Dagmar Rauwald
Tranparencies 2021 - 2023

According to vidid things , studio 2022

Aus:

Transparency as a battleground:

Mit Pastell und Plüsch gegen alte Götter und neue Dämonen
Zu den Bildern von Dagmar Rauwald von Lara Viktoria Gorski | Kunsthistorikerin, Basel
Barbara Krugers Worte „Your body is a battleground” aus dem Jahr 1989 haben seither nicht an
Aktualität eingebüßt und die Kämpfe auf und um den weiblichen Körper sind noch immer nicht
ausgetragen. Nicht nur diese Kämpfe sind es, welche die konzeptuelle Malerin Dagmar Rauwald
in ihren Arbeiten thematisiert, sich die Autonomie über unterschiedliche Narrative wieder aneignet
und so die Themen unserer Zeit in ihren Arbeiten verdichtet. Ihr battleground: die transparente
Folie als visuelle Membran, die aktuelle Geschehnisse aus den Medien in einen Farbkodexüberund festsetzt. Zugrunde liegt dem Ganzen das generelle Interesse Rauwalds an informalen
Strukturen und Textstücken, mithilfe derer sie eine neue und notwendige Form der Malerei kreiert, die sich zwischen individueller Verarbeitung und gesellschaftlicher Relevanz verorten lässt.
Rauwalds ursprünglicher Impuls war es das abstrakte Bild als Referenz, als quasi-gemaltes Fotozu verstehen. Früh lässt die Schülerin Sigmar Polkes eine Ikonografie aus sowohl privaten wie
auch gesellschaftlichen Fragmenten von Geschichte entstehen, bei welchen der Fokus zunächst
auf fleischig körperlichen Innenzuständen liegt. Die Künstlerin thematisiert in ihren Werken aktuelle politische Ereignisse (Ultima latet (the last hour is hidden) | Fulda 23.07.00), setzt sich mit
dem Vermächtnis des kollektiven Gedächtnisses auseinander (Social Bookarking Hamburg, AEL
Langer Morgen, Hamburg-Wilhelmsburg) und befragt kulturelle Identitäten. Dabei nutzt Rauwald Codierungen und Metaphern, welche dabei helfen, die komplexe Beziehung von innen undaußen begreifbar zu machen. Dem Inhalt folgt der Gestus und im Laufe der Zeit löst sich Rauwalds Malerei immer mehr vom Malgrund und trägt zu der Entstehung dritter Räume bei, die wieein Interface Schnittstellen der Begegnung auf transparenter Folie kreieren.

Seit der Verselbstverständlichung eines hybriden Alltags Anfang der 2000er Jahre, eröffnet dieKünstlerin ihren Diskurs auf transparenter Folie, die mal gestaffelt, mal einzeln eingesetzt wird.
Wo noch zu Beginn bis zu drei Folien hintereinandergelegt werden, um mehrere Momente greifbar zu machen, transportiert ihre Kunst nun immer klarer den gegenwärtigen Moment. (...) Die
Bildthematik reflektiert abstrakt und zurückgenommen das Hier und Jetzt, beeinflusst von denMassen an Medien in Form von Pressebildern und politischem Kontext, die uns täglich konfrontieren.
(...) Auch in den Farbcodes der Werke hinterlassen die medialen Bilder ihre Wirkung. Die Künstlerin verarbeitet hier aktuelle Kriegsgeschehnisse in Belarus, der Ukraine oder Berichten aus
Flüchtlingslagern vor den Grenzen Europas. Die Eindrücke der harten Farben der Kriegsbilder
werden mit sanften Rosa- und Lila-Tönen verbunden, die sich in ihrer Farbigkeit gefährlich nahan Hämatomen und Verletzungen bewegen. Pastell und angedeutete Plüschteddys stehen derschmutzigen Farbigkeit von Panzerketten, Asphalt, Stahl und Erde gegenüber. Die Dynamik desAuftrags der Gouache-Technik zeugt von einer kraftvollen Auseinandersetzung mit existenziellen
und politischen Themen und setzt sie fast liebevoll-besorgt in den Schwingungsraum der Transparentfolie, wodurch die Betrachtenden zu Zeug:innen einer Greifbar-Machung des Unbegreiflichen werden.
(...) Ihre Werke kreieren eine starke Triebdynamik der physischen und mentalen Vermischung ineiner Welt, in der alles ineinanderfließt, Privates und Öffentliches kaum mehr getrennt werden
kann und Kriege und Leid durch die Medien gleichzeitig nah und unnahbar erscheinen. Durcheine körperliche Annäherung an existentielle Themen setzt sich die Künstlerin selbst und den
Betrachter in Beziehung. Rauwalds Werk fordert die Wiederaneignung politischer, sexueller undindividueller Macht ein und verhandelt diesen Prozess künstlerisch, innovativ und unerschrocken.

