Bettina Pousttchi

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Bettina Pousttchi (* 1971 in Mainz ) is a German-Iranian artist . She lives and works in Berlin . Her artistic work includes sculpture , photography and video as well as temporary site-specific interventions on architecture in public space.

Bettina Pousttchi in front of one of her works from the World Time Clock 2016 series

Life

Bettina Pousttchi studied from 1995 to 1999 at the Düsseldorf Art Academy with Rosemarie Trockel and Gerhard Merz . She then completed the Whitney Independent Studio Program at the Whitney Museum of American Art in New York . She has been exhibiting in international art institutions since 2001 and was represented twice at the Venice Biennale (2003, 2009). In 2014 she received the Wolfsburg Art Prize.

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Echo , 2009, 970 posters on the facade of the temporary Kunsthalle Berlin

Facades in public spaces

Since 2009 Pousttchi has been realizing photographic interventions on public buildings that are related to the urban and historical context of the respective location. The monumental photo installation Echo on Berlin's Schlossplatz covered the entire outer facade of the Temporary Art Hall for six months . The almost 2000 m² photo installation consisted of 970 individual posters made of paper and formed a surrounding motif that was reminiscent of the Palace of the Republic , which had just been demolished there , and which practically let it rise again. In 2010, the photo installation Basel Time could be seen on the facade of Art Basel , referring to the upcoming demolition of the hall as part of a redesign of the exhibition center. The Schirn Kunsthalle Frankfurt showed the site-specific photo installation Framework in the rotunda and on the east facade of its building , which had the historical urban context of the Schirn Kunsthalle as its starting point. In London she realized the photo installation Piccadilly Windows (2013) on the building of the Hauser & Wirth gallery in London. In 2014 Pousttchi transformed the Nasher Sculpture Center in Dallas into a drive-thru museum , referring to the history of the location and the architecture of the Renzo Piano building. Her largest photo installation to date is The City (2014), in which she covered three sides of Wolfsburg Castle with a 2150 m² photo canvas. The photomontage shows all ten skyscrapers, which were the tallest buildings in the world in their time, as an imaginary, transnational skyline.

In 2017 she realized the photo installation Suspended Mies for the Arts Club of Chicago , referring to the stairwell by Mies van der Rohe , which is located in the Arts Club of Chicago - a commissioned work for the architect who emigrated to Chicago for a previous building of the institution.

In summer 2018 she realized a free-standing photo pavilion on behalf of the New Museum in Nuremberg , which reminded of the history of Nuremberg and its importance as a place of human rights. The work entitled UNN (United Nations Nuremberg) was on view in front of the Neues Museum on Klarissenplatz from July to October 2018.

World Time Clock

The World Time Clock project is the artist's most extensive photo series to date, for which she traveled in several stages to the most varied of time zones around the world over a period of eight years. In each of these places she photographed a public clock at the same time: 1:55 pm. This is how this global work on the political and social organization of time and space in cities such as New York, London, Hong Kong , Sydney , Tashkent , Cape Town , Dubai , Moscow , Mexico City , Rangoon , Rio de Janeiro and others came about. a. The 24-part photo series was first exhibited in 2016 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institute in Washington DC in a 360-degree presentation for eleven months. The curator of this presentation, Melissa Ho, says: "World Time Clock visualizes a new world order in which there is no center, but rather 24 equal centers." The director of the Hirshhorn Museum, Melissa Chiu, called the series a "poetic one." Reflection on global simultaneity and the structuring of time ”. This experience of a non-linear time structure continues in many of the artist's works.

Double monuments and other groups of sculptures

In the artist's sculptures, everyday objects from urban space, such as barriers, street posts and bicycle bars, are used, which she transforms in the tradition of object art . The sculpture group Double Monuments for Flavin and Tatlin consists of deformed barriers and neon tubes, which act as a double homage to Vladimir Tatlin's Monument for the Third International , as well as Dan Flavin's "monuments" for V. Tatlin . The first of five rooms in Pousttchi's solo exhibition at the Kunsthalle Basel in 2011 was dedicated to this group of sculptures . In 2016, the Phillips Collection in Washington DC showed five of these sculptures in dialogue with their collection. At the 2009 Venice Biennale , a sculpture made of two barriers made of transparent safety glass was on view in the exhibition Glasstress .

These objects are based on the question of boundaries, the forces at work there and the transformative energy that lies in their dissolution. Here, too, the artist's claim to interdisciplinary artistic practice continues from a transnational perspective.

Video installations

The artist's video works initially consisted of “single-channel works”, which later developed into large-scale video installations. In these installations, the projected space often continues into the exhibition space and different levels of reality mix.

Works in public collections

Bettina Pousttchi's works are represented in the collections of numerous international museums, such as the Hirshhorn Museum and Sculpture Garden in Washington DC, the Phillips Collection in Washington DC, the Arts Club of Chicago, the Nasher Sculpture Center in Dallas, the Berlinische Galerie - Museum for modern art in Berlin , the Albertina in Vienna, the Von der Heydt-Museum Wuppertal, the Kunsthalle Bielefeld , as well as in the collection of the Federal Republic of Germany .

