Brigitte Waldach

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Brigitte Waldach (* 1966 in Berlin ) is a German visual artist who works with the media of drawing , text , installation and sound.

Brigitte Waldach (2016). Photo: Mart Engelen

Life

Brigitte Waldach studied art education and art science at the Berlin University of the Arts from 1991 to 1993 ; At the same time, she began studying German at the Technical University of Berlin until 1996 .

She then studied fine art and painting at the Hochschule der Künste in Georg Baselitz's class , where she completed her studies in 2000 as a master class student.

In 2000 she received a scholarship to promote young talent, combined with a work stay in New York City . In 2001, she received a travel grant from the German Academic Exchange Service (DAAD) , also for New York. In 2004 Brigitte Waldach received a project grant from the Berlin Senate . In 2007, a grant from the Institute for Foreign Relations (ifa) enabled her to work in São Paulo , Brazil. She lives and works in Berlin.

plant

Brigitte Waldach produces large-format drawings and space-consuming installations . Her art deals with mythological and contemporary historical, existential and explosive topics such as terrorism , religion , pathos , violence , love or fear . Artistically she dealt intensively with the phenomenon of political radicalization in German post-war society , such as the RAF and Deutscher Herbst . Political or religious symbols often appear in their works; the Berlin artist works in terms of content without remaining in private.

A characteristic of her work is the color red , which is associated with emotions ranging from love to anger, but also contains political connotations and can stand for revolutionary tendencies. The artist deals with the subject of space in various ways: as two-dimensional pictorial space, landscape space and three-dimensional spatial drawings.

Her intellectual historical background as a Germanist is also reflected in her artistic work, for example when she processes literary texts by Hannah Arendt , Heiner Müller , Friedrich Nietzsche , David Foster Wallace or Slavoj Žižek and incorporates them into her work. “When I read I see pictures and when I draw I see texts. I can't think of any area without the other, ”says the artist.

The literature citations are condensed in such a way that cloud-like text structures are created. Waldach draws her motifs with lines and words. In her multi-dimensional spatial drawings, in which the lines and figurations are replaced by meter-long red, black or white rubber bands, texts play a central role as spoken words, i.e. as sound. She works with professional actresses, such as Fritzi Haberlandt .

drawings

Brigitte Waldach, Time / Space ´45 (John Cage), 2016, 146 × 140 cm / Photo Bernd Borchardt

In her drawings, figures and landscape motifs are often surrounded by texts in various shades. Brigitte Waldach draws in large format, often multi-part pictures in which lines and writing combine to form a complex motif. Your gouache , graphite and pigment pencil drawings in red and gray tones are created on handmade paper . With her landscapes, the tree, mountain and space motifs, she redefines the contemporary landscape .

The History - Now series (2016) reflects the question of what a modern encyclopedia can look like and shows historiography as a dynamic process. Brigitte Waldach is interested in the basic democratic idea of ​​writing and overwriting history on Wikipedia. She identified Jesus , National Socialism and terrorism as the most discussed topics and the most frequently headlined articles in the online encyclopedia . With the drawing sequence, Brigitte Waldach stops the lively writing process and writing flow on Wikipedia and transfers it with the drawing into a traditional artistic medium. Your History - Now drawings make the history of origin and the different versions of the entries visible with the help of various shades of gray; Waldach then adds his own texts and original quotes from the selected people to her drawings - and creates a kind of contemporary history picture .

In 2014 Brigitte Waldach was invited by the lithography workshop "Edition Copenhagen" to make an edition; Among other things, a ten-part series on the "10 Commandments" was created. Every week Edition Copenhagen invites Danish or international artists to exclusively realize their own project in a workshop with the employees there, including Antony Gormley , Katharina Grosse , William Kentridge , Imi Knoebel , Katharina Sieverding , Luc Tuymans and Günther Uecker .

Room drawings

In addition to the drawings on paper, Brigitte Waldach has been creating large-scale installations in museums and galleries since 2007. Depending on the context, they consist of tensioned rubber bands, wall drawings and texts, sound and bundled light. In the room drawings she releases the line from its two-dimensionality and continues the drawing with the help of flexible rubber threads in the room. The exhibition visitors can move freely in the room drawing and thus experience the physical space anew, because with every step the image and perspective change.

The artist has realized room drawings and site-specific installations in the Berlinische Galerie (2007), the Museum MUST in Stavanger (2011), the Kunstraum of the German Bundestag (2012), the Marta Herford Museum (2013) as well as in galleries and at international art fairs .

