Lafayette Section

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In her practice Tatjana Danneberg investigates signs, symbols, and questions about integrity – in a general sense, but also in terms of the uniqueness and validity of an artwork itself: how can it construct an illusion, where is the gap between imitation, fake and “original”, and how can the relation between imagination and reality be dis- played? In this vein she examines surfaces with a speci c interest in the very moment when a surface fails to show an intact image or form.

Tatjana’s paintings are primarily created on a foil, then “peeled o ” the surface and later with help of a binding solvent transferred to the canvas. She uses a similar tech- nique for the photographic elements in her works. Those are images printed on vinyl, where the application of paint on the print enables them to be disconnected from the vinyl and in further steps get moved onto the canvas. In this procedure, the surface of the images rips open, gets somewhat destroyed, which is metaphorically building a bridge between the observer and what lays beyond- behind the image. The paintings are like transmitters, or windows, trying to capture one speci c yet maybe not existing moment, the glimpse of a thought or a memory.

Through the process of ipping the painted surface, the foreground becomes back- ground, and what is rst not intended to be shown, gets eventually visible – reversed steps underline the time frame within the image, in a manner of recalling memories. Painterly gestures, in their most basic forms of color, pattern, intensity and rhythm are combined, manipulated and organically infused with photographic images. In her most recent paintings Tatjana Danneberg uses scienti c photographs that were taken by Victor 6000, a robotic submarine, at the bottom of the sea in total absence of human hand as well as reach. Opposed to the current thematization of the Anthropocene, with its emphasis on humans shaping nature, this series suggests a di erent scenario, namely a glimpse of what exists beyond our reach. As usually the case in her painting-collages the artists creates windows to another realm by break- ing through the surface of images. Tatjana Danneberg, born in 1991, lives in Vienna. She graduated from the Acadamy of Fine Arts Vienna (class of Heimo Zobernig). Her recent solo exhibitions include: SORT, Vienna (2017); Galeria Dawid Radziszewski (together with Soshiro Matsubara), Warsaw (2016) and LambdaLambdaLambda, Prishtina (2015). She participated in group exhibitions at Carl Kostyal, Stockholm, (2017) and Shanaynay, Paris (2015).

The idea of longing for someone or something impalpable is what Dardan Zhegrova explores in his poetic works that are strongly informed by his interest in the pair of opposites: proximity and distance. The multimedia work exhibited at FIAC evolves around the notion of touch and the question of how to preserve the transparent traces thereof in memory and further how to nd a form for that.

Dardan Zhegrova, born in 1991, lives in Prishtina. His most recent group exhibitions include: Park View, Los Angeles (2017); National Gallery Kosovo (2017); Galerie Sul- tana, Paris (2016); FeKK short lm festival, Ljubljana (2016); Swimming Pool So a, Frankfurt am Main (2016) and Baushtelle: Balkan Temple, Zurich/Belgrade/Pristina (2015). His recent solo exhibitions and performances include: Stacion – Center for Contemporary Art Prishtina, (together with Lola Sylaj), Prishtina (2017); De-Con- strukt (together with Lola Sylaj), NYC (2017); M, Prishtina (2016) and LambdaLambdaLambda, Prishtina (2015). He was awarded with the Gjion Mili Prize of the National Gallery Kosovo (2017).

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