Bunte Art News in Heft 35 2022

www.present.enterprises

My heart is not a Clock (Martha) is an immersive video exploring directions of time with the absent being a counterpart to the temporal present (like the past is to the future).

Situated in a stylized version of the Villa Farnesina in Rome, a building which’s atrium displays wall frescos showing grey empty pedestals, the voiceover narration loosely follows the history of Martha, the last passenger pigeon before and beyond their extinction and their possible future de-extinction through cloning.

This project is Funded by the Federal Government Commissioner for Culture and the Media.

 „Identität nicht nachgewiesen“ Neuerwerbungen der Sammlung des Bundes /„Identity not proven“ New Acquisitions for the Federal Art Collection at Bundeskunsthalle, Bonn, Germany, May 7 – October 3, 2022

The Bundeskunsthalle regularly presents exhibitions of works from the collection of the Federal Republic of Germany. The latest iteration shows a selection of some 170 works that were purchased by the expert commission in the most recent five-year period (2017-2021) as well as works that were acquired by an expanded commission with funds from NEUSTART KULTUR (2020-2021). The curatorial team hopes that the mixture of the two sets of acquisitions will not only prove topical and relevant but also offer a representative cross-section of contemporary art, including some very recent works.
The curatorial concept was developed in collaboration with a team of members of the acquisitions commissions. The title of the exhibition, a quotation taken from one of the works, articulates the demands made on the works: diversity, tolerance and the critical analysis of individual or collective identities are criteria that inform the selection. Moreover, the dialogue-based concept of the exhibition addresses themes such as contemporary political and social relevance, postcolonial discourse, posthumanism, constructions of history, urbanity and aesthetics.

Later this year the exhibition will travel to NEUES MUSEUM.Staatliches Museum für Kunst und Design Nuremberg and Kunstsammlungen Chemnitz.Museum Gunzenhauser.

All proceeds are directly supporting NARS programming and community for the coming year.

Interview Research and time with RE:MAGAZINE

read it here

Jahresgaben 2021
December 3 – 12, 2021

The annual Jahresgaben date back to the foundation of the Kunstverein München in 1823, when members received a print each year as part of their membership. Over time, this developed into a group exhibition with work by mostly Munich-based artists. The Jahresgaben became an important format reflecting the diversity of the city’s contemporary art scene by presenting and discussing its works. Our members have the opportunity to purchase works at special prices and thus support the local artistic production as well as the Kunstverein München.
The condition for the purchase is membership with Kunstverein München. It is also possible to become a member when purchasing a Jahresgabe. Those cannot be reserved and can only be purchased during and following the opening.

Artists
Niko Abramidis & NE, Judith Adelmann, Yalda Afsah, Boban Andjelkovic, Florian Auer, Tim Bennett, Gerry Bibby, Gabi Blum, Ayzit Bostan & Fabian Frinzel, Alessandro Bostelmann, Sarah Doerfel, Hedwig Eberle, Jan Erbelding, Rachel Fäth, Martin Fengel, Pia Fries, Stefan Fuchs, Jonah Gebka, Susi Gelb, Manuela Gernedel, Jakob Gilg, Johanna Gonschorek, Alina Grasmann, Andy Hope 1930, Karen Irmer, Stephan Janitzky, Barbara Jonasch, Caro Jost, Steffen Kern, Julia Klemm, Johanna Klingler, Karin Kneffel, Josef Knoll, Franziska Liza König, Josef Köstlbacher, Simon Lässig, Yutie Lee, Sarah Lehnerer, Anna McCarthy, Constanza Meléndez, Michaela Melián, Andreas Neumeister, Olaf Nicolai, Paulina Nolte, Josip Novosel, Irina Ojovan, Fiona Ones, Jonas von Ostrowski, Gregor Passens, Catalin Pislaru, Mara Pollak, Amedeo Polazzo, Thomas von Poschinger, Florian Pumhösl, Berthold Reiß, Viola Relle & Raphael Weilguni, Ivo Rick, Janina Roider, Leonhard Rothmoser, Curtis Santiago, Antoinette von Saurma, Hank Schmidt in der Beek, Hannah Maria Schmutterer, Linus Schuierer, Richard Schur, Angela Stauber, Lorenz Straßl, Johanna Strobel, Studio for Propositional Cinema, Frank Stürmer, Florian Süssmayr, Valio Tchenkov, Alexander Timtschenko, Gülbin Ünlü, Vincent Vandaele, Maria VMier, Magdalena Waller, Johannes Tassilo Walter, Joseph Maurus Wandinger, Nicole Wermers, Tanja Widmann, Elisabeth Wieser, Martin Wöhrl, Youjin Yi, Hamid Zénati, Laura Ziegler & Nabila Attar

As part of the series Thinking Nature, GiG Munich hosted the online discussion between artist, Johanna Strobel and Prof. Beth Lord (University of Aberdeen, School of Divinity, History, Philosophy, and Art History). The discussion took place on zoom on Thursday evening at 6 pm, the 11th of November. The project is funded by the City of Munich Department of Art and Culture.

