3. EN/DE
Ohne Titel (Edition 10)
Louisa Clement

Ohne Titel (Edition 10)

, 2022
  • Material
    Archival Inkjet Print on Hahnemühle Barite Paper
  • Edition Size
    20
  • Measurement
    Sheet size 50.4 x 23.3 cm
    Edition 20 + 5 AP
    Signed and numbered on the reverse of the label
  • Details about the frame
    Handmade black stained and waxed maple wood frame, external dimensions approx. 51.6 x 24.5 cm, including spacer bar and museum glass and rear suspension
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About the Edition

While Louisa Clement's "representatives" impress with their perfection, the Bonn artist goes the opposite way in the edition made exclusively for artflash: We see a deliberately raw and imperfect, multiply fragmented female torso, composed of artificial female genres such as mannequins and avatars. Even the violence of the creative process is self-confidently revealed: the chest has been rudely cut off, the head and middle of the body are made of a different material than the arms and neck, and the lower body is missing entirely. In times when women's rights are curtailed in many places (e.g. USA) and brutal violence is used against women (e.g. Iran), this depiction of femininity takes an unmistakable position. At the same time, the tilted head remarkably does not indicate a buckling, a traditional victim role, but rather preserves a certain dignity for the protagonist ‒ just as the entire sheet of the edition conveys a surprising transhuman warmth, be it because Clement uses the parts from a 'handmade' iPhone -has put the photos together, either because she has printed the art body on barite paper, a material that has a soft feel due to its pronounced felt structure, which gives the motif an impressive depth. And so when looking at Clement's work, in addition to thinking about the representation of bodies and their medialization, there is also a very direct question: Why doesn't the sight of the untitled torso leave us depressed? Perhaps because the female body, despite its fragmentation, has a melancholy elegance that ultimately radiates strength through all the hurt.

About the artist

Louisa Clement (b. *1987) questions the human self in the digital age in photographs, videos, wall works, sculptures and VR works. In 2014 she showed 55 portraits of mannequins in her thesis “heads” as a master student of the photographer Andreas Gursky at the Düsseldorf Art Academy. They are heads without a mouth, nose or eyes, faceless and genderless, "an ideal symbol of standardization," says the artist. In her work "Representatives", Clement has now - in cooperation with a Chinese company specializing in sex dolls - created doubles of herself equipped with artificial intelligence, which can move and communicate and which she has fed with excessive knowledge about herself. Who am I, what do I represent, what distinguishes me from my image, who do I want to be? In her works, Clement impressively reflects urgent contemporary questions in times of permanent self-reflection.

Latest Exhibitions (Selection)

Until April 30, 2023, Louisa Clement is represented with works in the highly acclaimed group exhibition “Transformers” at the Museum Frieder Burda in Wiesbaden. The gallery EIGEN+ART in Berlin is showing works by Louisa Clement in the solo exhibition "compression" until April 15, 2023.
In 2021, the exhibition "Double Bind" in the Kunsthalle Gießen presented the latest work cycle by Louisa Clement, the so-called "Representatives", AI dolls that are based on the artist.

Links of Interest (Selection)

Die Stuttgarter Nachrichten berichten über die aktuelle Ausstellung "Transformers" im Museum Frieder Burda)
Website der Künstlerin
Beitrag im „Deutschlandfunk“ über die Überblicksschau der Künstlerin im Sprengel Museum Hannover (2019)
Louisa Clement bei Kunst & Denker, Contemporary
Website des Museum Frieder Burda
Artikel in der NZZ über die Ausstellung "Transformers" im Museum Frieder Burda

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