|1970||born in Rheine|
|2000-2005||academy of fine arts Bremen, Prof. Karin Kneffel|
|2005-2006||master student, Prof. Karin Kneffel|
|lives and works in Bremen|
|2011||Berlin-Grant from the Freie Hansestadt Bremen|
|2007/2008||grant Künstlerstätte Stuhr-Heiligenrode|
|2005||Imke Folkerts-Grant for fine Arts|
|2004||award „Nordwestkunst“ from the Kunsthalle Wilhelmshaven|
|2016||„Kann man davon leben?“, Galerie Kramer, Bremen|
|2014||"tra tra tra", designxport, Hamburg|
|"Style", Sylter Kunstfreunde, Westerland|
|2013||"S/M/L/XL", Galerie Kramer, Bremen|
|„I'M THIS - I'M THAT“, Evelyn Drewes Galerie, Hamburg|
|2011||„Easy, Lucky, Free“, Kunstverein Cuxhaven|
|2010||„Bad Bank“, GaDeWe, Galerie des Westens, Bremen|
|2008||„Today I was an evil one”, Künstlerstätte Stuhr-Heiligenrode|
|„The blue light“, Galerie Schuster, Berlin|
|„Tuzzi”, Galerie Schuster, Frankfurt|
|2007||„Alles Paletti”, Galerie Kramer, Bremen|
|2006||„zwei liegen, einer hockt, einer steht, Teil 1, Teil 2”, Galerie Schuster, Berlin|
|2017||"TROY", Evelyn Drewes Galerie, Hamburg|
|"Luther: Idol & Fetisch", Kunstverein Buchholz|
|2016||"meistern", Karin Kneffel Meisterklassen, Evelyn Drewes Galerie, Hamburg|
|2015||"Nachts allein im Atelier", Evelyn Drewes Galerie, Hamburg|
|"15 Jahre PREIS DER NORDWESTKUNST", Kunsthalle Wilhelmshaven|
|"Knotenpunkt 2015", Affenfaust Galerie, Hamburg|
|"Raumstationen", Kunstverein Hannover|
|"Millerntor Gallery #5", Millerntor Stadion, Hamburg|
|2014||"Karin Kneffel with Masterclass pupils", Kunstverein Lippe, Detmold|
|"Hobo my way", Ostfriesland, Berlin|
|"Head and shoulders", Haus Coburg, Delmenhorst|
|"Notausgang am Horizont", 8. Bremer Kunstfrühling, BBK, Bremen|
|2013||"Junge Positionen", with Evelyn Drewes Galerie, Offenbach|
|P/ART, producers artfair, Hamburg|
|2012||"Made in Germany", with Galerie PopArtPirat, London|
|"INDEX 12", Kunsthaus Hamburg|
|"hard row to hoe", Galerie PopArtPirat, Berlin|
|"Endstation Künstler", Ostfriesland, Berlin|
|"Delikates", Ostfriesland, Berlin|
|2011||"Rund & Eckig", Galerie Gavriel, Bremen|
|"Nachts allein im Atelier", Galerie PopArtPirat, Hamburg|
|"Relax", Kreuzberg Pavillon Neuköln, Berlin|
|"Vol.1 - Drawings, Sounds & Ambiences", Projekt der HBK Braunschweig, Cuxhaven|
|2010||„33. Bremer Förderpreis für bildende Kunst“, Städtische Galerie Bremen|
|„85. Herbstausstellung niedersächsischer Künstler“, Kunstverein Hannover|
|2009||„6 Artisti della GaDeWe di Brema“, Galleria Bianca Maria Rizzi, Mailand/Italien|
|2008||„Tête-à-tête”, Galerie KraskaEckstein, Bremen (mit Benjamin Blanke)|
|2006||„Fiesematenten”, Städtische Galerie Bremen|
Text & Publications
"seen that one before" - Interview Anett Beier with Christian Holtmann
How do you find your artwork?
Firstly, I found my original images in magazines and newspapers, then in movies and finally the www. The selection is done intuitively, an image must connect to the content and composition of the interest it arouses. If a topic interests me, I have to my disposal two-dimensional imagery for research purposes . This also includes my private picture treasure and scenes.
The methods of art production are always changing. The practices and strategies that deal with existing material are now closely associated with the access to the new media. Why drag your images straight from this pool of media and dont use existing material by other artists (art)? Or are you doing the same?
The existing material from other artists has already entered into the pool of media images,for every reasonably well-known work of art, there are pictures on websites, in magazines and movies. Here I help myself with a certain respect for the old masters, and even more for my younger contemparies. At art fairs I photographed works of unknown colleagues, especially as I found they could be used.
You work and rework you own works / own material over and over again - they stage new moods in different contexts how exactly do you achieve this (example)?
If a scene, or a work has the potential, I use it over and over again. A good example is the American flag. The content interest's me, the ambivalent feelings they awake and naturally the brilliant combination of form and color White, red, blue, stars and stripes ...
How important is the message in your work and the dissolution of (or similar) media role models, as an artistic strategy, a,?
I dont have a strategy . The message is: Here is a picture with no answer.
What do you mean by 'post-contemporary' production of art an can you identify with this term?
The term is a beautiful creation. If one assumes that Contemporary "present now" means it's kind of absurd, as if it describes the presence of a view into the future.
Postzeitgenössisch is yet to be discovered and is located in the underground , perhaps subversive and has not yet been covered by the theory of art and cataloged. So I indentify with it gladly, because it promises potential for the future and eventually becomes contemporary and popular.
How has the use of (art) material changed (with found materials) and how do you deal with pre-existing (possibly your own) material?
As an outlaw. In art, everything is permitted. In the Internet age, the copyright and the exposure of foreign intellectual property is highly topical.
As "seen" (with recipients / colleagues / art critics), the use of already existing material as a starting point of its own artistic production, is that your view?
Banksy says: Bad artists imitate, good atists steal.
When the phenomenon 'post production' (final steps of finishing film and television as well as in the production of art,and the re-working of existing material) Bourriaud springs to mind, can you put your work under this term?
"When artists find material in objects that are already in circulation
on the cultural marketplace, the work of art takes on a script-like value:
"When screenplays Become Form," in a sense "(Bourriaud: Post Production, 2002)
What do you mean by the so-called 'sctipt-like-value' and would like your own work to attach a 'script-like-value'?
I think every character and every piece of information that someones sent out has a script-like value. Art, music and literary works are always based on works of previous generations or at least inspired by it. So of course I can use this term and in turn attach such a value.
However, I dont explicitly look for such a model. I am well aware that the way I use the work of others as well as my own, can result in very wonderful things.
"Der Schweizer Sammler"
2015, 84 pages
Publisher: Olivier von Schulthess