Fiene Scharp

from Wikipedia, the free encyclopedia

Fiene Scharp (* 1984 in Berlin ) is a German artist whose works move in the border areas of drawings , objects and installations .

biography

Growing up in Berlin, Scharp studied fine arts at the University of the Arts with Gregor Schneider , Alicja Kwade and Ursula Neugebauer . Her works have been shown in exhibitions at the Akademie der Künste in Berlin , the Kunsthaus Graz , the Kunstmuseum Stuttgart and the Museum für Konkrete Kunst Ingolstadt. From 2013 to 2017 she was represented by the 401contemporary gallery; Since then, the gallery kuckei + kuckei has represented her work in Berlin's Linienstraße and will present her work in an extensive solo exhibition in autumn 2018 ( Fragile Fragments , October 5 to December 8, 2018).

Fiene Scharp lives and works in Berlin .

plant

Grids and serial structures are basic elements of Fiene Scharp's work, which they combine to form a fine grid of lines. The organic idiosyncrasy of the materials, such as paper cuts, fine graphite leads or hair, and the manual manufacturing process lead to minimal irregularities, differences and irritations of the otherwise strict grid.

"Your craftsmanship, striving for perfection in execution, deliberately meets the intrinsic vitality and the limits of controllability [of] the material."

Paper cuts

A main component of the artistic work are the diverse paper cut drawings in different formats and forms. The medium to large-format, sometimes multi-layered paper grids are mostly based on antiquarian grid papers from the technical, scientific field as the starting point. The spaces between the rulings are cut out with a scalpel, so that only the coordinate lines remain as a fragile network, a "tectonic framework".

Hanging freely in the room, the papercuts show their ambivalence between two- and three-dimensionality, between graphics and sculpture. The change process is included in the work, which partially takes into account the dissolution of the grid.

Hair drawings

Since 2009 Fiene Scharp has been working on so-called hair drawings, which move in the border area between drawing and object art. These mostly large-format works look like drawings at first glance, but on closer inspection it becomes clear that here, in small-scale work, tiny hairs that are centimeter or even millimeter short, sometimes invisible at first glance, have been arranged in a strict grid. The geometric hair drawings are based on a detailed, drawn grid, in whose nodes the hair was individually applied. The works stand in the interplay between drawing and object and let the hair become a line in space. Scharp interrupts the basic principle that connects with the grid, its uniformity and structure, by using the natural conditions of the hair, which expands differently according to the surrounding dryness and humidity.

"In this way, the square shape becomes an organic body of symbols that arches and sinks, creating a differentiated play with light and shadow. The visual tension to which the grid is subjected creates a positive potential for conflict. It demonstrates the viewer that the structure of a grid always has to be renegotiated. "

Fiene Scharp's use of hair challenges the boundaries between the viewer and the work: the sight stimulates touching things, but also creates “a moment of disgust. The hair gives the [works] an unexpectedly biomorphic, at times also erotic but altogether strange life of its own ”. The artist plays with the perception of softness and firmness, of physical and lifeless appearance, of attraction and repulsion. In this way she elicits “sublime and hidden sensations” from the viewer. Fiene Scharp's works with skin and hair "tentatively confront us with our physicality, its limits, permeability, integrity and dissolution," writes the Austrian art portal CastYourArt.com .

Video and film work

Her video works also play with the moment of sensory expansion.

In 2007 she exhibited three works in the studio of the Neuer Berliner Kunstverein , which dealt with the limits of the physical perception of indoor and outdoor space.

In her video headband , you can see a wrist to which fine linear hair is applied. This video work was projected vertically from above onto a pedestal, so that associations with the piece of jewelry are awakened and the boundaries of corporeality and objectivity are reflected.

The skin, on which one experiences the state of separation as well as the permeability and the surface to touch and feel, plays an important role in Fiene Scharp's work alongside hair. The video work beside me shows how metal letters are pressed into skin and then the fading of the pressure marks. This video was projected onto the window front of the gallery in order to use this surface to thematize the boundary between exterior and interior, between body and object.

The moment of time, of intervention, of change is also the subject of her video works.

Exhibitions (selection)

  • 2018 Fragile Fragments , October 5th to December 8th, kuckei + kuckei, Berlin
  • 2018 fragments of belief , kuckei + kuckei, Berlin
  • 2017 out of office. Office art or the office in the museum , Museum for Concrete Art , Ingolstadt
  • 2017 between the lines , 401contemporary, Berlin
  • 2016 flap one, monkey dead , Kunstsaele Berlin
  • 2016 I thought I saw , K3, Leipzig
  • 2016 Stabbursfrieri , Leveld Art Center, Leveld
  • 2015 Paper 15 , Complexe de Gaspé, Montréal
  • 2015 starting grid , display gallery, London
  • 2014 + / - , 401contemporary, Berlin
  • 2014 out of focus , galerie trois points, Montréal
  • 2014 edited , GEDOK, Stuttgart
  • 2014 Failed State , haubrock projects, Berlin
  • 2013 Culture: City , Academy of Arts Berlin and Kunsthaus Graz , Graz
  • 2013 The Living Dead , Haus am Lützowplatz , Berlin
  • 2012 Raster search - The raster in art after 1945 , Kunstmuseum Stuttgart
  • 2012 Connection - London / Berlin , Center for Rent Drawing, London
  • 2011 Bosch Young Talent Show , Stedelijk Museum, s'-Hertogenbosch
  • 2011 unspontaneous , Kunsthalle am Hamburger Platz, Berlin
  • 2010 Minimum / Maximum , Galerie Al Riwaq Art Space, Manama, Bahrain
  • 2010 Brilliant Volume , Berlin University of the Arts
  • 2010 construction. Class Schneider Bremerhaven , Kunsthalle Bremerhaven
  • 2009 delikat , solo exhibition with Esther Glück, Frauenmuseum Berlin
  • 2009 Material Evidence , loop - space for current art, Berlin
  • 2008 with skin and hair , Detmold town hall
  • 2007 with skin and hair , solo exhibition in the NBK-Studio , Berlin

