Luzia-Maria Derks

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Luzia Maria Derks (2015), photo: Reinhard Fiedrich

Luzia-Maria Derks (born February 14, 1959 in Goch am Niederrhein ) is a German installation and light artist .

life and work

Derks studied art and German at the Westphalian Wilhelms University from 1988 to 1992, up to the first state examination. In 1992 she moved to the Art Academy in Münster and studied with Gunther Keusen and Joachim Bandau , who made her a master class student in 1999 . She completed the master class year with Timm Ulrichs in 2001 . In 1997 she received a scholarship for Ireland and in 2003 the fourth tower scholarship in Geldern . Derks has a daughter born in 1979 and lives in Münster .

Luzia-Maria Derks mainly uses carelessly discarded material for her work, such as packaging, rejects, pill blisters and cat eyes . She gives value to the worthless by arranging installations and assemblages from them that appeal with their colourfulness and gloss. In connection with light, permeability and transparency, they get a new perceptible stimulus.

Quotes about the work

“Both are important to her: the psychological stimulation that stimulates primal experiences with light and the connection to a familiar appearance that captures the light in the cross window. The light increases its secret and at the same time preserves its banal intimacy. In her best pieces, Luzia-Maria Derks opens up such a dimension of the human to (electric) light, in which mythical associations and everyday life, distance and proximity flow together. "

- Manfred Schneckenburger

“Luzia-Maria Derks expands her contribution to light, colored light, light shine. In doing so, she varies the subject of projection: light projects itself. The installation in the bicycle parking garage in Münster is being developed further for the large black thorn hedge. More than 1500 "cat's eyes" and other reflectors hang over 40m in the artificial scrub. They are activated by sun rays during the day and by headlights at night. Wind and weather turn the round and angular reflectors towards the headlights - or turn them away. The installation takes on the playful character of a mobile that receives light, reflects it, changes constantly and fades towards the edges. If the wind is right, the reflectors are placed in front of the wall as a subtle storm of light. "

- Manfred Schneckenburger

“What is usually functionally bound - as reflectors to mark wheels visibly in the dark - now unfolds, freed to a life of its own, a firework of light that is received passively, but emitted again intensified many times over. In the pointillist condensation towards the center, the light embodies itself to a certain extent; towards the edges, however, the “cloud” dissolves, loses all contour, blurs, blurs, disappears. Unbounded in this way, something appears, as it were, out of nowhere and then dissolves again, almost intangible, almost like a mirage. If you now consider that this swarm of luminous dots was formed from materially worthless plastic scrap and waste, hung on thin, transparent threads, the romantic principle becomes evident and vivid in the process of transformation and revaluation, as in Luzia-Maria Derks here corresponds brilliantly. According to Novalis, it is important to poetize the world, and this is exactly what the artist does: In order to remain in related images, she presents us with a blooming bouquet of laburnum or, as in Grimm's fairy tale, with a real treasure trove of star talers. "

- Timm Ulrichs

“On the occasion of the 4th Geldern tower grant in the water tower, the artist Luzia-Maria Derks transformed the walls in a haunting and personal way. For the duration of her stay, which she spent living and working in the tower almost without interruption, the building was her self-chosen prison and protection. Little by little she transformed it into a women's tower , which one could associate with similar historical and fictional figures like Rapunzel, Saint Barbara, Countess Cosel or Annette von Droste-Hülshoff. An examination of the building and her own person has arisen over three floors, combining exile, seclusion and introspection. The tower became the counterpart and place of their longings. "

- Nina Schulze, Museum Kurhaus Kleve

Works

Exhibitions (selection)

Solo exhibitions

  • 2013: Who can say no to that SO-66, Producer Gallery, Münster
  • 2012: Jumping Roebuck House Stack , Scythe XI
  • 2008: Cat's Eye Bike Station Münster , Münster
  • 2006: Church of the Holy Sepulcher, Buldern, realized with the help of the Dülmener Kunstverein eV
  • 2005: Metalimnion Galerie König, Münster
  • 2003: Exhibition for the 4th tower scholarship in the water tower, Geldern, with Klaus Girnus
  • 2002: Dress window house Kunsthaus Kannen , Münster Amelsbüren
  • 2000: Annelie Brusten Pavilion, Wuppertal
  • 1999: Rotary hammer champions CUBA Münster

