Madeleine Boschan

Madeleine Boschan (born 1979) is a German sculptor.

Biography

Madeleine Boschan studied at the Hochschule für Bildende Künste Braunschweig from 2000–2006; where she was taught by John Armleder and others.[1]

Since 2010 she has participated in numerous institutional exhibitions throughout Europe and North America focusing on: artistic strategies dealing with preconditioned role-models and relationships of people, everyday objects or readymades, furniture and architecture,[2] as well as new tendencies of Abstract art,[3] contemporary art from Berlin or Germany,[4] and the interdisciplinary impact of the Cabinet of curiosities on contemporary thinking, science and exhibition practice.[5]

In 2011, she took part as artist in residence and lecturer in the Manchester-wide festival Merzman: Kurt Schwitters in the North West, celebrating the legacy and influence of German artist Kurt Schwitters.[6]

In 2015 she will be artist in residence at Herrenhaus Edenkoben / Rhineland-Palatinate, Germany.

She lives and works in Berlin, Germany.

Working practice

Madeleine Boschan builds her sculptures from found material. These objets trouvés are modified, reassembled and brought in relation with each other by colour interventions.[7] The different components lose their common value of utilization. With their machine-like appearance her sculptures seem to suggest expedience, still, they inhere in a kind of defunctionalised dissociation – as do indigenous fetishes or desolate and disused apparatus.[8]

Her work originates from ethology or behavioural biology, questioning the origins of places of social exchange and the cultural specificities of ritualized social orders as well as their dystopic collapse. Further influences originate from her preoccupation with Animism, Totemism, Psychogeography and the situationist technique of Détournement, Science Fiction, as well as with the conditions of postmodernist, post-industrial societies.[9]

She examines sculptural constellations, their installational or site-specific expansion in space as well as the singular densifications within a particular sculpture. Her sculptures take over and occupy the empty space as pack- or swarm-like systems, they form it, notwithstanding, releasing it again to open up unbound vistas. She strives to make perceptible the interconnectedness, the simulated and the doubtable of today's societies.[10]

In late 2013, she started to reconsider, concentrate and map out her primary pictorial vocabulary anew. This led to a series of eight sculptures which, in their entirety, have been presented for the first time at Marburger Kunstverein in December 2014. With these sculptural bodies she made her previously linear and gestalt-like sculptures more planar, giving them more surface, realigning them towards the surrounding space and, with more areas of friction, relating them closer to the beholders. They reside freely or paratactically throughout the given space, yet in their individual, utmost elementary states they are constantly alluding to each other and, similarly, to us sharing the same space with them, sojourning amidst them.[11]

The vantage point of this endeavour has been "Technicolor", the additive / subtractive manufacturing process of colour films. Inseparably, Boschan incorporated Technicolor’s base colours into her forms; thus, the specific chromaticity originated its very own specific forms. Since the 1950s, Technicolor has been "the colorous horizon both for individual melodramas and supra-personal grand histories opening up a vast field of sentiment and monument".[12] Boschan advanced these constitutive references between inner and outer experience based on her reading of American poet Frank O’Hara (1926–1966) whose poetry similarly verges upon the boundaries of daily observations and subjective sensations.

Solo exhibitions

2016

in which its gaze, bent merely on itself, upholds and gleams, Hezi Cohen Gallery, Tel Aviv, Israel

2015

Escapement (with Andy Hope 1930), Neue Galerie Gladbeck, Germany
Galerie Bernd Kugler, Innsbruck, Germany
or am I seduced by its ambient mauve, Herrenhaus Edenkoben, Germany
what´s wrong with your eyes, Larry, Berlin, Germany

2014

Technicolor: a) Feld, b) Fläche, Marburger Kunstverein, Marburg, Germany
Capri, Vitamin, Reutlingen, Germany
Deal with ´em, Jagla, Köln, Germany

2013

Closed Space Stories, Hezi Cohen Gallery, Tel Aviv, Israel
Don't you wonder sometimes ’bout sound and vision, Kunstverein Heppenheim, Heppenheim, Germany
Say a body. Where none. Say a place. Where none. For the body. To be in., Kunstverein Ulm, Ulm, Germany
Scope = immeasurable, Einraumhaus, Mannheim, Germany
Anwesenheit unerreichbarer Bezugspunkte, Galerie Bernd Kugler, Innsbruck, Austria