Videos and films (selection)

  • 2013 Dinosaubär (radial system) - 4 min. 20 sec, with IJ.Biermann
  • 2013 The Astronaut's Ark - 5 min. (Exhibition version) / 10 min. (Festival version), with IJ.Biermann and Kai Miedendorp
  • 2012 Normannenstraße - 14 min. (35mm, film installation and short film), with IJ.Biermann (co-director) and Kai Miedendorp (camera)
  • 2007 stroking - 30 min. 43 sec (loop)
  • 2007 Except for me - 01'07'55 (projected onto a semi-permeable shop window)
  • 2007 headband - 12 min.
  • 2006 Behind mirrors - 13 min. 23 sec.
  • 2006 Intimacy - 5 min. 36 sec.
  • 2006 nakedness - 30 min.

Awards and grants

literature

  • Out of office. Büro-Kunst or the office in the museum , ed. Theres Rohde, Simone Schimpf, Verlag Surface, Frankfurt am Main, 2017, ISBN 978-3-939855-51-4
  • Raster search. The grid in art after 1945 , Eds. Ulrike Groos, Simone Schimpf, July 2012, Wienand Verlag, Cologne, ISBN 978-3-86832-089-3
  • Kunstmuseum Stuttgart: The Collection, Kerber Verlag, Bielefeld 2015, ISBN 978-3-7356-0075-2
  • Flying classroom. Class Gregor Schneider Berlin , Ed .: Class Gregor Schneider Berlin, project group UdK-Verlag, July 2010, ISBN 978-3-89462-191-9 .
  • Hair'em Scare'em , Ed .: R. Klanten , M. Huebner, S. Ehmann, Die Gestalten Verlag , Berlin 2009, ISBN 978-3-89955-275-1 .
  • Sandra Danicke in Art magazine: Hair and Art (Trend) , Frankfurt 2009

Web links

Individual evidence

  1. Information page on the exhibition Culture: City , on the film The Astronaut's Ark .
  2. Gallery kuckei + kuckei Berlin
  3. Dr. Simone Schimpf: Press release on the exhibition: Fiene Scharp lllllllllllll l. In: 401contemporary. Ralf Hänsel, June 1, 2013, accessed on February 6, 2018 .
  4. Matthias Seidel: Materiality and form, perfection and deviation . In: President of the University of the Arts Berlin (ed.): Master student price of the president . UdK, Berlin 2012, p. 57 .
  5. Fiene Scharp. Retrieved February 7, 2018 .
  6. Dr. Simone Schimpf: Out of Office. Office art or the office in the museum . Ed .: Dr. Simone Schimpf, Dr. Theres Rohde. 1st edition. Verlag Surface, Frankfurt am Main 2017, ISBN 978-3-939855-51-4 , p. 84 .
  7. Matthias Seidel: Materiality and form, perfection and deviation . In: President of the University of the Arts (Hrsg.): Meisterschülerpreis des President . UdK, Berlin 2012, p. 57 .
  8. Dr. Ulrike Groos, Dr. Simone Schimpf: Raster search. The grid in art after 1945 . Ed .: Kunstmuseum Stuttgart. 1st edition. Wienand Verlag, Cologne 2012, ISBN 978-3-86832-089-3 , pp. 214 .
  9. ^ Eva-Marina Froitzheim: Fiene Scharp . In: Kunstmuseum Stuttgart (ed.): The collection . Kerber Verlag, Bielefeld 2015, ISBN 978-3-7356-0075-2 , pp. 174 .
  10. a b Quoted from: Katja Albers in the press release of the Neuer Berliner Kunstverein , June 2007
  11. Quoted from: Wolfgang Haas, Janima Nam, Fiene Scharp - with skin and hair at castyourart.com on January 6, 2010, accessed on January 19, 2011
  12. a b Exhibition archive of the NBK-Studio in the Neuer Berliner Kunstverein
  13. Delicate. with works by Esther Glück and Fiene Scharp. March 1 to 29, 2009 in the Women's Museum Berlin
  14. ^ " Raster search" in the Kunstmuseum Stuttgart .
  15. ^ Raster search - The raster in art after 1945 at Wienand Verlag Cologne
  16. Book Hair'em Scare'em at Die Gestalten Verlag  ( page no longer available , search in web archivesInfo: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Dead Link / shop.gestalten.com  
  17. Sandra Danicke: A hairy affair. In: art - the art magazine. September 23, 2009, archived from the original on September 22, 2009 ; accessed on June 24, 2019 (original website no longer available).