MAKE IT NEWER!
29.10. -28.11.20
Galerie EIGEN+ART LAB
BERLIN
JANINA ROIDER
MAKE IT NEWER!
A hybrid dream landscape
EIGEN+ART LAB, Berlin
29 October – 28 November 2020
Opening: 29 October, 11 – 20 hrs
In this new, monographic exhibition, the Munich- and Montalivet-based artist Janina Roider (b. 1986) transports gallery-goers to landscapes where the real and the fictive, actuality and dream, the aesthetics of advertising and the painting manner of the Old Masters enter into a creative symbiotic relationship.
The exhibition’s title MAKE IT NEWER! is a reference to Roider’s Academy teacher Günther Förg, whose guiding principle and maxim “make it new” – a dictum borrowed from Ezra Pound, whose work Förg greatly admired – served also as the title of his trail-blazing solo exhibition of 2004, which formed part of the Ruhrfestspiele in Recklinghausen, Germany. Förg’s works – which were to prove seminal for Roider’s understanding of painting – stand apart, outside the painterly discourse of classical modernism. In his view, the painter should abandon his or her solitary and élitist position and the concomitant intellectual mindset framed in the specific period and should no longer have to offer a direct explanation of his or her selfhood and work.
The original motivational thrust of modern art is always its urge for renewal. In the formal language of Roider’s oeuvre, this impulse invariably leads to a fusing of digital and analogue processes. The basis for each work is a hand-drawing, which is digitalized – with her sculptures, this takes the form of a digital print – and then expanded almost in the mode of the Old Masters through successively “applied” layers. In the next step, the digital drawing is turned into a print (designed for serial reproduction) and so becomes Roider’s canvas and support.
The eye of the beholder is called on, challenged to immerse itself in the resultant works, to study their images meticulously so as to be able to distinguish, in the given case, between digital and analogue painting processes. Roider’s works invite one to abandon oneself to a world full of delight in life, full of a relish for faraway climes and human physicality, and to delve deep down into discovery and painting. In playful manner, references to art history (such as Botticelli’s “Birth of Venus”, 1485-86), advertising aesthetics (such as the further development of Dik Browne’s “Miss Chiquita”, 1944) and patterns of collective memory (such as Jerry Siegel’s and George Roussos’ “Superwoman”, which first appeared in action comics in 1943) merge with topical (and self-reflexive) issues of gender-allocation, of the new role of the (empowered) woman, of individually lived sexuality and of the achievement of personal freedoms/liberation from convention in one’s own life project and style.
Sarah Haugeneder
About the Artist
Janina Roider (b. 1986 in Dachau, Germany) lives and works in Munich and Montalivet, France. At the Munich Academy of Fine Arts, she first studied Art Education under Matthias Wähner, before transferring into the Class of Günther Förg in order to pursue the Liberal Arts. She graduated there in 2015 with the title of Master Pupil. In 2010/2011, she spent a year abroad studying at the Glasgow School of Art in Scotland, where she was awarded a Bachelor of Arts degree. During her student years, she held a Scholarship of the Federal Support Programme for the Gifted, Ev. Studienwerk V.illigst e.V. In 2018 she was the recipient of a Working Scholarship from the Arts Support Programme of the Konrad Adenauer Foundation.
translated by Richard Humphrey
3D Quartzsand print, epoxy and enamel,
30 x 32 x 20 cm, 2020
JANINA ROIDER
MAKE IT NEWER!
A hybrid dream landscape
EIGEN+ART LAB, Berlin
29 October – 28 November 2020
Opening: 29 October, 11 – 20 hrs
In this new, monographic exhibition, the Munich- and Montalivet-based artist Janina Roider (b. 1986) transports gallery-goers to landscapes where the real and the fictive, actuality and dream, the aesthetics of advertising and the painting manner of the Old Masters enter into a creative symbiotic relationship.
The exhibition’s title MAKE IT NEWER! is a reference to Roider’s Academy teacher Günther Förg, whose guiding principle and maxim “make it new” – a dictum borrowed from Ezra Pound, whose work Förg greatly admired – served also as the title of his trail-blazing solo exhibition of 2004, which formed part of the Ruhrfestspiele in Recklinghausen, Germany. Förg’s works – which were to prove seminal for Roider’s understanding of painting – stand apart, outside the painterly discourse of classical modernism. In his view, the painter should abandon his or her solitary and élitist position and the concomitant intellectual mindset framed in the specific period and should no longer have to offer a direct explanation of his or her selfhood and work.
