A major contributor to this article appears to have a close connection with its subject.(October 2020) |
Bettina Pousttchi | |
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Born | 1971 Mainz, Germany |
Nationality | German |
Education | Kunstakademie Düsseldorf, Whitney Independent Study Program New York |
Known for | sculpture, photography, video and site-specific installation |
Notable work | Vertical Highways, World Time Clock |
Website | pousttchi |
Bettina Pousttchi (born 1971) is a German artist of German-Iranian descent. She currently lives in Berlin. She has worked in sculpture, photography, video and site-specific installation. [1] [2] [3]
Bettina Pousttchi studied at the Kunstakademie Düsseldorf under Rosemarie Trockel and Gerhard Merz (1995-1999). From 1999-2000, she participated in the Independent Studio Program of the Whitney Museum of American Art in New York. [2] [4] She had work in the Venice Biennale in 2003 and again in 2009. [2] In 2014, she received the Kunstpreis der Stadt Wolfsburg. [5] In 2016 she was a fellow at the Villa Aurora in Los Angeles. [6]
World Time Clock is the artist's most comprehensive photographic series to date, for which she has been travelling the different time zones of the world in several stages since 2008. In each of the places she photographed public clocks always at the same time, five minutes to two. Thus arose a work spanning the entire globe which examines the political and social organization of time and space. [7]
In 2016–2017 World Time Clock was shown at the Hirshhorn Museum and Sculpture Garden in a 360-degree presentation. [8] After its initial full circle presentation at the Hirshhorn Museum and Sculpture Garden in Washington DC the series was also presented in Berlin at the Berlinische Galerie, Museum of Modern Art Berlin in 2019/2020 [9] as well as the Aurora Museum in Shanghai in 2023. [10]
Since 2005 Pousttchi’s sculptural works often use street objects like street bollards, crowd barriers or bike racks as a starting point. [11] She transforms these everyday objects into new sculptural compositions of various colors and surfaces. Her most recent sculptures Vertical Highways are transformations of crash barriers. [12] The vertical alignment and modular use of a prefabricated element change the viewer’s spatial perception and give the work an architectural reference. [13] By applying techniques such as bending or pressing, and reconceiving their coloring, Pousttchi relieves these everyday objects of their regulatory function and detaches them from their context of meaning, turning them into signs of change, fluid structures and dissolving boundaries. The first presentation of this new body of work took place in Berlin at the Berlinische Galerie on the occasion of the artist´s survey exhibition In Recent Years in 2019/2020. [11]
Three of these sculptures were presented at the Tuileries Garden in Paris in October 2021, as part of the outdoor exhibition Hors les Murs in front of the Musée du Louvre. [14] Her largest sculpture of this series is 6 meter tall (20 feet) public sculpture that is located in front of the Berlin Central Station at Washingtonplatz, one of the most frequented places in Berlin, vis-a-vis the Reichstag. [15]
Since 2009, Bettina Pousttchi has been realizing photographic interventions on public buildings, which are related to the urban and historic context of each particular place. Her monumental photo installation Echo on Schlossplatz in Berlin covered the entire exterior façade of the Temporäre Kunsthalle for half a year and related to the urban history of Berlin. Extending nearly 2,000 square meters, the installation consisted of 970 different paper posters, and formed a continuous motif that recalled the Palast der Republik (Palace of the Republic), the building which had just been demolished on that very site. [16]
In 2014, the artist transformed the Nasher Sculpture Center Dallas into a Drive-Thru Museum, referencing the site's history and the architecture of the Renzo Piano building. [17] Her up to now largest photo installation to this point is The City (2014), which covered three sides of the Wolfsburg castle with a 2,150 square meter photographic print. The photomontage shows ten skyscrapers that have been the world's highest buildings, grouping them together into an imaginary single transnational skyline. [5]
On the occasion of her survey exhibition In Recent Years 2019-2020 at Berlinische Galerie, she transformed the entire glass facade of the museum with the photo installation Berlin Window. [18]
Konzerthaus Berlin commissioned the artist 2021 on the occasion of their bicentennial with the work, Amplifier transforming the historical building by Karl Friedrich Schinkel on Gendarmenmarkt. [19] For the Bundeskunsthalle Bonn the artist has realized in 2022/2023 the rooftop installation The Curve, a 37 meter long participatory sculpture that invited the viewer to use the object. [20]
Her works are held in various public collections, among them the Hirshhorn Museum and Sculpture Garden and the Phillips Collection in Washington, D.C., [21] [22] the Arts Club of Chicago, [23] the Nasher Sculpture Center in Dallas, Texas, [24] the Berlinische Galerie in Berlin, [25] the Albertina in Vienna, [26] the Von-der-Heydt Museum in Wuppertal, [26] the Kunsthalle Bielefeld, [27] as well as in the collection of the Federal Republic of Germany. [28]
The artist has been realizing artistic collaborations with Rosemarie Trockel and Daniel Buren, she has been part of a film by Lawrence Weiner and she was a member of the Brutally Early Club [29] founded by Hans Ulrich Obrist.
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