Lena Henke | Vortrag für Studierende der Akademie - ENTFÄLLT
Datum & Uhrzeit: 2021-07-06 10:00
Ort: Auditorium | Neubau | Akademie der Bildenden Künste | Alademiestr. 4

 

Muss krankheitsbedingt vorschoben werden

 

In ihrem Vortrag an der Akademie der bildenden Künste München wird Lena Henke über ihre Projekte in Außen bzw. Öffentlichen Räumen sprechen und dabei einen Fokus auf ihre Produktionsprozesse legen. Die in diesem Zusammenhang besprochenen Werke knüpfen an Henkes anhaltendes Interesse an psychologischen und autobiografischen Themen an, die sie mit Referenzen aus der Stadtplanung und Landschaftsgestaltung verdichtet. Feminismus und Sexualität spielen eine wesentliche Rolle in ihrer Praxis und spiegeln sich, wie auch andere Themen, in den von ihr verwendeten Materialien wie (Pferde-) Leder, Keramik, Glasuren, Fiberglas, Sand und Gummi wieder. Abschließend wird Henke einen Einblick in ihre aktuellen Projekte und Forschungen geben, in denen sie sich vor allem mit Skulpturenparks beschäftigt. Dabei interessiert sie sich im Besonderen für das obsessive, größenwahnsinnige und zu- meist stereotyp männlich geprägte Verlangen, umfassende Skulpturenparks zu errichten und ganze Landschaften zu gestalten.

 

Lena Henke lives and works Berlin. Henke has studied at the Frankfurter Städelschule with Professor Michael Krebber (2004-2010).
Henke tests the conditions and possibilities of sculpture with technically innovative methods of production. At the same time, she expands the range of meaning of traditional sculpture by incorporating questions of femaleness and the production of power relations in urban space. The possibilities of plas- tic art and sculpture serve Henke as a basis for understanding the molding (and casting) of bodies as a changeable process of design. Thus, in groups of works like Hooves, Boobs, and Sand Bodies, the process by which the work becomes a work finds representation; motifs of memesis link up with motifs of phantasmagoria; and it becomes apparent that the artist does not take her bearings from ideal conceptions but designs her sculptural figures to match her subjective mental images. In doing so, she not only engages the myth of masculinity; she also works with the strands of historical tradition—the questions of pedestal and space—to interrogate the logic of sculptural representation and representability. She holds the reins with great self-assurance, controlling the representation of women‘s bodies and the symbolic power of horses and intervening in the mechanisms of urban architecture. It is Henke’s far-reaching reflections on the capacity of the sculptural that enable her, conversely, to grasp urbanity as a historically evolved sculpture, whose social mechanisms of inclusion and exclusion can be altered and redefined by means of targeted interventions. Thus, Henke relocated the entrances to her exhibitions and inter- vened, with her street signs, in the psychology of existing urban structures. Operating this side of social and architectural power structures, Henke‘s works open up a highly pleasurable imaginative space in which the sculptural itself expands to encompass feminist and biographical perspectives and thus acquires a new topicality.
Henke has exhibited at the the Whitney Museum of Art, USA (2018); Bard Hessel Museum, New York; (2018), Kunstmuseum Luzern, Switzerland; at Schirn Kunsthalle Frankfurt, Sprengelmuseum Hannover (2017), at the Museum of Contemporary Art, Detroit (2017); Timisoara Contemporary Art Biennale, Romania, (2017); Manifesta 11, Zurich, Switzerland (2016); The 9th; Berlin Biennale, Germany (2016); Le Biennale de MONTREAL, Montre- al, Canada, (2016); the Kunstverein Braunschweig, Germany (2016); at the Triennale of Small Scale Sculpture in Fellbach, Germany (2016); and The New Museums Triennial, New Museum, New York (2015). Socrates Sculpture Park, New York (2015); Kunsthalle Bern, Bern, Switzerland (2014); Kuenstler- haus Graz, Austria (2014) and the Institute of Contemporary Art, Miami (2013); at White Flag Projects, St. Louis; in the Sculpture Museum Glaskasten, Marl (both in 2014); at S.A.L.T.S., Basel, at Kunstverein Braunschweig, (both 2016); New Museum, New York (2015) and at the Kunstverein Aachen, Germany(2012).

 

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