The original motivational thrust of modern art is always its urge for renewal. In the formal language of Roider’s oeuvre, this impulse invariably leads to a fusing of digital and analogue processes. The basis for each work is a hand-drawing, which is digitalized – with her sculptures, this takes the form of a digital print – and then expanded almost in the mode of the Old Masters through successively “applied” layers. In the next step, the digital drawing is turned into a print (designed for serial reproduction) and so becomes Roider’s canvas and support.
The eye of the beholder is called on, challenged to immerse itself in the resultant works, to study their images meticulously so as to be able to distinguish, in the given case, between digital and analogue painting processes. Roider’s works invite one to abandon oneself to a world full of delight in life, full of a relish for faraway climes and human physicality, and to delve deep down into discovery and painting. In playful manner, references to art history (such as Botticelli’s “Birth of Venus”, 1485-86), advertising aesthetics (such as the further development of Dik Browne’s “Miss Chiquita”, 1944) and patterns of collective memory (such as Jerry Siegel’s and George Roussos’ “Superwoman”, which first appeared in action comics in 1943) merge with topical (and self-reflexive) issues of gender-allocation, of the new role of the (empowered) woman, of individually lived sexuality and of the achievement of personal freedoms/liberation from convention in one’s own life project and style.
Sarah Haugeneder
About the Artist
Janina Roider (b. 1986 in Dachau, Germany) lives and works in Munich and Montalivet, France. At the Munich Academy of Fine Arts, she first studied Art Education under Matthias Wähner, before transferring into the Class of Günther Förg in order to pursue the Liberal Arts. She graduated there in 2015 with the title of Master Pupil. In 2010/2011, she spent a year abroad studying at the Glasgow School of Art in Scotland, where she was awarded a Bachelor of Arts degree. During her student years, she held a Scholarship of the Federal Support Programme for the Gifted, Ev. Studienwerk V.illigst e.V. In 2018 she was the recipient of a Working Scholarship from the Arts Support Programme of the Konrad Adenauer Foundation.
translated by Richard Humphrey
JANINA ROIDER
MAKE IT NEWER!
Eine hybride Traumlandschaft
Mit dieser neuen, monographischen Ausstellung entführt Janina Roider (* 1986, lebt und arbeitet in München und im französischen Montalivet) die BesucherInnen in künstlerische Landschaften, in denen Wirklichkeit und Fiktion, Realität und Traum, Werbeästhetik und altmeisterliche Malerei eine Symbiose eingehen.
Der Ausstellungstitel MAKE IT NEWER! ist ein Verweis auf Roiders Akademie-Lehrer Günther Förg, dessen Leitspruch „make it new“ – die Maxime stammt ursprünglich von Ezra Pound, dessen Schaffen Förg sehr bewunderte – auch als Titel seiner wegweisenden, 2004 anlässlich der Ruhrfestspiele Recklinghausen eröffneten Einzelausstellung fungierte. Förgs Arbeiten, die Roiders Verständnis von Malerei prägen sollten, standen bewusst abseits, losgelöst vom vorherrschenden Diskurs zur Malerei der klassischen Moderne. So sollten nach seiner Auffassung KünstlerInnen ihren solitär-elitären Standpunkt und die damit jeweils einhergehende intellektuelle Geisteshaltung aufgeben und sich selbst und ihre Arbeit nicht mehr dezidiert erklären müssen.
Die ursprüngliche Motivation der modernen Kunst liegt immer im Erneuerungsdrang. Aus diesem Drang heraus verschmelzen in Roiders Arbeiten formal immer digitale mit analogen Prozessen. Jeder Arbeit liegt eine Handzeichnung zugrunde, die digitalisiert (bei den Skulpturen ein Digitaldruck) mit fast altmeisterlich aus nacheinander „aufgetragenen“ Schichten erweitert wird. Diese digitale Zeichnung wird im nächsten Schritt als (seriell angelegter) Druck zu Roiders Leinwand und Bildträger.
Das Auge wird herausgefordert, durch genaue Bildbetrachtung in die Werke einzutauchen, um so gegebenenfalls digitale und analoge Malerei differenzieren zu können. Roiders Arbeiten laden ein, sich einer Welt voller Lust am Leben, an fernen Welten, an Körperlichkeit, sowie dem Entdecken und der Malerei hinzugeben. Spielerisch verschmelzen kunsthistorische Bezüge (wie Botticellis „Die Geburt der Venus“, 1485-86), Werbeästhetik (wie die Weiterentwicklung von Dik Brownes „Miss Chiquita“, 1944) und Patterns des kollektiven Gedächtnisses (wie Jerry Siegels und George Roussos’ „Superwoman“, die 1943 erstmals im Comic auftauchte) mit aktuellen (und selbstreflexiven) Fragen der Gender-Zuschreibung, nach der neuen Rolle der (starken) Frau, der individuell gelebten Sexualität und dem Schaffen von persönlicher Freiheit/Entgrenzung im eigenen Lebensentwurf.
