We warmly invite you to a conversation between Raphaela Vogel and Elizaveta Ostapenko framed by the question: should painting be based on traditions? Beginning with this question, notions of the traditional academic model and how it can help or interfere with an artist’s practice will be discussed. This conversation is a part of the exhibition CARNIVALESCA - What painting might be.
The event will be held in German and takes place via Zoom. Please register at email@example.com
“From the Sixteenth century onwards, the Western academic model of art education was dominant across Europe and many Eastern countries. Until today, life drawing, anatomy and composition classes still exist as a mandatory part of art education in many art academies and universities. However, is the skill-based tradition of the academic model still relevant for contemporary artists and how does it influence their work? Can a post-conceptual approach to art production be successfully combined with traditional Western art education?”—Elizaveta Ostapenko
Raphaela Vogel’s (*1988 Nürnberg, lives and works in Berlin) artistic practice combines different, and often contradictory media and genres in a virtuosic manner. In her work the mediums of sculpture, painting, video and installation are conflated and subsumed into theatrical and often immersive installations. These draw from a range of materials—inclu- ding ready-made objects, theatre props, ani- mal skins, and technical apparatuses—in order to produce imaginative scenes that underscore the hybridity of both Vogel’s practice, contemporary notions of the self, animal, and machine. Often centering on Vogel herself as a subject, these works can be read as reflecting upon the site of subjectivity, the ego, and position of a Woman artist.
Elizaveta Ostapenko (*1999 Moscow, lives and works in Hamburg) studied Fine Art at the British Higher School of Art & Design in Moscow and Berlin Art Institute. Currently, she is a student at the University of Fine Arts Hamburg (HfbK) in the class of Pia Stadtbäumer.
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