, Innsbruck, AustriaRoidRage, Kwadrat, Berlin, GermanyNiteflix, Autocenter, Berlin, Germany

2010

Kalt, modern und teuer, Kwadrat, Berlin, GermanyCosmic Camping, Appartement, Berlin, Germany

Group exhibitions

2020

31:women. (Exhibition after Marcel Duchamp, 1943)., Daimler Art Collection, Berlin, BerlinJubeljahr, Städtisches Museum Schloss Salder, Salzgitter SalzgitterIntermezzo, Galerie Bernd Kugler, Innsbruck, Austria Innsbruck

2019

some trees, Nino Mier Gallery, Los Angeles, Los AngelesComrades of time IV, Whatspace c/o Hardspace, Basel BaselAvanti, Michael Horbach Stiftung, Cologne Cologne

2018

Junge Kunst / Junge Künstler, Skulpturenpark Heidelberg, HeidelbergLight in / as image, Daimler Art Collection Stuttgart-Möhringen:

2017

Zehn Jahre Zürich, Galerie Lange + Pult, Zurich, SwitzerlandLob des Schattens (Italienischer Raum), Marc Strauss Gallery New York City, USModern sculpture, Galería Casado Santapau, Madrid, SpainArtists´Books for Everything, Weserburg | Museum für Moderne Kunst, BremenBerlin-Klondyke, Umetnostna Galereija Maribor, Maribor, SloweniaThree, two, one, Abbot Kinney, Venice, USThe Gift Collection, Galerie Bernd Kugler, Innsbruck, Austria

2016

Enea, Jona, SwitzerlandMoby Dick Filets, Secession, Vienna, AustriaWelt am Rand, Kunsthaus Erfurtbedsitter, Mirante, Vienna, AustriaStill Still Life, Galerie Bernd Kugler, Innsbruck, Austria

2015

Wo ist hier?# 2: Raum und Gegenwart, Kunstverein Reutlingen, GermanyEnea, Jona, Switzerland18, Galerija Contra, Zagreb, SloveniaVanitas extended, Stedelijk Museum, Ypres, BelgiumStandard International – Post Spatial Devices No. II, Geisberg, Berlin, GermanyBerliner Edition, Salon Dahlmann, Berlin, GermanyLeipziger Edition, Kulturforum Altenkamp, Schloss Holte–Stukenbrock, GermanyCaritatis, Semperdepot, Vienna, Austria

2014

Luggage and observations, Galerie Klaus Gerrit Friese, Stuttgart, GermanyPsycho Killer, qu'est-ce que c'est?, Galerie Börgmann, Mönchengladbach, GermanyPresent, Kunstraum Kreuzberg / Bethanien, Berlin, Germany

2013

Publications, Galerie Bernd Kugler, Innsbruck, AustriaBerlin Klondyke, Hipp Halle, Gmunden, AustriaNovecento mai visto. Highlights from the Daimler Art Collection. From Albers to Warhol to now, Museo di Santa Giulia, Brescia, ItalyThe Legend of the Shelves, Autocenter, Berlin, Germany

2012

Accelerating toward Apocalypse (Private / Corporate VII), Daimler Contemporary, Berlin, GermanyGare de l'Est, Esslinger Kunstverein, Villa Merkel, Esslingen, GermanyEn désordre, Philara – Sammlung zeitgenössischer Kunst, Düsseldorf, GermanyBerlin Klondyke, Neuer Pfaffenhofener Kunstverein, Pfaffenhofen, GermanyGentle Giants II, Kwadrat, Berlin, GermanyAbstract confusion, Kunsthalle Erfurt, Erfurt, GermanyStatus. Berlin (1), Künstlerhaus Bethanien, Berlin, GermanyBlack Oriental, Galerie Bernd Kugler, Innsbruck, AustriaEine Frau, ein Baum, eine Kuh, Museum für Konkrete Kunst Ingolstadt, Ingolstadt, Germany

2011

Based in Berlin, Hamburger Bahnhof, Berlin, GermanyBerlin Klondyke, Art Center, Los Angeles, U.S.Synecdoche, Bourouina Gallery, Berlin, GermanyAbstract confusion, Kunstverein Ulm, Ulm, Germany

Private and public collections

• Daimler Art Collection, Stuttgart, Germany
• Philara – Sammlung zeitgenössischer Kunst, Düsseldorf, Germany

References

External links

• Official website
• Galerie Bernd Kugler, Innsbruck, Austria
• Hezi Cohen Gallery, Tel Aviv, Israel