Madeleine Boschan

Madeleine Boschan (*1979 in Germany) is a German artist.

Biography

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

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 and architecture,[1] as well as new tendencies of Abstract art,[2] contemporary art from Berlin or Germany,[3] and the interdisciplinary impact of the Cabinet of curiosities on contemporary thinking, science and exhibition practice.[4]

She lives and works in Berlin, Germany.

Practice

Starting in 2008, Madeleine Boschan built her sculptures from found material. These first objets trouvés were modified, reassembled and brought into relation with each other by colour interventions.[5] The different components lost their common value of utilization. With their machine-like appearance these sculptures seem to suggest expedience, still, they inhere in a kind of defunctionalised dissociation – as do indigenous fetishes or desolate and disused apparatus.[6]

From her extensive occupation with Samuel Beckett's TV-pieces, such as "Quod I" and "Quod II" which he realized in 1981 for the German SDR, and his late "closed space stories" as "Worstward Ho" (1983) Madeleine Boschan has derived genuine poetics of space: Space 'itself' is empty and incomprehensible. It is for a body to appear within this void to designate it as a place, to grant contour, form, and shape to it, to constitute it as 'surrounding space'. According to Beckett, Boschan emphasises that spatial experience is first and foremost a physical experience: how does a body gain its halt and stand within the void, how does it find its appropriate place and holds up this position, how does it interact with other bodies?[7]

In 2013 and 2014, she revised and reconsidered her primary pictorial vocabulary: standing, reclining, towering, tilting, arching as well as expansion, contraction, colour, form, measure, and positioning. For in a prudently arranged turn and, particularly, in contrast to the gestalt-like linearity of her prior works, she addresses herself to purely planar bodies; situated residing freely throughout the given space in utterly different phenomenal states; each for itself, yet, constantly in relation to each other.[8] Furthermore, Madeleine Boschan has inseparably incorporated "Technicolor’s" base colours (red, blue, green, yellow, magenta, cyan, + black and white) into her forms. Colour is, thus, not just appended or appliquéd to her sculptures; rather, the specific chromaticity, being an immediate part of the sculptural operation, originates its very own specific forms.[9]

In the years following, a most elementary question, Roland Barthes’ final enquiry constituted the basis of her practice: "How to live together?" As she herself stated: "The earlier sculptures were linear, for sure, intrinsic and averted, withdrawn from us. And after some years, I simply longed to make them more planar, to give them more surface, realign them towards the surrounding space and relate them closer to us. If you like as a broadside at the beholder. And honestly, to me they are still all the same. Not visually, of course, but they all pose the same existential question of spatial corporality, of how a body gains its own stand, finds its appropriate place and holds up this position."[10]

After 2016, "pieces dwelling on the concept of 'spaces within space' and, at the same time, of passage or transition"[11] emerge, "fictive and functionless artefacts" which "retain the utopian ideas that are contained in the architectural strategies she references":[12] Brasilian Tropicália, Jorge Ben, Astrud Gilberto, and Oscar Niemeyer, or James Cameron’s cinematic use of the L.A. River-bed, "Blade Runner"’s electric billboards, the topic of a ruinous antiquity, and the pastel colours of 1980's Miami.[13]

Solo exhibitions

2019

In twilight these ridiculous and exquisite things descendingly move among the people, gently and imperishably, Sunday-S Gallery, Copenhagen, Denmark
Tulips and chimneys, Galeria Maior, Palma de Mallorca, Spain
the enormous room, Galerie Bernd Kugler, Innsbruck, Austria

2017

BB 105/146, Galerie Lange und Pult, Zurich, Switzerland
What lays bare in me, Collectors Agenda, Vienna, Austria
Partance, Galerie Bernd Kugler, Innsbruck, Austria

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

2020

31:women. (Exhibition after Marcel Duchamp, 1943)., Daimler Art Collection, Berlin, Berlin
Jubeljahr, Städtisches Museum Schloss Salder, Salzgitter Salzgitter
Intermezzo, Galerie Bernd Kugler, Innsbruck, Austria Innsbruck


2019

some trees, Nino Mier Gallery, Los Angeles, Los Angeles
Comrades of time IV, Whatspace c/o Hardspace, Basel Basel
Avanti, Michael Horbach Stiftung, Cologne Cologne


2018

Junge Kunst / Junge Künstler, Skulpturenpark Heidelberg, Heidelberg
Light in / as image, Daimler Art Collection Stuttgart-Möhringen

2017

Zehn Jahre Zürich, Galerie Lange + Pult, Zurich, Switzerland
Lob des Schattens (Italienischer Raum), Marc Strauss Gallery New York City, US
Modern sculpture, Galería Casado Santapau, Madrid, Spain
Artists´Books for Everything, Weserburg | Museum für Moderne Kunst, Bremen
Berlin-Klondyke, Umetnostna Galereija Maribor, Maribor, Slowenia
Three, two, one, Abbot Kinney, Venice, US
The Gift Collection, Galerie Bernd Kugler, Innsbruck, Austria

2016

Enea, Jona, Switzerland
Moby Dick Filets, Secession, Vienna, Austria
Welt am Rand, 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
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
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
En désordre, Philara – Sammlung zeitgenössischer Kunst, Düsseldorf, Germany
Berlin Klondyke, Neuer Pfaffenhofener Kunstverein, Pfaffenhofen, Germany
Gentle Giants II, Kwadrat, Berlin, Germany
Abstract confusion, Kunsthalle Erfurt, Erfurt, Germany
Status. Berlin (1), Künstlerhaus Bethanien, Berlin, Germany
Black Oriental, Galerie Bernd Kugler, Innsbruck, Austria
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

Private and public collections
Daimler Art Collection, Stuttgart, Germany
Philara – Sammlung zeitgenössischer Kunst, Düsseldorf, Germany
Madeleine Boschan
Galerie Bernd Kugler, Innsbruck, Austria
Hezi Cohen Gallery, Tel Aviv, Israel

References
  1. 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
  2. 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
  3. 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
  4. e.g. Wunderkammer, Autocenter Berlin (http://www.autocenterart.de), September 7 – 22, 2012
  5. 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
  6. 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
  7. cf: Madeleine Boschan – Say a body. Where none. Say a place. Where none. For the body. To be in., exhibition catalogue Kunstverein Ulm, ed. Monika Machnicki and Christian Malycha, with texts by Samuel Beckett and Hendrik Lakeberg, Q.H.S.O.I.Q.O.C.M.S., Berlin 2013
  8. see: Madeleine Boschan – Technicolor: a) Feld, b) Fläche, exhibition catalogue Marburger Kunstverein, ed. Christian Malycha and Anja Isabel Schneider, Harpune Punlishers, Vienna 2015
  9. ibid.
  10. Madeleine Boschan in conversation with Peter Ibsen for Copenhagen Contemporary, August 2015: http://copenhagen-contemporary.dk/madeleine-boschan-qa-with-german-artist-madeleine-boschan/
  11. cf. ibid.
  12. Bridget Gleeson, Fresh Designs from a Modern Sculptor Invigorated by Architectural History, Artsy, March 21, 2016: http://madeleine-boschan.de/wp-content/uploads/Fresh-Designs-from-a-Modern-Sculptor-Invigorated-by-Architectural-History_20160321.pdf
  13. see: Madeleine Boschan in conversation with Peter Ibsen for Copenhagen Contemporary, August 2015: http://copenhagen-contemporary.dk/madeleine-boschan-qa-with-german-artist-madeleine-boschan/
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