Paloma Varga Weisz

Paloma Varga Weisz

 

EN
 
*1966, Germany 
 
 
UMAN, HANGING / 2018 / wooden sculpture
 
KRUMMER HUND (CABINET 2 OF 3) / 2013 / installation
 
all works courtesy of the artist and Sadie Coles Gallery, London
 
BOIS DORMANT – CABINET 3 / 2015 / installation
 
BOIS DORMANT – CABINET 2 / 2015 / installation
 
PHYLIDA – CABINET 6 / 2017 / installation
 
UNTITLED (NACHTRUCHE) / 2008 / watercolor drawing
 
GELBES WESEN / 2001 / watercolor drawing
 
UBURGFRA / 2004 / watercolor drawing
 
UNTITLED / 1997 / watercolor drawing
 
PALMEN ON MY HEAD / 2005 / watercolor drawing
 
all works courtesy of the artist and Konrad Fischer Galerie, Düsseldorf
 
 
 

The body of a man hangs from the ceiling of the Sala Trenker exhibition space. The sculpture belongs to Paloma Varga Weisz (Germany, 1966). At first sight the artwork looks rather medieval, probably because of the material used (wood) and union of the limbs. However, the artist found inspiration in a recent photograph of a climber hanging from the Swiss Alps. The man hangs helplessly — in the ropes, so to speak, on straps. His joints are flexible, like a life-sized puppet on strings. His expression seems forlorn with an aura of vulnerability. He is literally hanging in the air and is sentenced to immobility. This hanging man is an example of the incredible precision in the craftsmanship and artistic language of Paloma Varga Weisz.

The artist sculpts the works herself, something quite unusual these days as most artists rely on a team of assistants. If her artworks look medieval and fairy tales like, the artist is keen to explain that we are mistaken: “I hate the words “mythical”, “fairy tale”, “belonging to a church” because none of my sculptures are so. My inspiration comes from other sources, like newspapers or porn magazines, not from a fairy tale.” For the Biennale Gherdëina7 the artist will also be present with four cabinets and a series of watercolours.

DE
 
*1966, Deutschland
 
 
UMAN, HANGING / 2018 / wooden sculpture
 
KRUMMER HUND (CABINET 2 OF 3) / 2013 / installation
 
all works courtesy of the artist and Sadie Coles Gallery, London
 
BOIS DORMANT – CABINET 3 / 2015 / installation
 
BOIS DORMANT – CABINET 2 / 2015 / installation
 
PHYLIDA – CABINET 6 / 2017 / installation
 
UNTITLED (NACHTRUCHE) / 2008 / watercolor drawing
 
GELBES WESEN / 2001 / watercolor drawing
 
UBURGFRA / 2004 / watercolor drawing
 
UNTITLED / 1997 / watercolor drawing
 
PALMEN ON MY HEAD / 2005 / watercolor drawing
 
all works courtesy of the artist and Konrad Fischer Galerie, Düsseldorf
 
 
 

Im Ausstellungsraum Sala Trenker hängt der Körper eines Mannes von der Decke. Die Skulptur stammt von Paloma Varga Weisz (1966, DEU). Auf den ersten Blick sieht das Kunstwerk eher mittelalterlich aus, wahrscheinlich wegen des verwendeten Materials (Holz) und der Verbindungen der Gliedmaßen. Inspiration fand die Künstlerin jedoch in einer neueren Fotografie eines Bergsteigers, die von den Schweizer Alpen herabhängt. Der Mann hängt hilflos – sozusagen in den Seilen, sozusagen an Riemen. Seine Gelenke sind flexibel, wie eine lebensgroße Marionette an Fäden. Sein Ausdruck wirkt verloren, und er hat eine Aura der Verletzlichkeit um sich. Er hängt buchstäblich in der Luft. Und ist zur Unbeweglichkeit verurteilt. Dieser hängende Mann ist ein Beispiel für die unglaubliche Präzision in der handwerklichen und künstlerischen Sprache von Paloma Varga Weisz.

Die Künstlerin fertigt die Werke selbst an, was heutzutage recht ungewöhnlich ist, da die meisten Künstler auf ein Team von Assistenten angewiesen sind. Und wenn ihre Kunstwerke mittelalterlich und märchenhaft aussehen, möchte die Künstlerin gerne erklären, dass wir uns irren: “Ich hasse die Worte “mythisch”, “märchenhaft”, “einer Kirche zugehörig”, weil keine meiner Skulpturen so aussieht. Meine Inspiration kommt aus anderen Quellen, wie Zeitungen oder Pornoheften, nicht aus einem Märchen. Für die Biennale Gherdëina 7 wird der Künstler auch mit vier Kabinetten und einer Reihe von Aquarellen vertreten sein.

IT
 
*1966, Germania
 
 
UMAN, HANGING / 2018 / wooden sculpture
 
KRUMMER HUND (CABINET 2 OF 3) / 2013 / installation
 
all works courtesy of the artist and Sadie Coles Gallery, London
 
BOIS DORMANT – CABINET 3 / 2015 / installation
 
BOIS DORMANT – CABINET 2 / 2015 / installation
 
PHYLIDA – CABINET 6 / 2017 / installation
 
UNTITLED (NACHTRUCHE) / 2008 / watercolor drawing
 
GELBES WESEN / 2001 / watercolor drawing
 
UBURGFRA / 2004 / watercolor drawing
 
UNTITLED / 1997 / watercolor drawing
 
PALMEN ON MY HEAD / 2005 / watercolor drawing
 
all works courtesy of the artist and Konrad Fischer Galerie, Düsseldorf
 
 
 

Il corpo di un uomo pende dal soffitto dello spazio espositivo della Sala Trenker. La scultura appartiene a Paloma Varga Weisz (Germania, 1966). A prima vista l'opera sembra piuttosto medievale, probabilmente a causa del materiale utilizzato (legno) e delle unioni degli arti. Tuttavia l'artista ha trovato ispirazione in una recente fotografia di uno scalatore sulle Alpi svizzere. L'uomo è impotente, appeso a delle corde, per così dire, su delle cinghie. Le sue articolazioni sono flessibili, come un burattino a grandezza naturale su corde. La sua espressione sembra abbandonata, con un'aura di vulnerabilità. È letteralmente sospeso in aria, condannato all'immobilità. Quest'uomo appeso è un esempio dell'incredibile precisione nel linguaggio artigianale e artistico di Paloma Varga Weisz.

L'artista stessa scolpisce le proprie opere, cosa piuttosto insolita oggi, visto che la maggior parte degli artisti si affida a un team di assistenti. Se le sue opere sembrano medioevali e abbastanza raccapriccianti, Varga Weisz ci spiega che ci sbagliamo: "Odio le parole "mitico", "fiaba", "appartenente a una chiesa", perché nessuna delle mie sculture lo è. La mia ispirazione viene da altre fonti, come giornali o riviste porno, non da una fiaba". Per la Biennale Gherdëina 7 l'artista sarà presente anche con quattro armadi e una serie di acquerelli.