Johanna Strobel’s mind-bending multi-media sculptural installations at GiG Munich resonate with an urgent longing for an orderly system while a sense of entropy surfaces simultaneously. Plug going into socket, red and blue lights turning on and off—hint at an unstable world where information is lost through failing USB cables and unreliable mnemonic devices.

Tell me briefly about GIG and its genesis.

GIG Munich was set up as an independent art project space by Magdalena Wisniowska and David Henrichs in the courtyard ‘garden house’ of Baumstr. 11 in 2015 – hence the German name, ‘Galerie im Gartenhaus’ or ‘GiG’. Magdalena Wisniowska had recently moved to Munich from London, where she studied and later taught, at various art institutions (Goldsmiths, Royal Academy Schools, City and Guilds of London Art School). She thought this would be a good way to engage with the local Munich art scene especially as Munich does not have that many independent art project spaces. As her main research interest lies in philosophy, the exhibitions at GiG have a strong theoretical component, with Magdalena Wisniowska writing, organising discussions and generally providing a critical context for the exhibited work.

What is your curatorial vison for this show and what would you like to share about the artist and the artwork in this show?

The exhibition Low Affinity is part of a series of exhibitions ‘Thinking Nature’ funded by the Department of Art and Culture, Munich. The idea was to explore the relation between man and nature as it is presented in philosophical thought. This exhibition may not seem to involve that many concepts of ‘nature’ or what we would view as the ‘natural environment’, nevertheless the artist Johanna Strobel, often works with very fundamental, even grand ideas, of time, space, experience, which are central to our understanding of this relation.

This is also true of the work on display, which plays with a number of themes. There is the theme of light, with the wax balls hanging in the middle of the space and the room darkened with blue and red fabric. Switches are actively used and featured as a motif of the wall piece, deep association. There is also the idea of time in works like false friends, two clocks connected by USB cable—one going anti-clockwise, the other mirrored, showing the right time only at 6 am/pm. In figures, the hand of the clock ticks exactly three times before hitting the surface of the mirror before going back—three seconds being how long we experience the ‘present’ as the ‘present’ before it is considered to be the past. The USB cables that hold and connect all the objects together hark back to the ancient idea of aether, one of the five classical elements, a material that supposedly filled the universe and held up the stars in the sky.

The work simultaneously alludes to our need to find order and meaning, while acknowledging the futility of this task, USB cables falling prey to entropy, information lost over distance. Knot making is also a mnemonic device and a feature of children’s games like ‘cat’s cradle’, images of which reoccur in works made of wax as well as the wall piece, the duration of the present (red/blue), which frustratingly and playfully switches off as the viewer approaches.

artmirror.org

low affinity  at GiG Munich

October 14 – November14, 2021
Opening Thursday, October 14, 6 – 9 pm

The word ‘plane’ conjures up an image of a brightly lit field, on which everything and anything may stand.The field in this image is squarish, with a mathematical axis, ‘x’ cutting one way, ‘y’ the other, and ‘z’ upwards and downwards, together mapping out a grid with each thing in its own little box. To make connections between things we draw (mostly) straight lines, from one point to another.

Deleuze and Guattari would argue that we have this image of the plane because of the link between ‘plane’ and ‘plan’. When we think of a plane this way, it acts as a hidden principle.We may not see the grid itself, but the grid is what makes things visible to us. It causes the given to be given by giving things their structure, organising them, charting their development and growth. It is a plan(e) of organisation and development, a genetic plan(e) of evolution. Because we do not see the principles by which it organises things, only the result of its labours, the plane is transcendent to us and things, and likened to an idea in the mind of God.

For us the viewers, marked as we are by the ‘confirmation and selection bias’ and victim to the ‘clustering illusion’ we look for these hidden principles finding patterns where there are none, making connections between things that are not in any way related. One such idea is central to the work Johanna Strobel shows at GiG Munich, the idea of aether, the fifth element of a classical world of four, in which everything can be divided into fire, earth, air and water. It was used to explain how stars stayed up in the sky, and moved across the heavens.

