Andrea Geyer

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Andrea Geyer (* 1971 in Freiburg im Breisgau ) is a German artist who works conceptually with the media of photography , video art and text in the form of installations.

Life

From 1991 to 1992 Andrea Geyer took part in a basic course in painting at the "Freie Kunstakademie, Stuttgart". from 1992 to 1994 she studied photography, film and design at the Braunschweig University of Applied Sciences . She completed her studies of fine art with Dörte Eissfeldt and Birgit Hein at the Braunschweig University of Art (HBK) in 1998 with awards. Geyer took part in the Independent Study Program at the Whitney Museum of American Art in New York City in 1999/2000 . She is Assistant Professor of Fine Arts at Parsons The New School for Design in New York. She lives and works in Freiburg and since 1996 in New York.

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Comrades of Time (2011)

The title of the new work "Comrades of Time" refers to a text by the art and media theorist Boris Groys , in which he interprets the concept of the contemporary as a comrade of time who is not in but with time. In Geyer's work, a group of young women is formed who share a desk and who are contemporary or “Comrades of Time” in the Groysian sense.

For “Comrades of Time” the artist worked with seven young New York actresses to understand the meaning of historical text passages by artists, architects, writers, philosophers and political organizers from the eventful years of the Weimar Republic .

Speeches, letters and essays , dated between 1916 and 1941, form the basis for seven concentrated monologues that Geyer has compiled and written and that their protagonists speak or rather embody in separate videos . Their voices oscillate between reflection and prophecy as they talk about the political situation that surrounds them. The Weimar Republic, echoing through work, was an era of the collectively awakened imagination of all sections of society. While extremist movements threatened to form and build up, the new forces of the young republic tried to mobilize people by appealing to their common sense and responsibility for the community.

By shifting the present texts to the present day, the linear commitment of history is broken and the experience shifted from historical time to the present. As in previous series of works, Andrea Geyer stages “Comrades of Time”, an active form of remembering in the here and now, abstracted from the respective historical context. A gesture that can literally be understood as visualization that at the same time creates closeness and awareness of distance.

Criminal Case 40/61: Reverb (2009)

Criminal Case 40/61: Reverb deals with the Eichmann trial , in which the courtroom became a worldwide observed stage for arguments about justice , truth and history . Only one actor embodies six characters who describe the course of the process from different perspectives - as a defendant, judge or journalist.

Audrey Munson Project (2008)

“The Audrey Munson Project 2008” revolves around the life of a woman who has been forgotten by history and who rose from a humble background to become one of the most important artist models of the early 20th century.

In addition to her body set in stone, Audrey Munson left behind a series of newspaper articles in which the young woman philosophizes about the discrimination of artist models and demands their recognition.

Based on this, Andrea Geyer contextualizes Munson 's story visually and textually in the women's rights and labor movement in young New York in her book Queen of the Artists' Studio: The Story of Audrey Munson . Andrea Geyer also used the same material to develop smaller groups of works, two of which are shown in the exhibition. Intaglio. Audrey Munson shows ten - behind engraved glass - framed photographs of statues in New York City for which Munson posed, so that images of the early women's rights movement lie like a shadow over the sculptures.

Companions of Exile. St. Lawrence State Hospital for the Insane, Ogdensburg, New York includes twelve photographs of trees inside the institution where Munson spent the second half of her life. Also framed behind engraved glass, a poetic text tells of the questionably constructed boundaries between madness and normality, with which women in particular are confronted to this day.

Spiral Lands (2007)

The installation Spiral Lands / Chapter 1 shown at Documenta 12 2007 in Kassel consists of seventeen framed photographs, each 70 × 175 cm in size, and two framed photographs, each 70 × 230 cm in size, as well as an accompanying text. The classic black and white photographs show, in a stage-like representation, the vast landscapes of the contested areas of the Native American people. They are formally based on the traditional depictions of landscapes by Ansel Adams and contrast with the contemporary American landscape photography by William Eggleston .

With a continuous text that combines historical and contemporary quotations, documents and contracts with the narration of an imaginary first-person narrator , the motifs acquire a political dynamic. They are not located in a historical distance, but in the current political situation. At the center of the work is the desire for a cultural policy that is not based on cultural recognition and liberalism, but on social justice. In 2008 the book Spiral Lands / Chapter 1 was published .

In Spiral Lands / Chapter 2 Andrea Geyer examines the role of science in the construction of history and identity . The focus is on the researcher and / or ethnologist. While in Chapter 1 the subjective point of view is expressed, it is now the seemingly objective voice of the scholar. A slide projection with the soundtrack of a lecture was chosen as the form of presentation . The viewer takes a seat in front of a screen and the text of the science is read.

Solo exhibitions

  • 2010: Spiral Lands / Chapter 1 / Chapter 2 / Chapter 3 (with Simon J. Ortiz), Argos Center for Art and Media, Brussels
  • 2009: Andrea Geyer - Sharon Hayes , Göteborgs Konsthall. Gothenburg, Sweden and St. Gallen Art Museum
  • 2008: 9 Scripts from a Nation at War. Tate Modern , L2 Gallery, London (with Sharon Hayes, Ashley Hunt , Katya Sander, David Thorne)
  • 2004: Parallax , Kunstverein St. Gallen im Katharinen, St. Gallen
  • 2003: Andrea Geyer , Secession, Vienna
  • 2000: Project space , PS1 Contemporary Art Center , Long Island City (with Sharon Hayes)

Participation in exhibitions

  • 2010: Push and Pull , Museum of Modern Art, Vienna
  • 2010: 29th São Paulo Biennale
  • 2008: T2-50 Moons of Saturn, Torino Triennale. Castello di Rivoli Museo d'Arte Contemporanea, Turin
  • 2007: documenta 12 , Kassel
  • 2005: Be what you want but stay where you are , Witte de With, Rotterdam
  • 2005: Governments. Paradisiacal Spaces of Action , Secession, Vienna
  • 2004: How do we want to be governed? (figure and ground), Miami Art Central
  • 2004: Teasing Mind , Kunstverein München, Munich
  • 2003: The American Effect , Whitney Museum of American Art, New York
  • 2002: On Route , Serpentine Gallery, London
  • 2002: Manifesta 4 , Frankfurt am Main

Publications

  • Queen of the Artists' Studios - The Story of Audrey Munson . Art in General, New York 2007, ISBN 978-1-4276-1764-4 .
  • Footnotes / Footnotes . documenta 12, 2007.
  • Andrea Geyer - Spiral Lands. Chapter 1 . With an introduction by Janet Catherin Berlo, Walther König, Cologne 2008, ISBN 978-3-86560-470-5 .
  • Andrea Geyer / Sharon Hayes , Kehrer Verlag, Heidelberg, 2010, ISBN 978-386828103-3 (English)

Web links

Individual evidence

  1. ↑ Jeff Derksen: Andrea Geyer, Spiral Lands , in: Documenta 12, Taschen, 2007, pp. 248, 337, ISBN 978-3-8228-1677-6
personal data
SURNAME Geyer, Andrea
BRIEF DESCRIPTION German artist
DATE OF BIRTH 1971
PLACE OF BIRTH Freiburg in Breisgau