Britta Lumer

Death Life Balance

Opening | Wednesday, 14th of September | 5 - 10 pm

Duration | September 15th to Oktober 4th

Curated by Polina Piagin

For the first time, Britta Lumer transforms the 20 square meter small space, which can be seen from two sides through shop windows, into a multi-dimensional stage, on which a visual space is created through the superimposition and doubling of lines and surfaces, that seem to be detached from physical laws.

Britta Lumer (*1965 in Frankfurt/M.; lives in Berlin) became known for her ink drawings, which sometimes take on wall-sized formats. Schematically recognizable things like human bodies and faces dissolve as if liquefied, the contours are multiplied as in a photographic multiple or long exposure. The motifs appear to be viewed simultaneously from different perspectives.

In her paintings, the immediacy and fixity that we are used to when dealing with media images in everyday life dissolves. The viewer can compose one or more realities from the traces of flowing ink or washed-out charcoal. Overly reliable perspectives are lost in the process of creation.

The new works created for the exhibition in the BARK LAB extend these stylistic devices through the combination of large and small-format drawings and sculptures, without the portrayed emerging more clearly. For the large formats, the artist consciously goes beyond her direct physical reach. Unusual means such as brooms and vacuum cleaners are also used, with which she applies carbon pigments and moves them on the paper.

From 1992 to 1996, Britta Lumer studied at the State Academy of Fine Arts, Städelschule, in Frankfurt am Main with Georg Herold and Per Kirkeby. Then until 1997 at the Statens Kunstakademi in Bergen/ Norway with Luc Tuymans and Lawrence Weiner, among others. Her works have been shown in numerous international exhibitions and are represented in well-known private and public collections: State Museums in Berlin, Kupferstichkabinett Berlin; Dresden State Art Collections; Print Room Dresden; Collection of the Deutsche Bank; Kunstmuseum Basel and the Agnes Gund Foundation, New York and other.