Amelie von wulffen biography
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“Ein Riss geht durch die Wand.” Texte zur Kunst, no. Besides addressing subjective feelings of alienation from “others,” the drawings render palpable the disconnect of sight, thought, and sensation. Tokyo: Goethe-Institute.
2005
Interview with Rita Kersting. Such a way of working may seem out of time, but not in an old-fashioned sense.
“An der krummen Pranke.” Der Tagesspiegel (Berlin), February 15.
von Goetz, Ulrike. Salon., Wentrup Gallery, Berlin
Mathis Altmann / Bonnie Camplin / Salvo / Lucie Stahl / Amelie von Wulffen
curated by_Melanie Ohnemus, Galerie Meyer Kainer, Vienna
2017
Subterranea, Florence Loewy, Paris
Llave Cadena (Transpositions), Alto Refugio, Buenos Aires
In guten und in schlechten Zeiten.
2006–2011 she taught representational painting at the Academy of Fine Arts in Vienna.
In her collages, drawings, photographic cross-fadings, paintings on canvas and comic strips, Amelie von Wulffen deals with biographical research and reconstruction. Accompanying the show, von Wulffen’s collected comics from 2011 to 2020 are published with Verlag der Buchhandlung Walther und Franz König.
Images: Amelie von Wulffen, Installation view of the exhibition Amelie von Wulffen
KW Institute for Contemporary Art, Berlin 2020
Photo: Frank Sperling
Amelie von Wulffen
Untitled, 1998
oil, photographs on paper
Amelie von Wulffen
Untitled, 1998-99
oil, photographs on paper
Amelie von Wulffen
Die Erbschaft, 2016
oil on wood
Amelie von Wulffen
Petting 1 + 2, 2017
Oil on wood
Amelie von Wulffen
Untitled, 2019
Oil and photos on canvas
Amelie von Wulffen
Untitled, 2019
Oil on canvas
Amelie von Wulffen
Untitled, 2011
watercolour on paper
Amelie von Wulffen
Untitled, 2018
oil on wood, fired clay
Dimensions variable for now
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Amelie von Wulffen
Schwestern im Schrank, 2019-2020
Oil on canvas
180 × 210 cm
70 3/4 × 82 2/3 in
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Amelie von Wulffen
Regensburg, 2018-20
Oil on canvas
60 × 50 cm
23.62 x 19.68 in
Amelie von Wulffen
Bayerische Kinder, 2020
Oil on canvas
Amelie von Wulffen
Das Tinchen, 2020
Oil on canvas
Amelie von Wulffen
Huftier, 2019
Oil on canvas
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Amelie von Wulffen
Untitled, 2020
Oil on canvas
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Amelie von Wulffen
Musische Mutter, 2019
Oil on canvas
140 × 180 cm
55 x 70.9 in
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Amelie von Wulffen
Wer hätte das gedacht?, 2020
Oil on canvas
80 x 80 cm
31 1/2 x 31 1/2 in
Munich: Permanent Press Verlag.
1994
Texts, “Die Psychologie des Orgasmus” and “Die Metastadt.” In Die Utopie des Designs, Munich: Kunstverein München
Amelie von Wulffen
KW Institute for Contemporary Art
Berlin
Amelie von Wulffen
Mar 17, 2021
May 02, 2021
Visit Amelie von Wulffen page
Berlin painter Amelie von Wulffen (1966, DE) has forged an intricate, self-reflective body of work since the 1990s in which she is foregrounding the relationship of inner and outer world as the frontline of a struggle between fears, guilt, and traumata on the one hand, and longings and repressed fantasies on the other, frequently set against the backdrop of her own family chronicle and German history.
Von Wulffen covers the wooden surfaces with sequences of Netflix stills, thereby waging a painterly assault on a symbolically charged heirloom piece which once served as dowry for daughters moving out of the house.
Through painting, von Wulffen looks for vanishing lines and escapes out of the state of confinement in the past, one’s own biography and, indeed, the art world.
Der geöffnete Raum: Zur Politik der ästhetischen Form. Her works explore the potential of painting as a technique and art form, including in its variants considered inferior. Frequently furnishings serve as painting surfaces such as school chairs, a rustic cupboard, and handmade furniture. Frankfurter Presse, December 5.
Michael Hierholzer.
Yet, despite their gloomy undertone they appear attentive to their viewers. Keilrahmen, KW Institute for Contemporary Art, Berlin. “Hoffnungslos romantisch.” Die Welt, August 23.
Hess, Barbara. “Scharfblick, rasch, streifend.” Basler Zeitung, August 20.
Müller, Vanessa Joan.
Texts by Heidi Zuckerman Jacobson and Cay Sophie Rabinowitz.
November. New York: Greene Naftali Gallery, 2011.
This Is How It Happened. New York and Berlin: Alex Zachary and Distanz Verlag, 2011.
Bitte keine heiße Asche einfüllen. Cologne: Walther König, 2009.
Amelie von Wulffen. Paris: Centre Pompidou, 2005.
“Blick zurück in Zornesfarben.” Der Spiegel, February 5.
Mack, Gerhard. The artist often makes reference to images, subjects and painting styles that are part of the canon.
Von Wulffen seems to not only be fascinated with historical artists like Caillebotte, Goya, Cézanne and Dürer but also self-confidently delight in placing herself beside those painting men and adopt their painting styles in order to develop her own visual practice from them.
Her works are anything but painted rapidly, even if they sometimes pretend to be.
She studied at the Munich Academy of Art (1987–94), and has lived since 1994 in Berlin. In Bergauf beschleunigen, Gespräche über Gelingen und Erfolg.