But there is another idea of a plane, in and on which there is no form or structure, only activity and its lack.This plane is populated by sub-atomic particles always in the process of transformation, but with no specific aim in mind. Depending on their activity, their speed and slowness, they compose assemblages, as Deleuze and Guattari write, ‘compositions of speed’. But they do not develop, organise according to a principle.They connect, disconnect, transform, reform.What happens, happens, in endless proliferation. Instead of development there is constant dissolution.

Johanna Strobel’s work conjures up both plan(e)s.There is a longing for principle, apparent in her systematic approach, plug going into socket, light being red or blue, going on or off.We can map this world quite easily on a grid. It is clean, white, metallic.There is also the understanding of a far more dissolute world in which entropy rules, of information lost through USB cables and mnemonic devices of knot-making failing.This world is unstable, reckless, and somehow also inexplicably present.

SupermARkT Frische Lieferung
08.04. – 15.04.2021
Öffnungszeiten MO – SA 7:00 – 20:00 Uhr

Alicja Kwade, Christian Jankowski, Christoph Knecht, Daniela & Lara Koch, Esther Zahel, Gregor Hildebrandt, Jaemin Lee, Johanna Strobel, Michael Sailstorfer, Milen Till, Miriam Ferstl, Nata Togliatti, Natalyia Borushchak, Peter Kogler, Peter Langenhahn, Schirin Kretschmann, Thomas Bayrle, Thomas Rentmeister, Tornike Abuladze

Rewe Premium, Theatinerstraße 14 (FÜNF HÖFE), 80333 München

Für ihre neueste Arbeit hat sich Johanna Strobel intensiv mit Katzen auseinander gesetzt. Ihre Recherche hat gezeigt, dass es im Internet mehr Katzenfotos als real existierende Katzen auf der Welt gibt und es sich bei der ersten Katze im Weltall keineswegs um einen Kater namens Felix, sondern um eine Katze namens Felicette gehandelt hat. Johanna Strobel hat dieser Katze ihre Merchandise Skulptur „Thank you for your participation in my success (chatons)” gewidmet. Im heutigen Part Talk gibt die Künstlerin Einblicke in ihr Schaffen und berichtet der Kunsthistorikerin Sabine Adler von ihrer Faszination für ausgefallene Alltagsprodukte.

Jahresgaben 2020

4. – 13. Dezember 2020
(online ab 30. November, kaufen ab 4. Dezember, 15 Uhr) /
December 4 – 13, 2020
(online on November 30, buy from December 4, 3pm)

Künstler*innen / Artists

Niko Abramidis, Judith Adelmann, Boban Andjelkovic, Abel Auer, Ilit Azoulay, Tim Bennett, Gerry Bibby, Alexandra Bircken, Alessandro Bostelmann, Roland Burkart, Andrea Büttner, Andreas Chwatal, Robert Crotla, Stephan Dillemuth, Hedwig Eberle, Martin Fengel, Fabian Frinzel, Stefan Fuchs, Jonah Gebka, Susi Gelb, Manuela Gernedel, Jakob Gilg, Alina Grasmann, Gregor Hildebrandt, Lukas Hoffmann, Andy Hope 1930, Judith Hopf, Karen Irmer, Mari Iwamoto, Stephan Janitzky, Lou Jaworski, Caro Jost, Verena Kathrein, Tanja Kernweiss, Julia Klemm, Simon Lässig, Yutie Lee, Sarah Lehnerer, David Lieske, Mahlergruppe, Anna McCarthy, Michaela Melián, Edie Monetti, Susanne Müller, Aileen Murphy, Andreas Neumeister, Olaf Nicolai, Paulina Nolte, Josip Novosel, Fumie Ogura, Irina Ojovan, Fiona Ones, Jonas von Ostrowski, Jonathan Penca, Catalin Pislaru, Mara Pollak, Thomas von Poschinger, Florian Pumhösl, Berthold Reiß, Viola Relle & Raphael Weilguni, Ivo Rick, Janina Roider, Anne Rößner, Antoinette von Saurma, Hank Schmidt in der Beek, Philipp Stähle, Angela Stauber, Angela Stiegler, Lorenz Strassl, Johanna Strobel, Studio for Propositional Cinema, Florian Süssmayr, Sophia Süßmilch, Valio Tchenkov, Sung Tieu, Maria VMier, Anna Vogel, Joseph Wandinger, Jonas Wendelin, Nicole Wermers, Elisabeth Wieser, Martin Wöhrl, Youjin Yi, Andrea Zabric, Laura Ziegler