TOGETHERNESS

Togetherness 01 | Acrylic on polyester, ca 40 x 30 cm, 15 x 12,5 inch 2022

Togetherness 07 | Acrylic on polyester, ca 200x200 cm, 79x79 inch, 2022

Togetherness 14| Acrylic on polyester, ca 200x200 cm, 79x79 inch, 2022
Togetherness 09| Acrylic on Canvas, 170x140 cm, 67x55 inch, 2022

Togetherness 14| Acrylic on polyester, ca 200x200 cm, 79x79 inch, 2022
Togetherness 09| Acrylic on Canvas, 170x140 cm, 67x55 inch, 2022

Togetherness 14| Acrylic on polyester, ca 200x200 cm, 79x79 inch, 2022
Togetherness 09| Acrylic on Canvas, 170x140 cm, 67x55 inch, 2022

Togetherness 14| Acrylic on polyester, ca 200x200 cm, 79x79 inch, 2022
Togetherness 09| Acrylic on Canvas, 170x140 cm, 67x55 inch, 2022

SENSE OF WAR
Frappant January 2023
The work “Vulnerable” is an expression of human vulnerability as a view into a body - as a bullet wound. Together with
“Backlash: Bravery Constituted from Three Stereotypes” it forms an asymmetrical diptych. Three colour stereotypes (pink/blue for gender roles, yellow/blue for the national colours of Ukraine and olive green for military camouflage) condense here
into a half-figure from whose bulging chest a spherical object seems to shoot. A surreally constructed image of courage,
which refers to statements by German politicians about bravery in war. The thesis of backlash is based on the reference toan Aristothelian virtue, the regressive gender roles in line with the national gesture. The foil painting “Passed Out” lying on
the floor depicts the lack of control of events slipping off course. A powerlessness in the face of dissolving pacifist values.

Vunlerable| Acrylic on polyester, ca 70x70 cm, 27x27 inch, 2022

HYBRID WAR
More than a year ago, the war in Ukraine began. The ongoing state of affairs that moves us all is mostly experienced digitally beyond the military battle zones.
What is happening fills us with concern. Our perception of war through virtual media makes the events close and omnipresent on the one hand, and on the other hand it alienates the real of the warlike actions. Floods of images and reports reachus - but we see the events in a different way. Far away.
The information is available at any time and forms a seemingly objective picture of what is happening in Ukraine. They form
the basis for our different perceptions and shape our thinking. The images of the cruel trench warfare evoke memories of
the First World War. Sometimes they seem to be borrowed from dystopian computer games.
Is there a causality between the events and the virtual form in which we process information? Does digital viewing enable
us to deal responsibly or does the apparent participation via the internet also harbour dangers?

Ausstellungsansicht, MOM art space, Mai 2023

HYBRID WAR, Deadly Character, Acryl on Polyester, displayed on i-Phone interface 2023
The displayed painting is the pictual result of feelings and thouhgts evoked by digital information about the current war inUkraine. As a curator of the project Hybrid War, I asked: Is there a causality between events and the virtual form in which
we process information? Does digital viewing enable us to deal with things responsibly, or does the apparent participation
via the Internet also harbor dangers? As an artist, I have focussed on depicting what I have experienced digitally, both reflecting and empathising, as an immediate expression through painting. Summarising a moment by reflecting the complexityof the subject matter.
HYBRID WAR| Acrylic on polyester, ca 40x30 cm, on I-Phone, 2023

