Judith Hopf, Tobias Spichtig, Amalia Ulman
Deborah Schamoni, Munich (H23)
Three artists working with subversive strategies of appropriation. Highlighting techniques of cut out, fragmentation and unusual application of images this group presentation emphasizes an interplay of fetishized body shapes, the seductive power of fashion and the hidden structures of communication.
Judith Hopf (b. 1969, Karlsruhe) presents metal sculptures that consist of positive and negative shapes of red tongues stretching out in different positions on their plinths and on the wall. Their structure refers to both fainted signs in public space as well as to various misunderstandings in human communication.
Amalia Ulman’s (b.1989, Buenos Aires) textile works are created with used trench coats and sewn-in photo prints that replaces the original lining; in these works she scrutinizes the imagery of Polyglot exchange books, as well as the idea of smuggling and transporting artworks.
In his paintings, Tobias Spichtig (b. 1982, Lucerne) applies vinyl prints of photo footage from the fashion and music scene of the 1990s on canvas and superimposes the motifs with provocative painterly gestures.
The works share mutual interests concerning the transfer and application of images from one sphere (the daily life, the realm of digital image exchange or the aesthetics of the fashion and music scene) to another, where images become twisted and productively alienated. The emphasis on the sensory perception and the clear link to the human body appear in artistic transformations that steadily undermine common concepts.