Hauser & Wirth Online Feature

The book is divided between THOUGHTS ON THINGS and THINGS FROM THOUGHTS.
In the form of a modular essay, possibilities of creation, attribution or suspension of meaning through certain qualities of objects, their relationships to subjects, syntax, ordering and methods of manipulation are explored in THOUGHTS ON THINGS. If the loop is the trademark of our times and truthiness the reversal of the uncanny, the essay poses the question of the correlation between logic and information. It investigates how kitsch and neutrality function as modes of signifiers and how authenticity relates to the banal as well as the role of repetition, recursion and motifs in the production of meaning. These theoretical explorations are framed by anecdotal and poetic descriptions and digital graphics of objects in Strobel’s family’s kitchen that were meaningful to her as a child.
THINGS FROM THOUGHTS is a digitally produced, preceding documentation of an upcoming exhibition that was postponed several times due to the current crisis. The body of work pictured in the book, before it was actually created and shown, investigates concepts of the perception of time and space in different media and materials while sharing pictorial and conceptual motifs and ideas.

Concept, Design, Text: Johanna Strobel

140 p., 4/4c offset, 14.8 x 21 cm, softcover w flaps

ISBN: 978-3-947250-36-3

The Immigrant Artist Biennial 2020

TIAB # 1: Here, Together!

Performance Projects
Here, Together!
Brooklyn Museum

Christopher Unpezverde Núñez
Hanae Utamura

FALL 2020

Exhibition 1: Here, Together!
Blanka Amezkua, Esperanza Cortés, Bahareh Khoshooee, Daniela Kostova, Cole Lu, Ana Mendieta, Levan Mindiashvili, Qinza Najm, Anna Parisi, daàPò réo, Yali Romagoza

Performances: Gyun Hur, Iván Sikic

Exhibition 2: Home Land
Cinthya Santos-Briones, WANG Chen, Alicja Gaskon, Ming-Jer Kuo, Anh Thuy Nguyen, Nazanin Noroozi, Victoria-Idongesit Udondian, Luisa Valderrama

Exhibition 3: The Imminent Arrival
Bianca Abdi-Boragi, Shay Arick, Irja Bodén, Federico Cuatlacuatl, Firoz Mahmud, Abena Motaboli, Rehab El Sadek, Buket SAVCI, Joo Yeon Woo, Minoosh Zomorodinia

Exhibition 4: Mother Tongue
Ferguson Amo, Mahsa Biglow, Sera Boeno, Carolina Casusol, Cecile Chong, Furen Dai, Priyanka Dasgupta & Chad Marshall, Priscilla Dobler Dzul, Matilda Forsberg, Nina Ghanbarzadeh (Afkhamian), Yikui (Coy) Gu, Luma Jasim, Tiri Kananuruk, Marina Kassianidou, Cecilia Kim, Marina Leybishkis, Stefana McClure, Rodrigo Moreira,  Renana Neuman, Sari Nordman, Kasia Ozga, Dafna Rehavia, Katreen Sorokina, Johanna Strobel, Tereza Swanda, Hui-Ying Tsai, Tansy Xiao, Haksul Lee & Natsuki Takauji, Tao Wei

Performance Projects
Kevin Quiles Bonilla, Marcela Casals, Salomé Egas, Bianca Falco, Georgia Lale, Silkworm Pupas (Jiaoyang Li & JinJin Xu), Jorge Rojas, María Verónica San Martín

