Deltabeben. Regionale 2020
The Regional Deltabeben is a joint project between Kunsthalle Mannheim, Mannheimer Kunstverein, Port25 – Raum für Gegenwartskunst, Wilhelm-Hack-Museum and Kunstverein Ludwigshafen. The show has taken place biannually in Mannheim and Ludwigshafen since 2010. This year’s edition, the sixth in the series, showcases works by twenty-nine international contemporary artists of different generations, all of whom reside and work in the Rhein-Neckar region.
All contemporary art media are represented in the works displayed, including painting, photography, drawing, multimedia installations, and performances. Deltabeben serves as a linchpin, ensuring art is made visible within the region and beyond. This is particularly important during the current public health crisis, when art institutions are called on to prove their relevance to the country’s culture and politics.
The artists exhibited in these three Mannheim art institutions were suggested by a panel of experts and selected by a jury formed of the exhibition’s curatorial team.
Special thanks go to the exhibition’s sponsors and donors.
The exhibition displayed at Kunsthalle Mannheim was curated by Dr. Inge Herold, Dr. Sebastian Baden, and Antonella B. Meloni. A catalog is available at the museum shop.
Term subject to change.
In his sculptural work, André Wischnewski translates the structure of the comic strip into three-dimensional space. When the artist is not cutting out actual illustrations from a page, creating gaps in the process, he independently constructs his own oversized pages with architectural grids, evoking enlarged comic strips on paper. His monumental file folder is a system for collection with stacked pages that reveal deep voids when viewed from above. The layers they form yield a narrative architecture whose levels are connected by visual axes.
Moreover, the artist has created a spatial drawing made from bent and partly self-organizing black steel components. The delicate construction connects the surfaces and corners of the room and he inserts objects such as pipes and a wooden handle as protagonists in the arrangement. By abstracting the comic-strip layout, Wischnewski orchestrates a walk-in fantasy.
André Wischnewski (b.1983) studied at Kunstakademie Karlsruhe and lives and works in Mannheim.
Laura Sacher is interested in spatial dimensions and the materiality of architecture. Her site-specific work uses the conditions present in her working environment at the former Franklin barracks in Mannheim.
Here, the artist shows two groups of works. After making four plaster moldings of a corner of her studio, she displays the resulting freestanding casts propped with rebar. As a result, this modeled architectural detail takes on a new exterior and interior; the sculpture transforms a negative into a positive. Traces left by tools and bare hands showing the intensive physical work involved remain visible in the plaster.
Alongside this, Laura Sacher presents a canopy construction propped up on thin iron poles. The connecting elements are beams made from plaster and jute, whose porous materiality suggests a dynamic imbalance high above the ground. Form, weight, and stability work together to create a delicate interplay.
Laura Sacher (b. 1990) studied at Kunstakademie Karlsruhe and lives and works in Mannheim.
Emanuel Raab’s photographs subtly overlap different perspectives and spaces. Architectural elements such as windows, facades, frames and surrounds, tiles, and curtains are transformed into colorful, transparent or reflective surfaces. With a phenomenological eye, Raab constructs photographs that are abstract and characterized by a formal precision. Though the artist’s work creates the impression of having been achieved through digital photo editing, his work is rooted in the authentic moment of taking a photograph. The chosen framing, perspective, and lighting are part of the artist’s vision when staging the photograph. The setting of the actual space appears to be an illusion. Through his delicately controlled photographic technique, Raab achieves a poetic use of lighting. A unique, hyperrealistic atmosphere of interior and exterior rooms is seen in his photographs. Raab’s title for his series, “Zwischenraum”, makes reference to the isolated perspective from which he captures buildings and objects in their temporal, geographic, and architectural contexts while casting them in a new light.
Emanuel Raab (b. 1957) studied film and photography in Darmstadt and lives and works in Neustadt/Weinstraße.
In her material collages, Franziska Degendorfer abstracts the narrative objects that form her subjects. This results in formally defined planes accentuated with color that overlap and form reliefs. The artist uses fabric, cardboard, and acrylic paints to design the different geometric elements and layers of her works.
Degendorfer applies the same principle followed in her material collages to her three-dimensional clay objects. Her playful variation on shapes moves between abstraction and figuration and succeeds in creating a varied installation of a sculptural landscape with cross-references on the level of form and content. The vase as both a concrete and abstracted shape is a leitmotif.
Franziska Degendorfer (b. 1980) studied at the art academies in Karlsruhe und Stuttgart. She lives and works in Karlsruhe.
Alexander Horn takes inspiration for his paintings on wood, acrylic, and canvas from photographs and films. His different work groups include natural phenomena such as clouds, the sky, urban spaces, and human figures.