Collaborations

Bettina Pousttchi is a member of the Brutally Early Club, which was founded by Hans-Ulrich Obrist and Markus Miessen in 2006 in London. She realized installations with the architect Markus Miessen and the artist Rosemarie Trockel and was involved in a film by Lawrence Weiner ( How Far is There , 1999). In 2010 she filmed an interview video with Daniel Buren on the artistic practice in public space Conversations in the Studio # 3 . This video work became the starting point for a joint exhibition by the two artists in 2017 at the Kunsthalle Mainz .

Solo exhibitions (selection)

Awards and grants

  • Villa Aurora Fellow, Los Angeles (2016)
  • Wolfsburg Art Prize "Young City sees Young Art" (2014)
  • TrAIN Research Center for Transnational Art, Identity and Nation, Balmoral Residency, University of the Arts, London (2008)
  • BBAX - Berlin Buenos Aires Art Exchange, Buenos Aires (2007)
  • Provincial funding project (2005)
  • Art Foundation NRW (2000)

Literature / monographs

  • Bettina Pousttchi: In Recent Years, Berlinische Galerie, Museum of Modern Art, Berlin, Koenig Books, London, 2020, with texts by Thomas Köhler, Jörg Heiser, Jeremy Strick, Melissa Ho, ISBN 978-3-96098-819-9
  • Bettina Pousttchi: Metropolitan Life, Museo Nivola, Scheidegger & Spiess, 2018, with an essay by Greg Foster-Rice and a conversation with the artist by Hans Ulrich Obrist and Markus Miessen, ISBN 978-3-85881-826-3
  • Bettina Pousttchi: World Time Clock, Hirshhorn Museum and Sculpture Garden Washington DC, / Hatje Cantz, 2017, with texts by Melissa Chiu and Melissa Ho, ISBN 978-3-7757-4359-4
  • Bettina Pousttchi: Suspended Mies, The Arts Club of Chicago 2017, with texts by Janine Mileaf and Greg Foster-Rice, ISBN 978-1-891925-48-1
  • Bettina Pousttchi: The City, Nasher Sculpture Center Dallas / Städtische Galerie Wolfsburg, Hatje Cantz Verlag 2015, with texts by Susanne Pfleger, Thomas Köhler, Jeremy Strick, Adam Szymczyk, as well as a conversation between the artist and Chris Dercon, ISBN 978-3-7757 -3908-5
  • Bettina Pousttchi: Framework, Schirn Kunsthalle Frankfurt, Verlag der Buchhandlung Walther König Köln, 2012, with texts by Katharina Dohm, Adam Szymczyk and a conversation between Bettina Pousttchi and Nikolaus Hirsch, foreword by Max Hollein, ISBN 978-3863351649
  • Bettina Pousttchi: Echo Berlin, Temporäre Kunsthalle Berlin, Verlag der Buchhandlung Walther König Köln, 2010, with texts by Tom McCarthy, Diedrich Diederichsen, Markus Miessen, Hans Ulrich Obrist, Bettina Pousttchi, Angela Rosenberg, Esther Ruelfs, ISBN 978-3-86560 -833-8
  • Bettina Pousttchi: Reality Reset, Von der Heydt Museum Wuppertal, Verlag der Buchhandlung Walther König, Cologne, 2008, with texts by Barry Schwabsky, Jörg Heiser, Matthias Mühling, Petra Löffler, Niels Werber, Uta Grosenick, Jon Wood, Christian Rattemeyer, Mark Gisbourne, Vanessa Joan Müller, ISBN 978-3-86560-374-6
  • Bettina Pousttchi: Departure, Verlag der Buchhandlung Walther König, Cologne, 2007, ISBN 3-86560-285-1
  • Bettina Pousttchi: Screen Settings, Württembergischer Kunstverein, Hatje Cantz Verlag, Ostfildern-Ruit, 2003, ISBN 3-7757-9178-7

Web links

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  1. ↑ The Frankfurt Schirn wears a half-timbered dress in: FAZ of April 12, 2012, page 35
  2. ↑ Bettina Pousttchi, World Time Clock, Hirshhorn Museum and Sculpture Garden, Hatje Cantz Verlag, Berlin, 2017, ISBN 978-3-7757-4359-4
  3. ↑ Time glance: Purchases of Contemporary Art Collection of the Federal Republic of Germany 1998-2008, Dumont 2008
  4. ↑ Susanne Kaufmann: When Pousttchi met Trockel, in: TIME Magazine, April 7, 2003, 68/69
  5. ^ Announcement on the exhibition , accessed on March 15, 2016.
  6. ^ Announcement on the exhibition , accessed on March 15, 2016.
  7. ↑ Notice on the exhibition , accessed on August 1, 2014.
personal data
SURNAME Pousttchi, Bettina
BRIEF DESCRIPTION German-Iranian artist
DATE OF BIRTH 1971
PLACE OF BIRTH Mainz