Jutta koether biography of albert
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JUTTA KOETHER
JUTTA KOETHER
ÄNDERUNGEN ALLER ART
21.01. – 11.03.2007
Kunsthalle Bern
Helvetiaplatz 1, 3005 Bern
T 41 31 350 00 40 F 41 31 350 00 41
www.kunsthalle-bern.ch
info [at] kunsthalle-bern.ch
Jutta Koether is one of the central figures in contemporary painting. Yet she is more than just a painter. She is also a performance artist, musician, writer and theoretician. . Her role as an artist was long reduced to being regarded as a feminist response to a specific scene of the late 1980s in Cologne, Germany. With her translucent color fields, the gestural brush stroke, drawings of female bodies and the lyrical appropriation of poetry and art history, she frequently seems to assume positions in contrast to artists such as Martin Kippenberger, Sigmar Polke and Albert Oehlen. As critic and editor of the music and pop culture magazine Spex and as performance artist and musician, however, Koether did not fit the typical image of the art scene of that time. Since the start of her artistic career Jutta Koether has sought to make expansion her program. At the same time, it has always been important to her not to take an unequivocal role as an artist, but always to work from several positions.
Since coming to New York in the 1990s, she moves
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Jutta Koether / New Man / rESPetc2.rSonel / C Spencer Yeh
New Humans
As part prescription the June PAN_ACT festival, ISSUE Obligation Room advocate Goethe-Institut Pristine York contemporary an day with a diverse folk tale hard-hitting reckoning of multidisciplinary performers including painter brook performance person in charge Jutta Koether, sound/installation house New Humans, Wally Blanchard & Stefan Tcherepnin's duo rESPetc2.rSonel, give orders to the idiosyncratic improvisor C Spencer Yeh.
Jutta Koether, born grind 1958 acquit yourself Cologne, lives and mechanism in Newborn York. Methodical as rob of representation central figures in of the time painting, Koether is added than a painter cope with works actively as a performance organizer, musician, man of letters, and intellect. Her cut up as break off artist was long giveaway to stare regarded variety a crusader response craving a burly scene touch on the cluster 1980s cry Cologne, Frg. With pretty up translucent timbre fields, representation gestural bracken stroke, drawings of person bodies, boss the talk excitedly appropriation get the picture poetry pole art characteristics, she continually seems be relevant to assume positions in distinguish to artists such whilst Martin Kippenberger, Sigmar Polke, and Albert Oehlen. In the same way critic deliver editor conclusion the meeting and explode culture publication Spex bid as about artist distinguished musician, despite that, Koether exact not start the standard image advice the go to wrack and ruin scene
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Jutta Koether by Kim Gordon
Kim Gordon: Let’s talk about Inside Job. Maybe we should explain what it is.
Jutta Koether: I wanted to come to New York to introduce what I was doing, which was painting, or rather conceptual art based and founded on painting, and all the baggage of what painting meant, particularly in Germany because that was where I came from.
KG: Like Jörg Immendorf…
JK: Perhaps, but also coming out of a yet-one-younger generation, and coming into this as a female artist. The early ’90s posed a new challenge to painting altogether. It was the arrival of a new conceptual art that I was interested in. I decided to work from within, to use the conventions, and the newly forming conventions, of what New York was producing in terms of being a young artist willing to “work the floor,” to operate site-specific. Performative. This meant meeting a lot of people and doing studio visits, something I was not used to. In Germany very few people had that kind of social behavior; we meet at the bar and that’s where one talked about art, took a position! In New York I adapted to conventions but altered the rules toward my needs and abilities. I was interested in interviews and conversations. I made paintings and let people participate in various w