2012

An open Field, a Factory, a By-pass, Gloria, Berlin, Germany

2011

Kayfabe, Galerie Bernd Kugler, Innsbruck, Austria
RoidRage, Kwadrat, Berlin, Germany
Niteflix, Autocenter, Berlin, Germany

2010

Kalt, modern und teuer, Kwadrat, Berlin, Germany
Cosmic Camping, Appartement, Berlin, Germany

Group exhibitions

2016

Enea, Jona, Switzerland
Moby Dick Filets, Secession, Vienna, Austria
Randzone, Kunsthaus Erfurt
bedsitter, Mirante, Vienna, Austria
Still Still Life, Galerie Bernd Kugler, Innsbruck, Austria

2015

Wo ist hier?# 2: Raum und Gegenwart, Kunstverein Reutlingen, Germany
Enea, Jona, Switzerland
18, Galerija Contra, Zagreb, Slovenia
Vanitas extended, Stedelijk Museum, Ypres, Belgium
Standard International – Post Spatial Devices No. II, Geisberg, Berlin, Germany
Berliner Edition, Salon Dahlmann, Berlin, Germany
Leipziger Edition, Kulturforum Altenkamp, Schloss Holte–Stukenbrock, Germany
Caritatis, Semperdepot, Vienna, Austria

2014

Luggage and observations, Galerie Klaus Gerrit Friese, Stuttgart, Germany
Psycho Killer, qu'est-ce que c'est?, Galerie Börgmann, Mönchengladbach, Germany
Present, Kunstraum Kreuzberg / Bethanien, Berlin, Germany

2013

Publications, Galerie Bernd Kugler, Innsbruck, Austria
Batman Elektronik, Galerie Mikael Andersen, Berlin, Germany
Berlin Klondyke, Hipp Halle, Gmunden, Austria
Novecento mai visto. Highlights from the Daimler Art Collection. From Albers to Warhol to now, Museo di Santa Giulia, Brescia, Italy
Berlin Klondyke, Alte Baumwollspinnerei, Leipzig, Germany
From Outer Galaxy to Inner Atom (Stelldichein), Bruch und Dallas, Köln, Germany
Entwicklungsgeschichte der Kunst 1830 – 2140, Kuckei + Kuckei, Berlin, Germany
The Legend of the Shelves, Autocenter, Berlin, Germany

2012

Accelerating toward Apocalypse (Private / Corporate VII), Daimler Contemporary, Berlin, Germany
Gare de l'Est, Esslinger Kunstverein, Villa Merkel, Esslingen, Germany
Eine Frau, ein Baum, eine Kuh, Kunstraum München, Munich, Germany
En désordre, Philara – Sammlung zeitgenössischer Kunst, Düsseldorf, Germany
Wunderkammer, Autocenter, Berlin, Germany
Berlin Klondyke, Neuer Pfaffenhofener Kunstverein, Pfaffenhofen, Germany
Gentle Giants II, Kwadrat, Berlin, Germany
Es gibt … There is …, b-05, Montabaur, Germany
Abstract confusion, Kunsthalle Erfurt, Erfurt, Germany
Status. Berlin (1), Künstlerhaus Bethanien, Berlin, Germany
Black Oriental, Galerie Bernd Kugler, Innsbruck, Austria
Abstract confusion, Neue Galerie Gladbeck, Gladbeck, Germany
Eine Frau, ein Baum, eine Kuh, Museum für Konkrete Kunst Ingolstadt, Ingolstadt, Germany

2011

Based in Berlin, Hamburger Bahnhof, Berlin, Germany
Berlin Klondyke, Art Center, Los Angeles, U.S.
Synecdoche, Bourouina Gallery, Berlin, Germany
Abstract confusion, Kunstverein Ulm, Ulm, Germany
Dormition, Contra Galerija, Koper, Slovenia
Responsolidarity – Galerie Utopia, Remap3, Athens, Greece
Diktatur Charlottenburg, Kosmetiksalon Babette, Berlin, Germany
Responsolidarity – Galerie Utopia, Kunstakademie Münster, Münster, Germany
Moraltarantula #5 – Perfektion in Vollendung, Zollamt-Oberhafen, Hamburg, Germany
Berlin Klondyke, The Odd Gallery / Klondike Institute of Art & Culture, Dawson City, Yukon, Canada
The International Bongo Bongo Brigade with Guests, Haffner, Hall in Tirol, Austria
Abstract confusion, b-05, Montabaur, Germany
Destructionconstruction, Tape Modern, Berlin, Germany
Born after 1924, Castlefield Gallery, Manchester, England

