02.07.–31.07.21
GENIUS LOCI IX
STRIKES BACK

02.07.–31.07.21
GENIUS LOCI IX
STRIKES BACK

02.07.–31.07.21
GENIUS LOCI IX
STRIKES BACK

02.07.—31.07.21
GENIUS LOCI IX
STRIKES BACK

02.07.—31.07.21
GENIUS LOCI IX
STRIKES BACK

SETAREH X is pleased to present GENIUS LOCI IX - STRIKES BACK. The annual exhibition series with young emerging artists will be held for the first time at SETAREH X, Hohe Straße 53, Düsseldorf. While in recent years graduate exhibitions have also been shown in several museums, SETAREH is now showcasing the 9th edition of the group exhibition.

In the second year of the pandemic, GENIUS LOCI, the spirit of the place, deliberately refers to Düsseldorf as an outstanding art location and focuses on exceptional talents from the Kunstakademie Düsseldorf. The participating artists: Steffen Jopp, Emma Løkke, Moritz Riesenbeck, Emil Walde and Theresa Weber exhibit latest works, which on the one hand stand for themselves and on the other hand reveal both formal and thematic cross-connections among each other.Under the playfully ambiguous exhibition title STRIKES BACK, five young, remarkable positions are presented, which are able to react to current societal issues and at the same time consciously refer to art history. In the exhibited works, something seems to strike back and confront the viewers!

This year‘s show includes Steffen Jopp‘s exceptional sharp-edged, metal sculptures and mirror shields. With a plasma cutter, Jopp works with stainless steel sheets and copper pipes. From these he forms "futuristic" and at the same time archaic-looking objects that appear both fortified and hermetic and can be read like psychograms of the artist. Emma Løkke uses different materials as carries for her works, such as cotton, chiffon and metal, which become important components of her abstract, free and gestural pieces.

SETAREH X is pleased to present GENIUS LOCI IX - STRIKES BACK. The annual exhibition series with young emerging artists will be held for the first time at SETAREH X, Hohe Straße 53, Düsseldorf. While in recent years graduate exhibitions have also been shown in several museums, SETAREH is now showcasing the 9th edition of the group exhibition.

In the second year of the pandemic, GENIUS LOCI, the spirit of the place, deliberately refers to Düsseldorf as an outstanding art location and focuses on exceptional talents from the Kunstakademie Düsseldorf. The participating artists: Steffen Jopp, Emma Løkke, Moritz Riesenbeck, Emil Walde and Theresa Weber exhibit latest works, which on the one hand stand for themselves and on the other hand reveal both formal and thematic cross-connections among each other.Under the playfully ambiguous exhibition title STRIKES BACK, five young, remarkable positions are presented, which are able to react to current societal issues and at the same time consciously refer to art history. In the exhibited works, something seems to strike back and confront the viewers!

This year‘s show includes Steffen Jopp‘s exceptional sharp-edged, metal sculptures and mirror shields. With a plasma cutter, Jopp works with stainless steel sheets and copper pipes. From these he forms "futuristic" and at the same time archaic-looking objects that appear both fortified and hermetic and can be read like psychograms of the artist. Emma Løkke uses different materials as carries for her works, such as cotton, chiffon and metal, which become important components of her abstract, free and gestural pieces.

SETAREH X is pleased to present GENIUS LOCI IX - STRIKES BACK. The annual exhibition series with young emerging artists will be held for the first time at SETAREH X, Hohe Straße 53, Düsseldorf. While in recent years graduate exhibitions have also been shown in several museums, SETAREH is now showcasing the 9th edition of the group exhibition.

In the second year of the pandemic, GENIUS LOCI, the spirit of the place, deliberately refers to Düsseldorf as an outstanding art location and focuses on exceptional talents from the Kunstakademie Düsseldorf. The participating artists: Steffen Jopp, Emma Løkke, Moritz Riesenbeck, Emil Walde and Theresa Weber exhibit latest works, which on the one hand stand for themselves and on the other hand reveal both formal and thematic cross-connections among each other. Under the playfully ambiguous exhibition title STRIKES BACK, five young, remarkable positions are presented, which are able to react to current societal issues and at the same time consciously refer to art history. In the exhibited works, something seems to strike back and confront the viewers!

This year‘s show includes Steffen Jopp‘s exceptional sharp-edged, metal sculptures and mirror shields. With a plasma cutter, Jopp works with stainless steel sheets and copper pipes. From these he forms "futuristic" and at the same time archaic-looking objects that appear both fortified and hermetic and can be read like psychograms of the artist. Emma Løkke uses different materials as carries for her works, such as cotton, chiffon and metal, which become important components of her abstract, free and gestural pieces.