PERFORMANCE
Life imitating stereotypes, imitating Sense
Exhibition in Cambridge Artworks, Mai 2023
The works exhibited in Cambridge were created in response to a film experience. They relate to the British cult film Performance (1968). In the fall of 2022, the film was shown at a festival in Hamburg where there was a programme of feminist
films. Many of the guests were feminists. We were confronted with formerly-familiar, very violent cis-male read patterns,
male fantasies, but then followed by queer and beautiful, sensual scenes. Many of us were unsettled. Incendiary images,
beat images - sensations.
“Sensation” was also what the Young British Generation of the 90s called themselves.
Today, the word sensation could also be used to describe many of the images of the current and hybrid Ukraine war thathave been shaping our everyday, mostly virtual, visual experience for the past year.
We are forced to deal more strongly with aspects that did not affect us so directly in the past because they were not so present. The abstract narratives in the paintings in the exhibition are constituted by stereotypes and at the same time blur thetoo unbearable patterns that transport the past into the present.
In my artistic reflections I combine the ambivalent impressions of the film Performance, the artist movement “Sensation”
perceived from Germany and the media, sensational images of the present of the war as a “painterly performance”.
In this context, a new pictorial invention is generated in a painterly-abstract crossover out of historical and contemporary
sensational stereotypes.

Perfromance 01 | Acrylic on polyester, ca 70x60x30 cm, 28x25x13 inch15 x 12, 2023

Ausstellungsansicht, Cambridge Art Works, Mai 2023

Ausstellungsansicht, Cambridge Art Works, Mai 2023

Ausstellungsansicht, Cambridge Art Works, Mai 2023

Ausstellungsansicht, Cambridge Art Works, Mai 2023

Ausstellungsansicht, Cambridge Art Works, Mai 2023

Encounter with Idit Elia Nathan (Jerusalem)

Ausstellungsansicht, Cambridge Art Works, Mai 2023

Encounter with Idit Elia Nathan (Jerusalem)

Ausstellungsansicht, Cambridge Art Works, Mai 2023

Intention vs Convention
Comsats Art Gallery (CAG), Islamabad, July 2023

Ehibitionview, Comsats Art Gallery (CAG) in Islamabad, 2023

Ehibitionview, Comsats Art Gallery (CAG) in Islamabad, 2023

Intention, Acrylic on Polyester, 200 x 200 cm, 2022

Mother-I-Doll, Comsats Art Gallery (CAG) in Islamabad, 2023

Mother-I-Doll, Comsats Art Gallery (CAG) in Islamabad, 2023

Encounter, Comsats Art Gallery (CAG) in Islamabad, 2023

Ehibitionview, Comsats Art Gallery (CAG) in Islamabad, 2023

Ehibitionview, Comsats Art Gallery (CAG) in Islamabad, 2023

In Her* Words
In the Context of Shefararsparade 2.0 | August 2023

In Her* Words, Schwimmperfromance, August 2023

In Her* Words, IMAGINE THE CITY, August 2023

In Her* Words, Coffeplaza, Über-Verwerfung, August 2023

In Her* Words, Coffeplaza, Über-Verwerfung, August 2023

In Her* Words, Coffeplaza, Über-Verwerfung, August 2023

In Her* Words, Coffeplaza, Über-Verwerfung, August 2023

Soft Logical

Soft-Logical, September 2023

Soft-Logical, September 2023

Soft-Logical, September 2023

Biography
Dagmar studied Painting at Academy of Fine Art in Hamburg and graduated with Prof. Sigmar
Polke. She also completed a Master of Education in Art and Philosophy. She has been teachingart and philosophy at schools and universities since 2010. She currently teaches students atCollege Sutherland in Hamburg.
Since 2016 she is curating in MOM artspace as an artist-curator.
Dagmar lives as a freelance artist in Hamburg. Her painting thrives on a high degree of emotional expressiveness. The paint is applied to the film in quick swings, where it clumps together.
Although the painting always focuses on a pictorial center, which mostly consists of one ormore bodies, the compositions demonstrate openness towards the edges of the picture. Openness, transparency, glaze, heaviness, opaqueness or corporeality are some of the opposites
inherent in the image, which in Dagmar Rauwald’s painting are set against each other with tension.
Since the self-evidence of a hybrid everyday life in the early 2000s, the artist has opened her
discourse on transparent foils, which are sometimes staggered, sometimes used individually.
Whereas in the beginning up to three transparencies were placed one after the other to makeseveral moments tangible, her art now transports the present moment more and more clearly.
The use of individual transparencies comes into focus in order to make contact with the outside
world like a slide. The pictorial theme reflects abstractly and withdrawnly the here and now, influenced by the masses of media in the form of press images and political context that confront
us daily.
As a conceptual painter, she explores the spaces between painterly empathy and analyticalstructures in the context of changing codes, not least because of this she opens up the medium
for current social-political issues. Her focus is on the examination of the history of women andfemale artists.

