Margret Eicher

from Wikipedia, the free encyclopedia

Margret Eicher (* 1955 in Viersen on the Lower Rhine) is a German artist. She lives and works in Berlin . As a concept artist ( Appropriation Art , Radical Constructivism ) she questions the current concept of image by appropriating and assembling images.

Margret Eicher, Agent Assange, 2020
Margret Eicher, Assunta, 2020

Career

Margret Eicher studied from 1973 to 1979 at the State Art Academy in Düsseldorf with Fritz Schwegler and Rolf Sackenheim . In the latter, she was a master class student.

Since 1980 her work has been shown in numerous solo and group exhibitions, including 1983 in the Hessisches Landesmuseum in Darmstadt, 1986 in the Scharpf Gallery of the Wilhelm Hack Museum in Ludwigshafen, 1988 in the Pfalzgalerie in Kaiserslautern, 1993 in the Hagenbucher in Heilbronn, 1994 in the Kunsthalle Mannheim , 1996 in the Museum Bochum , 2000 in the Staatsgalerie Stuttgart , 2013 in the Badisches Landesmuseum Karlsruhe , 2014 in the Museum Kurhaus Kleve and in the Angermuseum , Erfurt, 2015 in the Kunsthistorisches Museum , Vienna and in the Kunsthalle am Hamburger Platz, Berlin, 2016 in the Kunstverein Ulm, 2017 in the Sprengel Museum , Hanover, 2018 in the Haus am Lützowplatz , Berlin, 2019 in the Me Collectors Room Berlin , in the Caputh Castle (near Potsdam), and in the Kunstpavillon, Munich, 2020 in the Museum Villa Stuck , Munich.

Many of her works are in public collections, including: ZKM in Karlsruhe; Badisches Landesmuseum Karlsruhe ; Digital Art Museum in Berlin; IKOB in Eupen (Belgium); State Museum Mainz; Municipal collection in the Prinz Max Palais, Karlsruhe; Municipal Collection Mainz; Kunsthalle Mannheim ; Wilhelm Hack Museum , Ludwigshafen; Museum Pfalzgalerie Kaiserslautern ; Tichy Ocean Foundation, Prague

Margret Eicher is a member of the German Association of Artists .

plant

Margret Eicher established the CopyCollage in the 1980s . For this purpose, she duplicated individual motifs from images from news, society and lifestyle magazines by laser copying them in order to combine them as a series using the classic collage technique (cutting out, gluing, painting over) and processing them into ornamental wall and room installations.

Quotes for the CopyCollage
“My installations should () work through a subliminal and direct emotional influence. The model nature of these arrangements () comes to the fore because I use such an unarchitectural, weak material as paper to emphasize the dominance of architectural structures. In this sense, my paper architectures aim at a structural investigation of what architecture () does. ... "
Seduction and Destruction, Stephan Berg in conversation with Margret Eicher, Freiburg 1993
“… The CopyCollage [is] already about the reflection [sic!] Of the public image, its sub-texts and the finding of an adequate image form. She [Margret Eicher] extracts and abstracts her visual vocabulary from the flood of images of the beautiful appearance, as the print media produce to an ever-increasing extent. The selection takes place under the subjective criterion of being contemporary typical: visual codes, patterns, norms. The power of images ...
The image material, which is usually removed from trivial contexts, is further banalized by the copying process. This third-hand reality becomes the basic material of a new aesthetic in the collage: Eicher reactivates the expressiveness of the ornament, which, located between writing and image, enables the simultaneous use of signs, hieroglyphs, symbols and pictograms.
The spatiality leveled in the pattern becomes a questioning of space itself, whereby Margret Eicher exacerbates this philosophical problem of space with spatial installations from copy collages and at the same time unites two different art forms into a new, three-dimensional ornament. ... "
Excerpt from: Hans Günter Golinski: Konkretum Abstractum, Bochum 1996

Today Margret Eicher is best known for her large-format tapestries . It combines this baroque form of the tapestry with well-known motifs from current media images of our information society. The image templates from the media are digitized and merged with one another in a complex process on the computer. The central picture on the tapestries is framed by also digitized borders which, according to their historical-traditional function, refer to symbols and signs of contemporary society. B. Stock market or economic diagrams, scientific charts, heroes from comics and computer games that the artist quotes. Margret Eicher's tapestries are industrial “forgeries” and are made in Belgium , which, along with Paris, is the country of origin of classic tapestries and today's souvenir replicas . In (art) history, the tapestry is a symbol of aristocracy , wealth, power and education. As an artistic quote, the artist questions the power of visual communication today.

Margret Eicher developed another series of digital “forgeries” with Naughty Copy! - an open series of small-format trompes l'œil (paintings that appear deceptively real), which operate with various means of deception. In digital printing on canvas, sealed with a structure paste, an image form is created with the characteristics of painting such as ductus , varnish and structure, but which is beyond the uniqueness of so-called mastery and mastery. The artist mixes art history with the phenomena of everyday life, fantasy literature, politics and city scenarios. On the one hand, the title “Cheeky Copy!” Marks the deliberate replication; the deception and trickery of the viewer, on the other hand the exclamation mark already signals the exposure of the iniquity. (Compare to this: The epistemological homage to the lie of Bazon Brock : "Only what is known is false is still true".)