SETAREH X is pleased to present GENIUS LOCI IX - STRIKES BACK. The annual exhibition series with young emerging artists will be held for the first time at SETAREH X, Hohe Straße 53, Düsseldorf. While in recent years graduate exhibitions have also been shown in several museums, SETAREH is now showcasing the 9th edition of the group exhibition.

In the second year of the pandemic, GENIUS LOCI, the spirit of the place, deliberately refers to Düsseldorf as an outstanding art location and focuses on exceptional talents from the Kunstakademie Düsseldorf. The participating artists: Steffen Jopp, Emma Løkke, Moritz Riesenbeck, Emil Walde and Theresa Weber exhibit latest works, which on the one hand stand for themselves and on the other hand reveal both formal and thematic cross-connections among each other. Under the playfully ambiguous exhibition title STRIKES BACK, five young, remarkable positions are presented, which are able to react to current societal issues and at the same time consciously refer to art history. In the exhibited works, something seems to strike back and confront the viewers!

This year‘s show includes Steffen Jopp‘s exceptional sharp-edged, metal sculptures and mirror shields. With a plasma cutter, Jopp works with stainless steel sheets and copper pipes. From these he forms "futuristic" and at the same time archaic-looking objects that appear both fortified and hermetic and can be read like psychograms of the artist. Emma Løkke uses different materials as carries for her works, such as cotton, chiffon and metal, which become important components of her abstract, free and gestural pieces.

In her processual, partially multilayered and translucent monotypes, a reference to informal painting appears, but her pictorial language is furthermore characterized by its very own materiality and mode of composition. Moritz Riesenbeck’s disused tube-boat-like rescue mattress (from former Bundeswehr inventory) opens ambiguous references to body bags, sea rescues and, due to its high hanging, to sacred stagings. The negative form of the artist's body, articulated by a vacuum pump, in addition to the partly frightening connotations to this objet trouvé, also evokes associations with the famous Shroud of Turin.

Emil Walde‘s technoid objects (a converted water tank and terrariums with arm prostheses) consist of found objects and eBay acquisitions, accommodate an understanding of „Neo Povera“ in which consumption and abundance become reflectable in a critical way. The presentation of the artificial body parts, which are shown as if in reliquary caskets and can be observed through a perforated metal sheet smeared with fingerprints, has an almost sarcastic effect. Last but not least, Theresa Weber's very corporeal silicone reliefs, structured with the imprints of her fingers, which include inlays such as fake nails, glass beads, and images of the goddess Ishtar, assert themselves. These mosaic-like works provide, among others, transcultural and feminist references.
These sculptural, pictorial, corporeal and spatial works are about protection function, threat staging, reappraisal, and awareness - themes of a generation that is self-confident yet insecure, provocative yet in need of protection, open, yet in turn, closed. GENIUS LOCI strikes back!

SETAREH X is pleased to present GENIUS LOCI IX - STRIKES BACK. The annual exhibition series with young emerging artists will be held for the first time at SETAREH X, Hohe Straße 53, Düsseldorf. While in recent years graduate exhibitions have also been shown in several museums, SETAREH is now showcasing the 9th edition of the group exhibition.

In the second year of the pandemic, GENIUS LOCI, the spirit of the place, deliberately refers to Düsseldorf as an outstanding art location and focuses on exceptional talents from the Kunstakademie Düsseldorf. The participating artists: Steffen Jopp, Emma Løkke, Moritz Riesenbeck, Emil Walde and Theresa Weber exhibit latest works, which on the one hand stand for themselves and on the other hand reveal both formal and thematic cross-connections among each other. Under the playfully ambiguous exhibition title STRIKES BACK, five young, remarkable positions are presented, which are able to react to current societal issues and at the same time consciously refer to art history. In the exhibited works, something seems to strike back and confront the viewers!

This year‘s show includes Steffen Jopp‘s exceptional sharp-edged, metal sculptures and mirror shields. With a plasma cutter, Jopp works with stainless steel sheets and copper pipes. From these he forms "futuristic" and at the same time archaic-looking objects that appear both fortified and hermetic and can be read like psychograms of the artist. Emma Løkke uses different materials as carries for her works, such as cotton, chiffon and metal, which become important components of her abstract, free and gestural pieces.

In her processual, partially multilayered and translucent monotypes, a reference to informal painting appears, but her pictorial language is furthermore characterized by its very own materiality and mode of composition. Moritz Riesenbeck’s disused tube-boat-like rescue mattress (from former Bundeswehr inventory) opens ambiguous references to body bags, sea rescues and, due to its high hanging, to sacred stagings. The negative form of the artist's body, articulated by a vacuum pump, in addition to the partly frightening connotations to this objet trouvé, also evokes associations with the famous Shroud of Turin.

