*1957 in Bensberg, Germany. Lives and works in Berlin und Zürich
German Artist
Known for: Polished wall pieces, Audio-Tours
Associated with: Contemporary Conceptual Art
"Estudia arte en Stuttgart y en el Independent Studio Program del Whitney Museum de Nueva York. Desde 1997, utiliza el escáner corporal como medio de creación, presentando en 1998 en Stuttgart sus primeros hallazgos. Con esta técnica, Sander actualiza y transforma el clásico tema del retrato al crear figuras a escala de la persona, que elige ella misma la postura en que quiere ser retratada. Estas imágenes se construyen con la ayuda de un 3D Body Scanner que escanea la figura de la persona y a través de un programa informático con los datos recibidos, los transmite a una impresora tridimensional que construye la figura a escala. Otra de sus obras más conocidas es Karin Sander, que consiste en una serie de sesenta fotografías tomadas a todas las personas encontradas en Alemania, Suiza y Austria que se llamasen de la misma forma que la artista. El espectador, sin ser consciente de ello, comienza a plantearse cómo son estas personas y si sus vidas están relacionadas entre sí." (A)
Exhibited works
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GF | A | Wall paint on canvas, 5 x 12 x 12m. Karin Sander used the wall covering of the showrooms to produce panels. These were primed with a white color and then sewn together in the dimensions of the walls. Finally, they were attached to a wooden frame and hung in the showroom. (1)
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Wandstück 300x420, 3-teilig (Wall Piece 300x420, 3 parts), 1993/1996. GF | A | Wall paint, polished, each 300 x 420 cm. (2) | ||
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Wall Piece 210x280, 2004. GF | A |
| Wall paint, polished, 210 x 280 cm. (3) | |
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Wasser (Water), 1990/2005. GF | A |
| Lower half of the room painted with water. (4) | |
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Haarzeichnungen (Hair Drawings), 1998. GF | A | 770 human hairs, each fixed to a sheet of paper, each 28 x 21 cm. (5) | ||
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Gebrauchsbilder (Patina Paintings), 2005. GF | A | The Patina Paintings, called Gebrauchsbilder in German (the term implies both that the canvases are consumer objects and that they fulfill a need) were created in the locations where they were hung. The primed image carriers were taken, without prior manipulation, to a selected location and remained exhibited there for a period of time to be determined later. They absorbed and reproduced the specific patina of a given location. This process of absorption can continue infinitely or be interrupted at some point. The duration, the name of the location, and size determined a given painting, and provided its title. (6) | ||
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Zeigen. Eine Audiotour durch Berlin (Zeigen. An Audio Tour Through Berlin), 2009. GF | A | A series of projects developed by the artist for specific arts institutions or particular locations. In this project, Sander invites fellow artists associated with the place or institution to contribute one work to the exhibition. However, the submitted work should be translated into an acoustic piece. The invited artists were free to define both the nature of sound (a description, noise, reading, singing, music, etc.), as well as the duration of the audio piece that serves as an audible representation of their visual works of art. The Zeigen exhibition space was left empty, except for the uniform black lettering on the wall listing the names of the participating artists and numbers for the audio guide. Visitors were issued an audio guide that allowed them to listen to each sonic work on display. The project brought attention individual modes of perception and different ways of communicating a work of art. In German, the word 'zeigen' means 'to show'. In Zeigen, a visual representation, common to the exhibition context, is replaced by an audible impression, which serves both as a statement of a given artist and as a catalyst of the viewer's – now listener's – imagination. Through a conceptual gesture of translating one medium into another, the work is dematerialized and transformed in a sonic piece that offers a variety of alternative perceptual and narrative experiences. At the same time, filling the empty space, the figures of the listening visitors become part of the exhibition's setting. Zeigen can also be viewed as an immaterial collection of works of art assembled for a particular location. (7) | ||
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Weisse Passagen (White Passageways), 1990. 2nd | A | Plaster, white wall paint, concrete. (8) | ||
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5 Kunstrasenstücke (5 artificial turf piece), 1997. 2nd | A | Artificial turf, foam, 200 x 200 cm, inserted in a meadow. (9) | ||
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2nd | A | 7 artificial turf pieces, Polyethylene monofilament W-shape fiber, each Ø 200 cm. (10) | ||
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2nd | A | 2 gallery walls, dismantled, laid down. (11) | ||
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2nd | A | Paper waste from 5 offices of the Neuer Berliner Kunstverein, 5 holes in the bottom of the offices respectively the ceiling of the exhibition space, Holes each Ø 30 cm. (12) | ||
| Links Karinsander.de | Galerie Esther Schipper | i8 Gallery | Galerie nächst St. Stephan | Barbara Gross Galerie | Further informations 1 | 2 | 3 | 4 | 5 | 6 | 7
Citas (A) Mas de Arte
List of References (1) Installation View: Städtisches Museum Abteiberg, Mönchengladbach, Photo: Martin Lauffer. (2) Installation View: Kunstmuseum Bonn, Bonn. Photo: Martin Lauffer. (3) Installation View: Solomon R. Guggenheim Museum, New York. Photo: Karin Sander (4) Photos: Martin Lauffer, Karin Sander (Detail) (5) Sammlung Stiftung für konkrete Kunst, Reutlingen und Kunstmuseum Stuttgart, Courtesy Esther Schipper, Berlin (6) Photos: Galerie Nordenhake (7) Installation View: Temporäre Kunsthalle, Berlin, 2009-2010. Photos: Lily Grote, Jens Ziehe (Detail) (8) Installation View: Ulica Piotrkowska, Lodz, Poland. Photo: Martin Lauffer. (9) Installation View: Park "Warmer Damm", Wiesbaden 2002. (10) Installation View: KölnSkulptur #7, Köln, 2013. Photo: Veit Landwehr. (11) Installation View: Esther Schipper, Berlin. Photo: Jens Ziehe. (12) Installation View: Neuer Berliner Kunstverein, Berlin. Photo: Jens Ziehe.
Credits All reproductions are courtesy of the artist © Karin Sander / 2014, ProLitteris, Zurich | |||