Thresholds on Assemblage Journal

Jahresgaben 2019 Kunstverein München

Niko Abramidis & NE, Judith Adelmann, Helin Alas, Boban Andjelkovic, Florian Auer, Ilit Azoulay, Maximiliane Baumgartner, Nigin Beck, Tim Bennett, Anna-Sophie Berger, Benjamin Bergmann, Cana Bilir-Meier, Julian Billmair, Alina Birkner, Ayzit Bostan, Alessandro Bostelmann, Roland Burkart, Andreas Chwatal, Robert Crotla, Saskia Diez, Stephan Dillemuth, Elke Dreier, Hedwig Eberle, Oscar Enberg, Stefan Fuchs, Fabian Frinzel, Jonah Gebka, Susi Gelb, Alina Grasmann, Lea Grebe, Philipp Gufler, Flaka Haliti, Stefanie Hammann, Hannes Heinrich, Gregor Hildebrandt, Lukas Hoffmann, Andy Hope 1930, Judith Hopf, Mari Iwamoto, Stephan Janitzky, Lou Jaworski, Caro Jost, Robert Keil, Tanja Kernweiss, Johanna Klingler, Josef Knoll, Raphael Krome, Simon Lässig & Vera Lutz, Yutie Lee, Sarah Lehnerer, Justin Lieberman, Mahlergruppe, Sophia Mainka, Rut Massó, Anna McCarthy, Michaela Melián, Rute Merk, Philipp Messner, Maria VMier, Edie Monetti, Ariane Müller & Verena Kathrein, Andreas Neumeister, Olaf Nicolai, Fumie Ogura, Irina Ojovan, Aribert von Ostrowski, Jonas von Ostrowski, Jonathan Penca, Catalin Pislaru, Mara Pollak, Thomas von Poschinger, Berthold Reiß, RELVĀOKELLERMANN, Kevin Reuning, Ivo Rick, Anne Rößner, Antoinette von Saurma, Hank Schmidt in der Beek, Kristina Schmidt, Richard Schur, Emanuel Seitz, Angela Stiegler, Johanna Strobel, Frank Stürmer, Florian Süssmayr, Valio Tchenkov, The Scissorhands, Anna Vogel, Johannes Tassilo Walter, Elisabeth Wieser, Alex Wissel, Martin Wöhrl, Youjin Yi, Andrea Zabric, Laura Ziegler, Jovana Reisinger

Nico : Wie kann die Luft so schwer sein an einem Tag an dem der Himmel so blau ist

Atelier- und Galeriehaus Defet Gustav-Adolf-Str. 33, 90439 Nürnberg
Eröffnung: Samstag, 6. April 2019, 19.00 Uhr
Ausstellungsdauer: 7. April 2019 bis 6. Juli 2019
Einführung: Manfred Rothenberger und Thomas Weber

Manfred Rothenberger und Thomas Weber : NICO – Wie kann die Luft so schwer sein an einem Tag an dem der Himmel so blau ist

Herausgeber: Manfred Rothenberger und Thomas Weber in Zusammenarbeit mit dem Institut für moderne Kunst NürnbergGestaltung: Timo Reger624 Seiten mit 92 Farb- und 134 s/w-Abbildungen
Hardcover; 14 x 21 cm
35,– Euro
starfruit publications, Fürth
ISBN: 978-3-922895-34-3
Die Sängerin und Schauspielerin Nico (als Christa Päffgen geboren am 16. Oktober 1938 in Köln, am 18. Juli 1988 gestorben auf Ibiza) war das erste deutsche Supermodel, sie arbeitete u.a. für die Fotografen Herbert Tobias und Willy Maywald, war Muse von Warhol und Fellini, wirkte mit in zahlreichen Independent-Filmen von Andy Warhol und Philippe Garrel, war befreundet mit Brian Jones, Jimi Hendrix, Bob Dylan, Leonard Cohen, Lou Reed, John Cale, Iggy Pop, Patti Smith und Jim Morrison.
Mit ihrem düsteren Timbre prägte Nico Songs wie »Femme Fatale« und »All Tomorrow’s Parties« auf dem legendären Debütalbum von Velvet Underground. Ihr Solodebüt »Chelsea Girl« (1967) betört bis heute, zwischen 1968 und 1974 veröffentlichte sie mit »The Marble Index«, »Desertshore« und »The End…« eine Platten-Trilogie zwischen Schall und Wahn, Suizidalität und Sucht. Drei verstörende Alben, die nur von wenigen gehört wurden, aber umso länger nachhallten. »Meisterwerke des forcierten Lebensüberdrusses« nannte sie Diedrich Diederichsen, Niemandsland-Folklore from who the fuck knows where, zwischen eisiger Hoffnungslosigkeit und innerer Raserei.
Nicos in extreme Höhen und Tiefen führendes Leben und Werk waren geprägt von einem selbstzerstörerischen Lebensstil und einer radikalen künstlerischen Praxis ohne Rücksicht auf jeweils angesagte Zeitströmungen und kommerziellen Erfolg. Als Grenzfall der künstlerischen, musikalischen und performativen Kategorisierungen ihrer Zeit war Nico Pop und zugleich war ihr das »Populärsein« immer egal. Konsequent ignorierte und unterwanderte sie die Trennung in E und U. Mit ihren Grenzgängen zwischen den Genres nahm Nico in der Subkultur der 1960er-, 1970er und 1980er Jahre eine Schlüsselrolle ein und ist seitdem für viele Künstlerinnen und Künstler ein wichtiger Bezugspunkt.
Dieses Buch enthält zahlreiche erstmals auf deutsch veröffentlichte Nico-Interviews, rare Fotografien, wichtige Platten- und Konzertreviews, Interviews mit Wegbegleiterinnen und Wegbegleitern sowie Beiträge zeitgenössischer Künstler*innen, Musiker*innen und Autor*innen, die Nicos Werk aus verschiedenen Perspektiven beleuchten und neu erfahrbar machen.
Mit Beiträgen u.a. von: Heike Aumüller, Lester Bangs, Alexandra Baumgartner, Frank Bez, John Cale, Julian Cope, Ann Cotten, Walter Dahn, Dietmar Dath, Franz Dobler, Marianne Enzensberger, Harun Farocki, Karin Fisslthaler, Werner Fritsch, Philippe Gerlach, Antoine Giacomoni, Lutz Graf- Ulbrich, Harald inHülsen, Frank Kelleter, Kitti & Joy, Jutta Koether, Juliane Liebert, Gerard Malanga, Willy Maywald, Jonathan Meese, Michaela Meise, Jonas Mekas, Michaela Melián, Phil Milstein, Wolfgang Müller, Kris Needs, Susanne Ofteringer, Tal R, Marianne Rosenberg, Steve Schapiro, Cornelia Schleime, Hank Schmidt in der Beek, Stephen Shore, Aleen Solari, Ulf Stolterfoht, Allan Tannenbaum, Gert & Uwe Tobias, Rosemarie Trockel, Andy Warhol und James Young

