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In her work, Amelie von Wulffen processes self-reflexive and complex issues such as fear, external and internal conflicts, emotional trauma, guilt, and suppressed fantasies. The Berlin-based artist transcends a certain melancholic feeling through her paintings which is also evoked by the incorporation of her personal family history. Von Wulffen’s first institutional solo show is displayed at the KW Institute for Contemporary Art Berlin on view until May 2.

Besides a selection of existing work, the exhibition at KW showcases a selection of her most recent work as well. It begins with a series of pencil drawings von Wulffen developed through photographs shot at concerts and club events, mirroring fragile constructs like alienation and the perception of reality from a personal point of view. In addition to this, a collection of self-portraits from the series Bitte keine heiße Asche einfüllen is displayed right after. The focal point of this collection is self-expression and the relevance of mirrors and photographs through the process of creating self-portraits.

Among paintings and drawings, the artist also displays installations that crossed the capacity of the canvas in order to involve the gallery space, self-made furniture, a piano, or school chairs. The exhibition also features other work like Der verkannte Bimpfi, This is how it happened and Am kühlen Tisch, which include watercolour paintings, architectural collages, photography, and unconventional objects like ceramic gravestones. With her exhibition at the KW Institute for Contemporary Art Berlin, Amelie von Wulffen has created an accumulation of different types of art practices, crossing the boundaries of ordinary paintings and installation while addressing uncomfortable emotions such as the fear of failure, frustration, and loneliness.

Lea Zöller
Frank Sperling

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