2010

Abstrakt, Forgotten Bar, Berlin, Germany
Ruffled Galaxies, Infernoesque, Berlin, Germany
Gentle Giants, Kwadrat, Berlin, Germany
Bürokunst für die Mittelschicht, ArtThiess, Munich, Germany
Ayran & Yoga – The 1st Berlin Kreuzberg Biennale, Berlin, Germany
Ein Fest für Boris, Vittorio Manalese & Fils / Contemporary Fine Arts, Berlin, Germany
Equinox, GrimmMuseum, Berlin, Germany
Sculpture #6, Kantine, Berlin, Germany
Girl Overkill II, Künstlerhaus Bethanien, Berlin, Germany

Solo publications

Thrénos, exhibition catalogue, ed. Herrenhaus Edenkoben, 2015
Technicolor: a) Feld, b) Fläche, exhibition catalogue, ed. Christian Malycha and Anja Isabel Schneider for the Marburger Kunstverein, Harpune Verlag, Vienna 2015
Go back to sleep now, Frank, Frank’s Grapefruit publishers, Grafton / Mass. 2015
Lucky Pierre style, broadsheet, ed. Galerie Bernd Kugler, Innsbruck 2014
Say a body. Where none. Say a place. Where none. For the body. To be in., exhibition catalogue, ed. Monika Machnicki and Christian Malycha for Kunstverein Ulm, Q.H.S.O.I.Q.O.C.M.S., Berlin 2013
Anwesenheit unerreichbarer Bezugspunkte, exhibition catalogue, ed. Galerie Bernd Kugler, Innsbruck 2013
7 Types of Ambiguity, Q.H.S.O.I.Q.O.C.M.S., New York 2012
Off the beaten Track the Fountains, artist book, ed. Martin Kwade, Berlin 2012
Luchas de Apuestas, exhibition catalogue, ed. Galerie Bernd Kugler, Q.H.S.O.I.Q.O.C.M.S., Berlin 2011
Mu-jin-kyo, exhibition catalogue, ed. Kwadrat, Q.H.S.O.I.Q.O.C.M.S., Berlin 2011

Group publications

Anja Isabel Schneider, P-A-R-A T-E-X-T-O-S / P-A-R-A-T-E-X-T-S, JA.CA Centro de Arte Jardim Canadá, Belo Horizonte 2015
Nathalie van Heule and Céline Mathieu, Vanitas extended, Vredesstad Ieper, Provincie West-Vlaanderen, Ypres 2015
Luggage and observations, ed. Galerie Klaus Gerrit Friese, Stuttgart 2014
Autocenter, ed. Maik Schierloh and Joep van Liefland, Distanz, Berlin 2014
5 Jahre Years Einraumhaus c/o 2010–2014, ed. Myriam Holme and Philipp Morlock, Einraumhaus c/o, Mannheim 2014
Kosmetiksalon Bar Babette, ed. Maik Schierloh, Berlin 2014
Novecento Mai Visto – Capolavori dalla Daimler Art Collection, From Albers to Warhol to (now), ed. Museo di Santa Giulia, Brescia 2013
Die Erotik der Weltraumschiffahrt, ed. Graf R. S. Skaw et al., Berlin 2013
Accelerating toward Apocalypse (Private / Corporate VII), ed. Renate Wiehager, Daimler Art Collection, Stuttgart / Berlin 2012
Text Revue vol.10: Nature, ed. Andreas van Dühren, Berlin 2012
Eine Frau, ein Baum, eine Kuh, ed. Museum für Konkrete Kunst Ingolstadt / Kunstraum München, Munich 2012
Wunderkammer, ed. Birte Kleemann, Autocenter-Verlag, Berlin 2012
Es gibt … There is … Reflexionen aus einem beschädigten Leben? Reflections from a damaged Life?, ed. b-05 Montabaur, Kerber, Bielefeld 2012
Berlin. Status (1) , ed. Künstlerhaus Bethanien, Kettler, Bönen 2012
Based in Berlin, ed. Kulturprojekte Berlin, Walther König, Cologne 2011
Abstract confusion, ed. Kunstverein Ulm et al., Kerber, Bielefeld 2011
Born after 1924, ed. Castlefield Gallery, Manchester 2011

