*1967 in Dresden, lives and works in Berlin<\/p>\n\n\n\n
Since 2013, Antje Blumenstein’s artistic work has focussed on the line. The names of groups of works such as the paper folds entitled \u2018lines\u2019, the \u2018folded lines\u2019 made of aluminium rods hanging freely in the room or on the wall, sculptural works such as the \u2018folded pieces\u2019 made of acrylic glass or \u2018one line seven corners\u2019 made of neon tubes confirm what visually proves to be a common denominator. After studying painting and graphic art at the art academies in Nuremberg and Dresden, she initially turned her attention to socially relevant themes as a painter. The investigation of the illusory world of glamour as a substitute for religion led to objects with neon lettering and those with cheaply produced glitter material from one-euro shops, which she staged like precious relics on pedestals.<\/p>\n\n\n\n
The turn towards fundamental, concrete questions and the exploration of perceptual processes was accompanied by a concentration on a few materials and on light, combined with a far-reaching restriction to geometric structures and formations created linearly on the surface and in space. <\/p>\n\n\n\n
Extract from: Susannah Cremer-Bermbach, Dynamische Linien, agierende W\u00e4nde. Zu den Arbeiten von Antje Blumenstein, in: Viel Licht \u2013 Viel Schatten. Tom Mosley + Antje Blumenstein, exhibition catalogue, published by Stiftung Konzeptuelle Kunst, Soest 2022, pp. 11-14, transl. by Juliane Rogge<\/p>\n\n\n\n
The paper folding from the series \u2018cross\u2019 shown in this exhibition is based on the observation of architecture, namely a lively fa\u00e7ade of a high-rise building in Hamburg that extends from the surface into the room.<\/p>\n\n\n\n
Juliane Rogge<\/p>\n\n\n\n