Curator Melanie Ohnemus gives a lecture on the occasion of Kamilla Bischofs exhibition SCHÖN VERMÄHLT.
A painter, who is also a writer, finds things on the street. She has turned on the special look. She is without ideology, more [even] in the process of creation. In fantastic meta levels, which come dangerously close to the everyday experience, she narrates in a surreal manner about the harsh reality of existence. The topic of this lecture is, how all that can be reconstructed in the particular quality of the imagery, read in relation to her texts. Moreover, it will provide hints on how the artistic practice of Kamilla Bischof can be seen in relation to other works of female artists of our time.
Melanie Ohnemus (*1973 Freiburg im Breisgau, lives in Vienna) is a freelance curator, studied cultural studies at the University Hildesheim and was a curator at the Secession, Vienna and the Portikus, Frankfurt/Main. As an art critic, she works for the magazines May, Friece and Texte zur Kunst. Ohnemus is editor of numerous catalogues, among others: Julie Ault & Martin Beck: Installation, Verlag der Buchhandlung Walther König, Köln, 2006; gemeinsam mit Helmut Draxler: Shandyismus. Autorschaft als Genre, merz & solitude Verlag, Stuttgart, 2007; Haegue Yang. Siblings and Twins, Sternberg Press, 2010; Wade Guyton. Black Paintings, JRP|Ringier, Zürich, 2011. She curated solo-exhibitions, among others with Judith Hopf, David Lamelas, Julie Ault & Martin Beck, Haegue Yang, Wade Guyton, Nina Könnemann, Dan Graham, Rachel Harrison, Mathias Poledna, Lena Henke und Trisha Donnelly. Recent group exhibitions include in awe, Kunsthalle Exnergasse Wien; Kamilla Bischof, Hélène Fauquet, Till Megerle, Evelyn Plaschg, Galleria Acappella, Neapel; Mathis Altmann, Bonnie Camplin, Salvo, Amelie von Wulffen, Galerie Meyer Kainer, Wien and We need more than one term for these big things, Universitätsgalerie der Angewandten im Heiligenkreuzerhof, Wien. Melanie Ohnemus currently works on texts on the essence of exhibiting.