The director of the Kunsthalle Düsseldorf Gregor Jansen emphasizes in an article in the catalog: “You can even see something in your room drawings with your eyes closed - images from the world of sound, an acoustic room drawing, a radical illusion. A room of history (s) and a tendency towards a total work of art !? Ultimately, Waldach opens up a new iconography of time between film, image, symbol and language as a symbolic mediation of the inner world in the drawing. "

architectural art

For the café of the exhibition center C / O Berlin , Brigitte Waldach developed the work Inside the Extreme in 2017 . Letters, scripts and word fragments condense into elongated clouds and imaginary landscapes. Individual words are highlighted with red markings and brought together with long red rubber bands at a vanishing point at the front of the room. As text in the text, signal words flash out that allow the recipient's own associations to run wild. Text passages from the story Afternoon by a Writer by Peter Handke are quoted, fragmented, reformulated - and form a text matrix on the walls of the café and the opposite window front.

For the new construction of the main building of the Sparkasse Allgäu in Kempten, Brigitte Waldach realized the art-in-building project The Inner World of the Outside World in 2017 . Here, too, she used literary texts that stretch across almost 200 glass partition walls on the four floors of the building. Text fragments by Friedrich Nietzsche , Ingeborg Bachmann , Heiner Müller , Durs Grünbein and Peter Handke can be found on the glass walls in the publicly accessible areas as well as in the meeting and office rooms of the employees .

For the artist, fundamental questions are connected with the project: Can art-in-buildings poetize the character of a building? Can it transcend the function of a room? And how do images, words, and literary texts affect us when they become part of our everyday environment?

Works in public collections

Brigitte Waldach's works are in numerous public collections, including a. Albertina in Vienna, Altana Kulturstiftung, Bad Homburg, ARoS Art Museum , Aarhus , Denmark, Berlinische Galerie , Fondation Francés, Paris, Kunsthalle Emden , Kunsthalle Kiel , Kupferstichkabinett of the Staatliche Museen zu Berlin , Neuer Berliner Kunstverein (Artothek), MUST Stavanger , Norway, Moritzburg Foundation , Halle, Museum Kunstpalast , Düsseldorf as well as nationally and internationally in private and corporate collections .

Monographs (selection)

  • Brigitte Waldach. The inner world of the outer world , Jovis, Berlin 2017
  • Brigitte Waldach. The Myth is a Machine , Texts on the World, Issue 27 (edited by Haus N. Collection), Kiel 2017
  • Brigitte Waldach. Bleierne Zeit / Leaden Time (edited by Gallery Bo Bjerggaard, Copenhagen; Galerie CONRADS, Düsseldorf, with texts by Uta Grosenick and Gregor Jansen), Distance, Berlin 2013
  • Edition 5 of the Berliner Festspiele (with a text by David Foster Wallace ), Berlin 2012
  • Brigitte Waldach. Sturz / Fall (edited by Kunsthalle Emden, with texts by Lena Nievers and Katharina Henkel) Kehrer, Heidelberg 2010
  • Brigitte Waldach. Trailer (with a text by Andreas Schalhorn), Kehrer, Heidelberg 2007

Articles and interviews

Web links

Individual evidence

  1. ↑ Interview with the artist on the occasion of an exhibition in the Stavanger Art Museum, 2011. Accessed on March 2, 2018 (English).
  2. ↑ Uta Grosenick: "The German Forest in 2013. An attempt on the drawing" Forest "by Brigitte Waldach", in: Brigitte Waldach. Leaden Time . Ed .: Gallery Bo Bjerggaard, Copenhagen and Galerie Conrads, Düsseldorf. Distance Verlag, Berlin 2013, ISBN 978-3-95476-011-4 , pp. 33 f .
  3. ↑ Andreas Schalhorn: In the undergrowth of the void . Kehrer Verlag, Heidelberg 2007, ISBN 978-3-939583-60-8 .
  4. ↑ History-Now series. Retrieved March 2, 2018 .
  5. ^ Artists of Edition Copenhagen. Retrieved March 2, 2018 .
  6. ^ Gregor Jansen: "Brigitte Waldach. Characteristic mediation of the inner world", in: Brigitte Waldach. Leaden Time . Ed .: Gallery Bo Bjerggaard, Copenhagen; Galerie Conrads, Düsseldorf. Distance Verlag, Berlin 2013, ISBN 978-3-95476-011-4 , pp. 41 .
  7. ↑ Brigitte Waldach - Inside the extreme at C / O Berlin. Retrieved March 2, 2018 .
  8. ↑ Press release from Sparkasse Allgäu-Kempten. Retrieved March 2, 2018 .
  9. ↑ Brigitte Waldach. The inner world of the outer world . jovis Verlag, Berlin 2017, ISBN 978-3-86859-485-0 .
  10. ↑ Brigitte Waldach - The inner world of the outer world. Retrieved March 2, 2018 .
personal data
SURNAME Waldach, Brigitte
BRIEF DESCRIPTION German visual artist
DATE OF BIRTH 1966
PLACE OF BIRTH Berlin