She has received national and international awards and has participated in numerous solo
and group exhibitions including: 2023 ‘Performance’ | Cambridge art space, 2022 ‘Enclosures’| New York,
2020 ‘Dear All’, Kunstverein Harburger Bahnhof; 2019 ‘Measuring Beauty | WabiSabi meets
West’, C.A.P. Conference of Art Projects, Kobe, Japan; 2018 ‘Ongoingness’, Hamburg Museum for Arts and Crafts, Hamburg; 2017 ‘Donation Act’, Mom art space, Hamburg; ‘Impermanent Codes’, Kunsthaus Hamburg; 2012 ‘Models of a Better World’, Galerie von Loeper, Hamburg; 2005 ‘L’Ambivalence du Blanc’, Uhde Gallery, Toulouse.
In 2023 she was awarded funding from Project Funding “Art Connetcts” for the project ‘HybridWar’ and from the Hamburg Department of Culture with the project „Shefarersparde“ for theElbkulturfond.
In 2019, she received a grant from the Kobe Bunkna Shien Foundation as part of an artist
residency in Japan. Here she realised the exhibition “Measuring Beauty”.
In 2014 she was invited by Sichuan Art University to realise an intercultural project with artists
from Germany and China.
In 2013, she initiated the project series “Social Bookmarking”. In the intercultural projects, sheworks in cooperation with artists on the history of urban spaces and artistic interventions tomake social, political and historical conditions visible.

CVGRANTS / PRIZES / ART FUNDING
2023				2022		
2021		
2020		
2019 				2018 		2017 		2016 				2014 		2013 		20122010 		2004 		
2001
2000
1995

Elbkulturfond Projektförderung
Project Funding “Art Connetcts” : Hybrid War
Stipendium Neustart Kultur, Kunstfond, Bonn
Zukunft Stipendium, Hamburgische Kulturstiftung, BBK und BKM
Project Funding: Socialising Double
Kultur kennt keinen Shutdown, Project-Funding, Hamburg
Artist-in-Residence, C.A.P. Conference of Art Projects, Kobe, JapanGrant, Kobe Bunkna Shien Foundation, Japan
Sponsorship Cultural Offices Hamburg: Social Bookmarking Qingdao
Artist-in-Residence, Grenswerk, Eindhoven, Holland
Artist-in-Residence, C.A.P. Conference of Art Projects, Kobe, Japan
Sponsorship Cultural Offices, Social Bookmarkng Hamburg
Artist-in-Residence, Chengdu, China
Sponsorship Cultural Offices Hamburg, Interchange and Commentary
Sponsorship Cultural Offices, Velada Santa Lucia, Maracaibo, Venezuela
Artist-in-Residence, Tel Aviv, Israel
Sponsorship Cultural Offices Hamburg
Artist-in-Residence,, Izlake, Slovenien
Artist-in-Residence, Fulda (Kleinsassen)
Kunstpreis zur Großen Kunstausstellung NRW, Düsseldorf

Nominated for a.o. Stipendium (Grant) Casa Baldi, Goetheinstitut (2019), Hamburg Stipendium(2018, 2017), Schmidt-Rottluff-Stipendium, Preis der Kunsthalle Lingen, Preis der Kunsthalle
Willhelmshaven und weitere
SOLO SHOWS (Selection)
2023				Performance, Artspace Cambridge, Cambridge
Other Expectations, COMSATS Art Gallery, Islamabad, Pakistan