Emil Walde‘s technoid objects (a converted water tank and terrariums with arm prostheses) consist of found objects and eBay acquisitions, accommodate an understanding of „Neo Povera“ in which consumption and abundance become reflectable in a critical way. The presentation of the artificial body parts, which are shown as if in reliquary caskets and can be observed through a perforated metal sheet smeared with fingerprints, has an almost sarcastic effect. Last but not least, Theresa Weber's very corporeal silicone reliefs, structured with the imprints of her fingers, which include inlays such as fake nails, glass beads, and images of the goddess Ishtar, assert themselves. These mosaic-like works provide, among others, transcultural and feminist references.
These sculptural, pictorial, corporeal and spatial works are about protection function, threat staging, reappraisal, and awareness - themes of a generation that is self-confident yet insecure, provocative yet in need of protection, open, yet in turn, closed. GENIUS LOCI strikes back!

In her processual, partially multilayered and translucent monotypes, a reference to informal painting appears, but her pictorial language is furthermore characterized by its very own materiality and mode of composition. Moritz Riesenbeck’s disused tube-boat-like rescue mattress (from former Bundeswehr inventory) opens ambiguous references to body bags, sea rescues and, due to its high hanging, to sacred stagings. The negative form of the artist's body, articulated by a vacuum pump, in addition to the partly frightening connotations to this objet trouvé, also evokes associations with the famous Shroud of Turin.

Emil Walde‘s technoid objects (a converted water tank and terrariums with arm prostheses) consist of found objects and eBay acquisitions, accommodate an understanding of „Neo Povera“ in which consumption and abundance become reflectable in a critical way. The presentation of the artificial body parts, which are shown as if in reliquary caskets and can be observed through a perforated metal sheet smeared with fingerprints, has an almost sarcastic effect. Last but not least, Theresa Weber's very corporeal silicone reliefs, structured with the imprints of her fingers, which include inlays such as fake nails, glass beads, and images of the goddess Ishtar, assert themselves. These mosaic-like works provide, among others, transcultural and feminist references.
These sculptural, pictorial, corporeal and spatial works are about protection function, threat staging, reappraisal, and awareness - themes of a generation that is self-confident yet insecure, provocative yet in need of protection, open, yet in turn, closed. GENIUS LOCI strikes back!

In her processual, partially multilayered and translucent monotypes, a reference to informal painting appears, but her pictorial language is furthermore characterized by its very own materiality and mode of composition. Moritz Riesenbeck’s disused tube-boat-like rescue mattress (from former Bundeswehr inventory) opens ambiguous references to body bags, sea rescues and, due to its high hanging, to sacred stagings. The negative form of the artist's body, articulated by a vacuum pump, in addition to the partly frightening connotations to this objet trouvé, also evokes associations with the famous Shroud of Turin.

Emil Walde‘s technoid objects (a converted water tank and terrariums with arm prostheses) consist of found objects and eBay acquisitions, accommodate an understanding of „Neo Povera“ in which consumption and abundance become reflectable in a critical way. The presentation of the artificial body parts, which are shown as if in reliquary caskets and can be observed through a perforated metal sheet smeared with fingerprints, has an almost sarcastic effect. Last but not least, Theresa Weber's very corporeal silicone reliefs, structured with the imprints of her fingers, which include inlays such as fake nails, glass beads, and images of the goddess Ishtar, assert themselves. These mosaic-like works provide, among others, transcultural and feminist references.
These sculptural, pictorial, corporeal and spatial works are about protection function, threat staging, reappraisal, and awareness - themes of a generation that is self-confident yet insecure, provocative yet in need of protection, open, yet in turn, closed. GENIUS LOCI strikes back!

In her processual, partially multilayered and translucent monotypes, a reference to informal painting appears, but her pictorial language is furthermore characterized by its very own materiality and mode of composition. Moritz Riesenbeck’s disused tube-boat-like rescue mattress (from former Bundeswehr inventory) opens ambiguous references to body bags, sea rescues and, due to its high hanging, to sacred stagings. The negative form of the artist's body, articulated by a vacuum pump, in addition to the partly frightening connotations to this objet trouvé, also evokes associations with the famous Shroud of Turin.

Emil Walde‘s technoid objects (a converted water tank and terrariums with arm prostheses) consist of found objects and eBay acquisitions, accommodate an understanding of „Neo Povera“ in which consumption and abundance become reflectable in a critical way. The presentation of the artificial body parts, which are shown as if in reliquary caskets and can be observed through a perforated metal sheet smeared with fingerprints, has an almost sarcastic effect. Last but not least, Theresa Weber's very corporeal silicone reliefs, structured with the imprints of her fingers, which include inlays such as fake nails, glass beads, and images of the goddess Ishtar, assert themselves. These mosaic-like works provide, among others, transcultural and feminist references.
These sculptural, pictorial, corporeal and spatial works are about protection function, threat staging, reappraisal, and awareness - themes of a generation that is self-confident yet insecure, provocative yet in need of protection, open, yet in turn, closed. GENIUS LOCI strikes back!

 

 

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