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Atelieraufnahmen und kurfürstliches Gärtnerhaus in Bonn, 2019


"Rheinschätze" : Filmprojekt mit der Uni Koblenz zum Hochwasser am Rhein



FEASTS ON PAPER” 2019 Shanghai International Paper Art Biennale

The exhibition is opened from September 10, 2019 until November 10, 2019.

Fengxian Museum Shanghai, No. 333 Hupan Road, Fengxian District, Shanghai

Website of Fengxian




Good news! My sculpture will be exhibited from

11th of May to 24th of November 2019 in Palazzo Mora in Venice.

Vernissage: 9th of May 2019 - 18:00 - 22:00h, Palazzo Mora

Happy to see you there.



INSTITUTION    European Cultural Centre - Italy
 LOCATION        Palazzo Bembo, Palazzo Mora and Giardini Marinaressa, Venice
 PROMOTER     European Cultural Centre 
 OPENING/PERIOD     11 May - 24 November, 2019  (preview: party 9 + 10 May )


The fifth edition of the biennial art exhibition “PERSONAL STRUCTURES - Identities” (11 may - 24 November), organized and supported by the European Cultural Centre Italy, will soon open to the public. The show will be inaugurated on May the 9th and 10th from 6:00 pm to 10:00 pm in Palazzo Mora and Palazzo Bembo and from 5:00 pm to 8:00 pm in Giardini Marinaressa.

Alongside the openings a series of performances and talks organized by the artists will take place in our venues.

The exhibition will present a wide selection of works from emerging and internationally-renowned artists, photographers, sculptors and projects of academic institutions from all over the world, illustrating the different subjective reflections on the topics of “Time, Space and Existence” and on the concept of Identity. The result is a heterogeneous and stimulating group show which aims to raise thoughts and reflections upon our lives.

We are pleased to reveal the final selection of the participating artists in “PERSONAL STRUCTURES - Identities”.


Ute Krautkremer – Rise and Fall Imitating nature through reproduction and doubly deceiving the eye?

It’s possible, if the outside becomes the inside. A wedge of bark can look like paper, especially if it’s very thin. Nature is continuously renewing itself. To grow, blossom and decay is the inherent cycle of all things that live and eventually die. Trees drop their leaves in the autumn and lose branches during a heavy storm. The bark, just like human skin which protects the whole entity, can flake. Ute Krautkremer (1958, Koblenz/Ehrenbreitstein, Germany) is fascinated by what the forest bestows. She makes paper impressions of trunks and branches. Trophies The impressions develop lives of their own. If you were to make a copy of something like a branch, then you’d first make a mould. Pour in the desired material, let it set, remove the mould and there you’ll have a clone, made of bronze for example. But for Krautkremer, the inversion of the exterior, including all its dips and rises, is the thing. By using papers as a kind of mask, the copy retains almost the full volume of the original. And then confusion takes hold of the viewer. You see natural shapes like sections of tree, but there’s something peculiar… The Baumtrophäen (2015) look like those pieces of bark and branches that are strewn all over the forest – every forest nowadays, since natural forestry is increasing and fallen trees and such are being left on the forest floor. The idea that it’s about trophies is not so far off: every child has taken something home from a walk in the woods (whether dragged there by parents or not). In Krautkremer’s work it is the impressions-made-tangible that live on, rather than the objects themselves. Mamas Nussbaum (2015) also fits in this category, a graceful hanging mobile of imprints/amputations of parts that once made up a walnut tree. The trunk floats on its side – again a reality that is askew, though a felled tree does sometimes still sprout again, reaching vertically towards the sky. Of a slightly different nature are the works from the series Spurensicherung, such as Baum 1-3 (2013). Here there’s a contrast between the imprint of part of a tree and the hard, geometric and bright white industrial form. It’s like a fossil under conservation – organisms themselves can petrify, but so can their counter-shapes, where the organism itself disappears. Preserving life without saving the original. This is, in essence, what Ute Krautremer is showing us. Her eye for nature makes a lasting impression.

Text, written about her work for the Rijswijk Paper Biennial in 2018 by Frank van der Ploeg