Group exhibitions

  • 2015: Kunstflimmern Galerie ARTLETstudio, Münster
  • 2012: Wind moving 6th International Art Competition, Volkmarsen, Wolfhagen, Bad Arolsen and Kassel
  • 2011: simply brilliant , Forum 2011 Current Art in Vischering Castle , Lüdinghausen
  • 2009: lichtsicht , 2nd Projection Biennale, Bad Rothenfelde
  • 2006: Teaching Prayers , video installation in Kolpingstrasse, Emsdetten
  • 2004: Gustav Lübcke Museum , Hamm
  • 2002: Spiral on-site visit landscape shaping, Nordkirchen
  • 2002: Apple House Kleingarten Wienburg, Münster
  • 1999: House of Art , Great Art Exhibition, Munich
  • 1997: Cube made of light sculpture symposium , Wadersloh -Liesborn
  • 1995: Kunsthaus Rhenania, Cologne, now the Beckers Böll Art Museum
  • 1994: Museum Ostwall , Dortmund

literature

  • Light sight. 2nd Projection Biennale Bad Rothenfelde, October 10, 2009 to January 16, 2010. Ed .: Heinrich W. Risken Foundation. Editing and project planning: Paul Anczykowski. Texts: Manfred Schneckenburger. Guest article: Siegfried Zielinski. Kettler, Bönen 2010, ISBN 978-3-86206-008-5
  • Luzia-Maria Derks , catalog for the exhibition Luzia-Maria Derks - Cat's Eyes, June 1 - November 30, 2008, Münster Cycle Station, Central Station; with text contribution by Timm Ulrichs, Lumadergo, Münster 2008, ISBN 978-3-00-026321-7
  • Jochen Heufelder, Lutz Fritsch (eds.), Luzia-Maria Derks (illustrations): Unusually inhabited: an exhibition project of the Münster Art Academy in the Habichtshöhe / Grüner Grund estate , Münster Art Academy, 1996, ISBN 3928682113

Web links

Individual evidence

  1. ↑ a b Stefan Pölzer: Luzia-Maria Derks: “Bohrhammerlampions” , foyer exhibition in the cultur- and meeting center Münster, accessed on June 9, 2013
  2. ↑ a b Exhibition on the 4th Geldern Tower Scholarship ( memento from March 4, 2016 in the Internet Archive ), Luzia-Maria Derks website, accessed on December 6, 2015
  3. ↑ Luzia-Maria Derks. Münster 2008, p. 36
  4. ↑ light vision. Bönen 2010, p. 83
  5. ↑ Luzia-Maria Derks , Münster 2008
  6. ^ Lg Münster Jumping Roebuck accessed on March 22, 2019
  7. ↑ Dieter Klein: “Sense XI” on Haus Stapel: “Old-established” offer news , Westfälische Nachrichten , November 26, 2012, accessed on June 9, 2013
  8. ↑ Image of the month November , photo homepage Der Bildverbindungen , accessed on June 9, 2013
  9. ↑ Luzia-Maria Derks, Wasserturm / Geldern , YouTube , accessed on June 9, 2013
  10. ↑ artlet Kunstflimmern , accessed on January 9, 2016.
  11. ↑ kunstaspekte lichtsicht - 2nd Projection Biennial Bad Rothenfelde , kunstaspekte.de, accessed on June 9, 2013
  12. ↑ Luzia-Maria Derks / 2nd Projection Biennale Bad Rothenfelde , Thomas Mayer Archive , accessed on June 9, 2013
  13. ↑ Luzia-Maria Derks, Teaching Prayer / Emsdetten , YouTube , accessed on June 9, 2013
  14. ↑ Apfelhaus , Luzia Maria Derks website at beepworld.de, accessed on June 9, 2013
personal data
SURNAME Derks, Luzia-Maria
BRIEF DESCRIPTION German light and media artist
DATE OF BIRTH February 14, 1959
PLACE OF BIRTH Goch