Madeleine Boschan

Antae (brimstone / light blue)

, 2016
  • Material
  • Production Method
    Signed and numbered
  • Edition Size
  • Measurement
    75 x 55 cm
    Auflage 25 + 4 AP
    signiert und nummeriert
  • Details about the frame
    Hand-finished white painted wooden frame, incl. 10mm spacers, Size of the frame ca. 76,6 x 56,6 cm.
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About the Edition

Madeleine Boschan’s sculptures may seem timeless, but for her they’re about the here and now. A neon light, or a thermometer, integrated into the sculptures embodies this. And some issues never get old. “How to live together?” the artist asks à la Roland Barthes—one of the challenges with which she confronts herself. She discovers the relevant utopias for the future in Greek antiquity, where philosophy and science were granted time and space to explore the essence of things. For the artflash edition Antae (Brimstone / Light Blue), she found her inspiration in the proportions and colors of the Greek antae temples: sky blue for the antechamber known as the pronaos, from which one entered the sanctuary of the naos, rendered here in vibrant yellow. The result is a silkscreen print on watercolor board reduced to the essentials, in whose structure the coloration subtly breaks and thus becomes something other than a simple surface. One curator attributed a “spiritual allure” to Boschan’s works, all hand-made and often rising from the floor to the ceiling. They encourage our movement—within the room and within ourselves. And thus, ultimately, they offer us the chance to forge new paths in order, perhaps, to find solutions during our travels.

About the artist

Artist Madeleine Boschan creates new spaces with her works. As soon as we enter her sculptural ensembles, our gaze, our demeanor, and our perception are altered. For the sculptor, the work involves nothing less than the possibility of experiencing transcendence. But this requires candor: “One can only find one’s own place alone; no one can do it for you.” To begin with, the artist repeatedly presents herself with this task whenever she first enters the exhibition spaces of her site-specific works. Boschan works in a manner that’s equally associative and meticulous. She thinks, reads, and researches in numerous directions. Even the colors of her sculptures are often related to the history of the locations in which they’re shown. And, time and again, she directs her attention to the architecture. “My praxis, the sculptural configuration of space, is not only intertwined with aesthetic questions but also and consistently with distinctly social and ethical questions,” Boschan says. “The locations of people” are of interest to the artist, and these are constantly in flux. Since the end of her studies at Braunschweig’s University of Art in 2006, Boschan’s works have been shown internationally in solo and group exhibitions, at the Art Center Los Angeles (ACLA), the Hamburger Bahnhof Museum of Contemporary Art in Berlin, Munich’s Kunstraum, in the Philara Collection in Düsseldorf, and the Vienna Secession, among others.

Latest Exhibitions (Selection)

2016, in which its gaze, bent merely on itself, upholds and gleams, Hezi Cohen Gallery, Tel Aviv; Enea Tree Museum, Rapperswil–Jona, Switzerland; Moby Dick Filets, Secession, Wien; Welt am Rand, Kunsthaus Erfurt
2015, Escapement (with Andy Hope 1930), Neue Galerie Gladbeck; Or am I seduced by its ambient mauve, Herrenhaus Edenkoben; Wo ist hier?# 2: Raum und Gegenwart, Kunstverein Reutlingen; Ypres 1914 | 2014: Vanitas extended, Stedelijk Museum, Ypres; NAK Benefit auction, Neuer Aachener Kunstverein, Aachen; All up, Kosmetiksalon Babette, Berlin; Caritatis, Semper Depot, Vienna, Austria
2014, Technicolor: a) Feld, b) Fläche, Marburger Kunstverein, Marburg; Lucky Pierre style, ABC – Art Berlin Contemporary c/o Galerie Bernd Kugler, Berlin; Present, Kunstraum Bethanien, Berlin
2013, Closed Space Stories, Hezi Cohen Gallery, Tel Aviv, Israel; Don't you wonder sometimes `bout sound and vision, Kunstverein Heppenheim; Say a body. Where none. Say a place. Where none. For the body. To be in., Kunstverein Ulm; Novecento mai visto. Highlights from the Daimler Art Collection. From Albers to Warhol to now, Museo Santa Giulia, Brescia; The Legend of the Shelves, Autocenter, Berlin; Berlin Klondyke, Alte Baumwollspinnerei, Leipzig
2012, An open Field, a Factory, a By-pass, Gloria, Berln; Accelerating toward Apocalypse (Private / Corporate VII), Daimler Contemporary, Berlin; Gare de l'Est, Esslinger Kunstverein, Villa Merkel, Esslingen; Eine Frau, ein Baum, eine Kuh, Kunstraum München; En Désordre, Philara – Sammlung zeitgenössischer Kunst, Düsseldorf; Abstract confusion, Kunsthalle Erfurt; Status. Berlin (1), Künstlerhaus Bethanien, Berlin
2011, RoidRage, Kwadrat, Berlin; Berlin Klondyke, Art Center Los Angeles; Niteflix, Autocenter, Berlin; Berlin Klondyke, Odd Gallery / Klondike Institute of Art & Culture, Dawson City, Yukon; Based in Berlin / The forgotten Years 2007-11, Hamburger Bahnhof, Berlin; Abstract confusion, b-05, Montabaur; Destructionconstruction, Tape Modern, Berlin; Born after 1924, Castlefield Gallery, Manchester, United Kingdom
2010, Kalt, modern und teuer, Kwadrat, Berlin; Cosmic Camping, Appartement, Berlin; Bürokunst für die Mittelschicht, ArtThiess, München; Ayran & Yoga – The 1st Berlin Kreuzberg Biennale, Berlin; Equinox, Grimmuseum, Berlin; Girl Overkill II, Künstlerhaus Bethanien, Berlin

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