The three paintings shown here work with the abstraction of perspectives and atmospheres. Light streaks of overpainted color characterized by visible brushwork open up the depth perspective of the image between dark, crisply contoured planes. Horn’s use of color accents and splashes imbues his paintings with a dynamic, even explosive character. The two large-scale landscapes are constructed as a diptych whose layers diffuse through the abstracting painterly gesture. The artist’s works and their titles reference Frank Zappa’s album Apostrophe (').
Alexander Horn (b. 1970) studied at Freie Kunstakademie Mannheim and lives and works in Ludwigshafen am Rhein.
Myriam Holme works with installation-like paintings in the exhibition space. Her preferred materials are sheet aluminum, copper, leaf gold, glass, soap, ink, and lacquer and she distorts, dissolves, combines, and layers these materials using experimental processes.
The artist has unfolded the sculpturally expansive, relief-like works exhibited here by cracking and angularly cutting and bending the surfaces. This yields cross-references in space as a result of the installation of objects and their overlapping arrangement. Smooth, reflective sheet metal, large paper planes bearing the traces of small peeled-off copper plates and the traces left by liquids create a dynamic surface with a contrasting haptics. Hovering just above the ground, the forms summon an idea of lightness. The artist describes her artworks as the outcome of an “archaeological painting” work process that once again exposes the deep layers of the material application like so much sediment.
Myriam Holme (b. 1971) studied at Kunstakademie Karlsruhe and lives and works in Mannheim.
Fritzi Haußmann creates her objects and installations using the rubber from unfolded inner bicycles tubes. She cuts the strips open and sews them together, using them to create rubber blankets that in turn form creaturely shapes that cover the floor and walls. It seems as if the shapes might move and change, although they are fixed in place.
The textured black rubber material, shimmering silver in places, reveals an extraordinary liveliness in the site-specific sculptures shown here. Shadowy interstices absorb the light while the scent of the material fills the room.
Haußmann takes a process-oriented approach and develops each work from the material and the surrounding environment. Body and object stand in relation, which is why the artist additionally creates bodily fragments that are used in performances. The video “kontaktarm”, also on display, shows the rhythmic dance of an interaction between human and object.
Fritzi Haußmann (b. 1970) studied at Hochschule Wiesbaden and Freie Kunstakademie Mannheim and lives and works in Frankenthal and Mannheim.
The delicate beauty of the unremarkable is the focus of Hanna Schemel’s photographic works. She photographs her native surroundings in the Black Forest as well as the sea at Quiberon, France in recurring places, using an analog large-format camera. The artist explores how the world is perceived, focusing on the mystic appearance of the Black Forest in fog, the white-capped horizon of the sea in Brittany, and the view of light and shadows as phenomena in landscapes. She works with the traces of “nature’s paintbrush,” referencing photography’s creation myth, and draws connections to the lightness and deliberate asymmetry of Japanese painting in her work. By employing a special platinum and palladium mixing technique, she transforms each image into a one-of-a-kind work. Schemel uses a delicate Japanese goat hair brush to transfer the photographic image onto a handmade paper specially developed for her, which creates a chiaroscuro atmosphere in which the contrasts between light and dark show fluid transitions. Schemel’s works combine a tradition of skilled crafts and creative originality.
Hannah Schemel (b. 1994) studied communication design with a focus on photography at Hochschule Mannheim.
Valentina Jaffé’s paintings, paper collages, and ceramics use depictions of plants and color spectrums as leitmotifs, revealing the connections between nature, color, and form. The artist makes use of watercolors to depict the contours of leaves and color fields in various formats, which sometimes overlap. The drawings and paintings make subtle use of natural color tones and are continued in space in multiple dimensions. Thus Jaffé for instance creates a steel frame with a movable screen on which a long roll of paper has been spread. By intervening in space, the artist additionally creates site-specific accents in which she creates visual axes and angles of view that unite the individual works to form a cohesive installation. The fragility of the works reflects the transience of human experience as well as of natural vegetation. Jaffé also thematizes the self-reflexive reference of her works in the context of art history through her sporadic use of writing.
Valentina Jaffé (b. 1990) studied at Kunstakademie Karlsruhe and lives and works in Mannheim.
emmanuel boos has deliberately eschewed perfection in his porcelain works. Rather, he seeks to transform the challenge of intimacy and fragility in his pieces made of the precious material into sculptural objects with iridescent surfaces and unusual forms. The artist achieves mastery over a creative space in which he creates poetic effects by means of experiments with color and shape in the production of porcelain and ceramics. He makes mysteriously luminous multilayered glazes with shifting color spectrums on varyingly formed monoliths with mineral oxide mixtures as his basis. boos crosses boundaries between traditional craftsmanship and an artist’s free play with shapes. His work references the theatricality of minimal art, abstract conceptual art, as well as the magical practice of alchemy.
emmanuel boos (b. 1969) completed a practice-led Ph.D. at the Royal College of Art in London and lives and works between Paris and Mannheim.