ON HOLD ON

Städtische Galerie Cordonhaus Cham
07. Juli – 11. August 2019

Presserundgang Mittwoch,3. Juli, 16 Uhr

Eröffnung:
Samstag, 06. Juli 2019, 19 Uhr Die Künstlerin ist zur Eröffnung anwesend!

Das intensive „crossover“ an Werkstoffen in den seriellen Arbeiten von Johanna Strobel findet seinen Ausgangspunkt in Sprache, banalen Objekten und Alltagsszenarien aber auch in der Besonderheit des jeweiligen Ausstellungsraumes selbst. Ihre Motive entstammen einem Fundus wiederkehrender Gegenstände und Wörter, die sie als Vokabeln, Zeichen oder Symbole verwendet und von Arbeit zu Arbeit manipuliert. Innerhalb ihres Systems sind die Motive oft austauschbar oder ersetzbar.

„Ich möchte wissen, wie Gegenstände als von Subjekten beobachtete und wahrgenommene Dinge, Bedeutung erlangen – allgemein und persönlich – und wie wir Bedeutungen schaffen und nach einer Agenda suchen, selbst aus einer starken Ambiguität oder einer inhaltlichen Illusion heraus. Eine verführerische oder dekorative Ästhetik, ein Diagramm, eine geometrische Struktur oder eine scheinbar zugrundeliegende mathematische Formel ist wie ein Kartentrick. Narrationen schaffen Vertrautheit im Fremden. Humor wird wahrgenommen, wenn zwei verschiedene Referenzbilder kollidieren und die Inkongruenz zwischen einem Konzept und dem damit verbundenen Objekt erkennbar wird. Ein unvorhergesehener Perspektivwechsel, häufig zu einer trivialeren Sichtweise, findet statt und ermöglicht Einblick in eine unerwartete Verbindung.“ – so die Künstlerin.

Für die Ausstellung „on hold on“ in der Städtischen Galerie in Cham hat Johanna Strobel umfangreiche Werkserien speziell für die räumliche Situation des Cordonhauses konzipiert. Bezugnehmend beispielsweise auf Material und Farbe des markanten Fliesenbodens der Galerieräume hat sie Terrakotta-Multiples produziert, die in unterschiedlichen Konstellationen erscheinen. Die Motive der Skulpturen werden in großformatigen Malereien aufgegriffen, die wiederum objekthaft im Raum installiert sind. Kleinere Trompe l’œil Wandgemälde und bauliche Interventionen greifen vorhandene architektonische Merkmale des historischen Gebäudes auf und verändern in überraschender Weise die Wahrnehmung der Räume.

Damit präsentiert Johanna Strobel eine erste umfangreiche Einzelausstellung.