2022		
2020		
20192018 		2015 		
2014
2012
2008
2007
2006
2005
2001
1996
1994

In Her* Words, Parks, Hamburg
Dear All, Kunstverein Harburger Bahnhof
Measuring Beauty, C.A.P. Conference of Art Projects, Kobe, Japan
Ongoingness, Museum für Kunst und Gewerbe, Hamburg 		
Doing Earth, Künstlerhaus 2025, Hamburg
Freehanded, Kunstverein Lohne, Lohne
Models of a Better World, Galerie von Loeper, Hamburg
Art Karlsruhe, One Artist Show, Galerie von Loeper, Karlsuhe
Kunstverein Siegen, Siegen
Weiße Bilder, Galerie von Loeper, Hamburg
Ambivalence du Blanc, Galerie Uhde, Toulouse, France
Galerie Eikelmann, Düsseldorf
Kulturspeicher Oldenburg, Oldenburg
Galerie von Loeper, Hamburg

GROUP SHOWS (Selection)
2023		
2022		
2021		
2020		
2019 		2018 		2017 						2016 		2015 		20142012

Sense of War, Frappant, Hamburg
Enclosures, Woman Artwork, New York, USA
La Sueé, Galerie B2, Leipzig[404: NOT FOUND], PAL, Hamburg
If Not Now, Mom art space, Hamburg
WabiSabi meets West, Conference of Art Projects, with Verena Issel, Japan
Impernent Codes, Kunsthaus Hamburg, Hamburg
Ein Plädoyer fürs Sprechen, Ausstellung und Performance, Kampnagel, K2,Grenswerk, Künstlerhaus Eindhoven, Holland
Kunsthaus Hamburg, Hamburg
Ausstellung und Performance, GAP, Brechtfestival, Augsburg
Künstlerhaus Speckstraße, Hamburg
Museum Jurmala, Riga, Lettland
Sichuan Art Museum, Chengdu, China
Velada Santa Lucia, Maracaibo, Venezuela

2010 		Galerie Obrist, Essen
2009 		Künstlerhaus Speckstraße, Hamburg
2008 		Art Cologne, Galerie von Loeper, Köln
2006		
Ausstellung und Performance, Ruhrtriennale Essen
2001 		Forum, Art Fair, Kopenhagen
1996 		Goetheinstitut und Galerie L’Ariete, Bologna
1995 		Kampnagelfabrik, K3, Hamburg
1994 		Art Frankfurt, Galerie von Loeper, Frankfurt
WORKS IN COLLECTIONS (Selection)
Sammlung Galerie von Loeper, Hamburg
Kunstverein Siegen, SiegenCollection Uhde, Toulouse, France
Sammlung Galerie Eikelmann, Düsseldorf
Collection CA, Canadian Academy, Kobe, Japan
Collection Sichuan Art Museum, Chengdu, China
Weitere Privatsammlungen im In- und Ausland
EDUCATION
1988-94 Studieum Freie Kunst HfBK Hamburg (Academy of Fine Arts Hamburg) Diplom
PAINTING / DRAWING Teachers: Bernd Koberling, Sigmar Polke
Universität Hamburg (University of Hamburg) MA Philosophy (Master)
THEORY Teacher: Prof. Dr. Birgit Recki, Prof. Dr. Hanne Loreck
PUBLICATIONS / CATALOGS (Selection)2020 C.A.P. Conference of Art and Art Projects, Kobe, Japan
GLOCALISM: JOURNAL OF CULTURE, POLITICS AND INNOVATION:

The art of Memory, 2018
Unfreeze, Dokumnentarfilm über das Projekt Social Bookmarking, 2017
Cooperations, Projektarbeiten 2012–2016
Metamorphosen. Künstlerinnen in Hamburg mit Werken seit 1968, Meyer-Rogge 2011
No Fear from Rear, Bilder bis 2009
Weiße Bilder, Galerie von Loeper, 2004
Transformelle Malerei, Goetheinstitut Bologna, 2000
Malerei auf Transparentfolien, 2000
Ins Bild, Malerei, K3, Kampnagel, 1995
Der Kopf als Körper, Galerie von Loeper, 1994