The deal with display screen, which were created in the studios of the Academy of Arts, engage in manifold methods with the perception of reality in manifold methods; they open up brand-new connections and call conventions, clichés, and certainties into concern. A jury of professionals chosen the most compelling creative works in the classifications of photography, graphic art, painting, and sculpture. At the grand opening, Professor. Wiebke Möhring, Vice President Academic Affairs, presented the Aart Pprizes, each endowed with 500 euros, as well as the Edition Prize.
The Prizewinners
The Art Prize in the category of painting went to Maruah Hallal for “No Address.” The series of small-format paintings handle people experiencing homelessness in the urban landscape and translates empathy, attention, and empathy into painting, where what is illustrated becomes viewed anew. In this way, the life scenarios presented get a weight that is generally rejected them. In the painterly search for form, observation handles shape.
In the category of graphic art, Lisa Rother got the award. Her work is radically subjective, for she examines her self through biographically considerable things, her own body, or her environments. She describes what she concentrates on with the utmost accuracy and cuts away the inessential. Her setups of shifted-scale, most finely embraced figurations expose vulnerability, instability, isolation, or damage. With this fragmentation, she responds to the disintegration of societal systems.
In the category of sculpture, the Art Reward went to Maren Schaffrinna, whose works engage with the fragility of human existence. Here, the product plays a main role, becoming a bearer of state of minds, memories, and inner states. Her sculptural works resemble mirrors of inner experiences and evoke images of transience, vulnerability, and memory without pinning them down unambiguously, according to the jury.
The jury awarded the art prize for photography to Anna Ohla for her work “Filmriss” (“Tear in the Movie”, suggesting a psychological blackout), which engages with lost and even defective memories. When developing the negatives of her photographs handled analog film, errors occasionally happen in the chemical procedure. For her collages, Anna Ohla supplements these with purposeful adjustment in the image laboratory as well as handcrafted paper. In this method, she succeeds in reflecting on photography as an allegedly accurate, technical medium and in developing an analogy to human memory gaps.
The Edition Prize of the Rectorate was granted to Nina Burrichter. In her series of works “FAST FELS” (“ALMOST ROCK”), she establishes, with an open-ended method, a specific scrape painting technique using tools she built herself, which she evaluates in a process-like manner and deploys with increasing purpose. The mountains and rocks from her series are both concept and painterly gesture, as they carry the character of items and are at the exact same time an expression of the performative act of painting.