The Aquaworld series (digital watercolors ) is also based on digital image montage and creates an imitation of the watercolor aesthetic. The direct inspection of a "recorded" and seen event, which is attributed to the watercolor because of its ability to be produced quickly (easy to transport, paint dries quickly), is taken ad absurdum here. The artist selects the motifs from press images that are known to be manipulable, unfortunate events ("Disasters") and portraits of virtual personalities from science fiction films and computer games ("Virtual VIPs"). The results undermine the expected context of the watercolor technique, of what is seen and sketched in this way, and question the correspondence of the media image with reality.

Publications

  • Radically Constructive catalog book on the occasion of the exhibition of the same name at the Mannheimer Kunstverein 2007 and the Kunsthalle Ziegelhütte Appenzell (CH) 2008, texts by Roland Scotti, Martin Stather , Heidelberg 2007, 80 p., Verlag Das Wunderhorn, ISBN 978-3-88423-291-0
  • Nothing is real. Artist book and inventory, digital tapestries, texts by Barbara Auer, Stephan Berg u. a., Heidelberg, 2006, 116 p., Verlag Das Wunderhorn, ISBN 3-88423-255-X
  • Daydream & Nightmare Documentation of the spatial work of the same name for the Ludwig Forum for international art in Aachen, text by Harald Kunde, 45 p., Aachen 2004, ISBN 3-929292-39-4
  • Tussi research catalog book on the occasion of the exhibition in the Wilhelm-Hack-Museum Ludwigshafen, Kunst Haus Dresden, municipal gallery for contemporary art; Text by Richard W. Gassen, Michael Braun, u. a., Heidelberg, 2000, 64 p., Verlag Das Wunderhorn, ISBN 3-88423-162-6
  • System: Code catalog for the exhibitions at the galleries LipanjePuntin, Triest (I), Eugen Lendl, Graz (A) and Angelo Falzone, Mannheim (D), text by Marianne Hoffmann, Mannheim 1999, 24 pp.
  • Quiet Please! Catalog book on the occasion of the exhibition in the Städtische Galerie für Gegenwartskunst Dresden: Three space-related copy collages at Pillnitz Castle, text by Karl-Siegbert Rehberg, Hans-Christian Harten, Margret Eicher in conversation with Harald Kunde and Dirk Welich, Heidelberg 1997, 32 p., Verlag Das Wunderhorn, ISBN 3-88423-127-8
  • Dominant pattern catalog book for the exhibition of the same name at the Nassauischer Kunstverein Wiesbaden and the Dortmunder Kunstverein 1996, text by Peter Gruhne and Dirk Barghop, 35 p., Mannheim 1996, IT-Verlag, ISBN 3-9803035-4-3
  • LobLob catalog for the exhibition in the Kunstraum Wuppertal, text by Ludwig Seyfarth and Hans-Günter Golinski, Wuppertal 1995, 36S.
  • about the use of the pattern space- related copy collages, text by Hans-Jürgen Buderer, Margret Eicher in conversation with Stephan Berg, ed. v. Städtische Kunsthalle Mannheim, Mannheim 1993, 40 pages, ISBN 3-89165-088-4
  • Corporate identity catalog for the exhibition of the same name in the Halskratz Gallery, Mannheim, text by Hans-Jürgen Buderer, Marianne Hoffmann u. a., Mannheim 1992, 36 pp.

Individual evidence

  1. ↑ Margret Eicher, Digital Montages - Tapestries, Paintings, Watercolors , at www.altertuemliches.at , accessed on July 29, 2020
  2. ↑ Margret Eicher. Once Upon a Time in Mass Media , Angermuseum Erfurt, 2014 , accessed on July 29, 2020
  3. ↑ Margret Eicher. Once Upon a Time in Mass Media, Angermuseum Erfurt, until June 15, 2014 , exhibition review on Portal Kunstgeschichte , accessed on July 29, 2020
  4. ↑ YAY Gallery, Baku, biography of Margret Eicher , accessed on July 29, 2020
  5. ↑ BAROQUE artistic interventions in the Wunderkammer Olbricht and in Schloss Caputh , me Collectors Room, Berlin , accessed on July 29, 2020
  6. ↑ Smuggled into the Baroque , by Katrin Bettina Müller, taz - Die Tageszeitung, August 21, 2019 , accessed on July 29, 2020
  7. ↑ BAROQUE - four women stir up Caputh Castle , by Mathias Richter, Märkische Allgemeine, May 6, 2019 , accessed on July 29, 2020
  8. ↑ Interview with Margret Eicher on the BAROCK exhibition , by Carolin Kralapp, Sister Mag, March 27, 2019 , accessed on July 29, 2020
  9. ^ Museum Villa Stuck, biography of Margret Eicher , accessed on July 29, 2020
  10. ^ Museum Villa Stuck, exhibition by Margret Eicher, 2020
  11. ↑ IKOB, Eupen: A critical inventory of the IKOB collection, 2019 (accessed on August 1, 2020)
  12. ^ ZKM Karlsruhe, biography of Margret Eicher (accessed August 1, 2020)
  13. ↑ Margret Eicher at Tichy Ocean Foundation (accessed August 1, 2020)
  14. ↑ Margret Eicher at www.kuenstlerbund.de (accessed on August 1, 2020)

Web links

personal data
SURNAME Eicher, Margret
BRIEF DESCRIPTION German artist
DATE OF BIRTH 1955
PLACE OF BIRTH Viersen