Voré
Stückwerk Mensch

An artist paints the Kaddish

In roughly 330 self-portraits, Marion Anna Simon (b. 1972, Bitburg; lives and works in Cologne) dares to undertake an unusual transcription of Jewish prayer as a sign of mourning. On January 7, 2017, one day after the death of her mother, Marion Anna Simon began work on her painted Kaddish. What initially began as a very personal process of grieving quickly developed into an artistic concept: Roughly 330 painted and drawn self-portraits were created within eleven months—in daily notes, with acrylic and watercolor, pencil and ballpoint pen, oil crayon and pastel, on paper and canvas, wallpaper and cardboard, in lined exercise books and cheap notepads. Marion Anna Simon’s cycle explores her own face as a place of mourning and self-affirmation, documenting an artistic ritual beyond the Jewish prohibition of images and patriarchal attributions to sons in the tradition of the sanctification prayer for the memory of the dead.

Angelika J. Trojnarski (born 1979 in Mrągowo/Polen; lives and works in Düsseldorf) examines facets of nature through an ecological, scientific, poetic study of their phenomena. Through a process centered on painting, her art articulates allegorical relationships between some of the most significant contentions of our time: humans and nature, strength and fragility, crisis and hope. She expresses a desire to understand nature by reproducing its workings, pointing to its incredible might while underscoring its increasing fragility. Trojnarski overlays raw canvases with paper fragments, employing brushwork and collage to apply materials like graphite or soot, generating a source of energy and suspense through color and contrast. The monograph offers an overview of the last decade of Trojnarski’s work.

Angelika J. Trojnarski 2006–2013 studies at Kunstakademie Düsseldorf. 2006–2009 Painting with Jörg Immendorff, Markus Lüpertz and Herbert Brandl, from 2010 Free Art with Andreas Gursky.

The Artist’s First Publication in more than Thirty Years

For more than forty years Stephen Buckley (b. 1944, Leicester) has concerned himself with addressing the major themes of the twentieth century through a personal style oscillating between the matière of Kurt Schwitters, the dandyism of Francis Picabia and the intellectual rigour of Marcel Duchamp. He takes the two most basic components of a conventional painting (canvas and stretcher), and makes multi-dimensional constructions, joins groups of single canvases together in overlapping structures, makes shaped canvases, cuts a stretcher with a variegated edge, stitches and weaves together strips of canvas, patches pieces of canvas onto another support, and adds cardboard tubing, rope, found objects and cut out shapes. In the 1970’s and 1980’s, Buckley saw extended prominence in the art press, starting with the artist being described as “the Punk Rock of contemporary painting” and ending with him gaining the title of “the ubiquitous Stephen Buckley”. There is now a large portfolio of themes, references, motifs and symbols which are continually reworked and reinvented. Since then, he has made some of his most compelling paintings, lush pop canvases full of symbols and colour, a far cry from the pared-down, industrial feel of some of his early works.