Sarah Haugeneder
Zur Künstlerin
Janina Roider (*1986 Dachau) lebt und arbeitet in München und Montalivet (Aquitaine). Sie studierte zunächst an der Akademie der Bildenden Künste München Kunstpädagogik bei Matthias Wähner, bis sie in die Klasse von Günther Förg wechselte, um Freie Kunst zu studieren. Dort graduierte sie 2015 mit dem Meisterschülertitel. 2010 – 2011 absolvierte sie einen einjährigen Studienaufenthalt an der Glasgow School of Art in Schottland, den sie mit dem Bachelor of Arts abschloss. Während ihrer Studienzeit erhielt sie das Bundesbegabtenstipendium des evangelischen Studienwerks Villigst e.V. 2018 war sie Stipendiatin der Künstlerförderung der Konrad-Adenauer-Stiftung.
JANINA ROIDER
MAKE IT NEWER!
A hybrid dream landscape
EIGEN+ART LAB, Berlin
29 October – 28 November 2020
Opening: 29 October, 11 – 20 hrs
In this new, monographic exhibition, the Munich- and Montalivet-based artist Janina Roider (b. 1986) transports gallery-goers to landscapes where the real and the fictive, actuality and dream, the aesthetics of advertising and the painting manner of the Old Masters enter into a creative symbiotic relationship.
The exhibition’s title MAKE IT NEWER! is a reference to Roider’s Academy teacher Günther Förg, whose guiding principle and maxim “make it new” – a dictum borrowed from Ezra Pound, whose work Förg greatly admired – served also as the title of his trail-blazing solo exhibition of 2004, which formed part of the Ruhrfestspiele in Recklinghausen, Germany. Förg’s works – which were to prove seminal for Roider’s understanding of painting – stand apart, outside the painterly discourse of classical modernism. In his view, the painter should abandon his or her solitary and élitist position and the concomitant intellectual mindset framed in the specific period and should no longer have to offer a direct explanation of his or her selfhood and work.
The original motivational thrust of modern art is always its urge for renewal. In the formal language of Roider’s oeuvre, this impulse invariably leads to a fusing of digital and analogue processes. The basis for each work is a hand-drawing, which is digitalized – with her sculptures, this takes the form of a digital print – and then expanded almost in the mode of the Old Masters through successively “applied” layers. In the next step, the digital drawing is turned into a print (designed for serial reproduction) and so becomes Roider’s canvas and support.
The eye of the beholder is called on, challenged to immerse itself in the resultant works, to study their images meticulously so as to be able to distinguish, in the given case, between digital and analogue painting processes. Roider’s works invite one to abandon oneself to a world full of delight in life, full of a relish for faraway climes and human physicality, and to delve deep down into discovery and painting. In playful manner, references to art history (such as Botticelli’s “Birth of Venus”, 1485-86), advertising aesthetics (such as the further development of Dik Browne’s “Miss Chiquita”, 1944) and patterns of collective memory (such as Jerry Siegel’s and George Roussos’ “Superwoman”, which first appeared in action comics in 1943) merge with topical (and self-reflexive) issues of gender-allocation, of the new role of the (empowered) woman, of individually lived sexuality and of the achievement of personal freedoms/liberation from convention in one’s own life project and style.
Sarah Haugeneder
About the Artist
Janina Roider (b. 1986 in Dachau, Germany) lives and works in Munich and Montalivet, France. At the Munich Academy of Fine Arts, she first studied Art Education under Matthias Wähner, before transferring into the Class of Günther Förg in order to pursue the Liberal Arts. She graduated there in 2015 with the title of Master Pupil. In 2010/2011, she spent a year abroad studying at the Glasgow School of Art in Scotland, where she was awarded a Bachelor of Arts degree. During her student years, she held a Scholarship of the Federal Support Programme for the Gifted, Ev. Studienwerk V.illigst e.V. In 2018 she was the recipient of a Working Scholarship from the Arts Support Programme of the Konrad Adenauer Foundation.
translated by Richard Humphrey
translated by Richard Humphrey
29.10. -28.11.20
Galerie EIGEN+ART LAB
BERLIN