Private and public collections

Daimler Art Collection, Stuttgart, Germany
Philara – Sammlung zeitgenössischer Kunst, Düsseldorf, Germany

Further links

Female Sculptors
Sculptors
Installation art

External links

Madeleine Boschan
Galerie Bernd Kugler, Innsbruck, Austria
Hezi Cohen Gallery, Tel Aviv, Israel
Harpune Verlag, Vienna, Austria
Frank's Grapefruit publishers, Grafton / Massachusetts
Q.H.S.O.I.Q.O.C.M.S. Publishing Cooperation (operations ended in 2014)
Madeleine Boschan on Artitious.com
Madeleine Boschan on Artfacts.net
Madeleine Boschan at Merzman: Kurt Schwitters in the North West-Festival, Manchester, Great Britain
Herrenhaus Edenkoben, Germany

References

  1. ↑ see: http://www.madeleine-boschan.de, http://www.berndkugler.at, and http://hezicohengallery.com/artists/130/Madeleine-Boschan/artworks
  2. ↑ e.g. Es gibt … There is … Reflexionen aus einem beschädigten Leben? Reflections from a damaged Life?, b-05 Montabaur (http://www.b-05.org), May 15 – September 16, 2012
  3. ↑ e.g. Abstract confusion, b-05 Montabaur (http://www.b-05.org), Kunstverein Ulm (http://www.kunstverein-ulm.de), Neue Galerie Gladbeck (http://www.neue-galerie-gladbeck.de), and Kunsthalle Erfurt (http://www.kunsthalle-erfurt.de), May 2011 – June 2012
  4. ↑ e.g. Based in Berlin (http://www.basedinberlin.com), June 8 – July 24, 2011; see also: Based in Berlin, ed. Kulturprojekte Berlin, Walther König, Cologne 2011, pp. 82-83 as well as Gesine Borcherdt, Berlins wahre Kunsthalle, www.art-magazin.de, 18.03.2013
  5. ↑ e.g. Wunderkammer, Autocenter Berlin (http://www.autocenterart.de), September 7 – 22, 2012
  6. ↑ see: http://www.merzman.co.uk as well as http://www.merzman.co.uk/venues/islingtonmill.html
  7. ↑ see: "Madeleine Boschan", in: Berlin. Status (1), ed. Künstlerhaus Bethanien, Kettler, Bönen 2012, pp. 26-29 as well as: Renate Wiehager, Madeleine Boschan, in: Accelerating toward Apocalypse (Private / Corporate VII) – The Doron Sebbag Art Collection Tel Aviv and the Daimler Art Collection, Stuttgart / Berlin 2012, pp. 98-101
  8. ↑ see: Jeni Fulton, Madeleine Boschan – The rise of machines in sculptures, in: Sleek Magazine, vol. 37, Spring 2013, pp 110-111 as well as Ivona Jelcic, Technoide Wesen vom anderen Stern – Madeleine Boschan in der Galerie Bernd Kugler, Tiroler Tageszeitung, 04.10.2011
  9. ↑ on particular influences see in detail: Madeleine Boschan, Off the beaten Track the Fountains, ed. Martin Kwade, Berlin 2012
  10. ↑ an essay on her work and over-all working practice as well as biographic information can be found in: Madeleine Boschan – Luchas de Apuestas, ed. Galerie Bernd Kugler, Q.H.S.O.I.Q.O.C.M.S., Berlin 2011, pp. 3, 10
  11. ↑ for additional information see: Marburger Kunstverein, Marburg, Germany
  12. ↑ cf. Christian Malycha and Anja Isabel Schneider, "Sentiment and monument", in: Madeleine Boschan . Technicolor: a) Feld, b) Fläche, exhibition catalogue Marburger Kunstverein, Harpune Verlag, Vienna 2015, pp. 7-8
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