Mareike Lee
http://www.mareikelee.com/
MAREIKE LEE (*1979 Toronto, Canada) is a visual artist based in Berlin. She received her BFA (Honours) from the Nova Scotia College of Art and Design and studied at the Universität der Künste Berlin. In her work, which involves flexible large-scale, site-specific installations comprised of drawings, objects, photos, video and sound, she is especially concerned with questions of filters, multiple perspectives, edges, borders. She makes visual her understanding of social nuances, gestures, and mental processes in a distilled and abstract manner. Artist books and intaglio printmaking are also a key part of her practice. She has participated in exhibitions in Germany, the Netherlands, Poland, Sweden and Canada. In 2008-2010 she was curator of "Zwielicht", a monthly concert series of experimental new music, together with composer Marc Sabat.
Currently (2011) she is the exhibitions curator of Parkhaus Projects (Berlin). http://www.parkhausprojects.tk
image: "Free Fall", chalk drawing on wall, Parkhaus Projects, Berlin 2011
http://www.mareikelee.com/
MAREIKE LEE (*1979 Toronto, Canada) is a visual artist based in Berlin. She received her BFA (Honours) from the Nova Scotia College of Art and Design and studied at the Universität der Künste Berlin. In her work, which involves flexible large-scale, site-specific installations comprised of drawings, objects, photos, video and sound, she is especially concerned with questions of filters, multiple perspectives, edges, borders. She makes visual her understanding of social nuances, gestures, and mental processes in a distilled and abstract manner. Artist books and intaglio printmaking are also a key part of her practice. She has participated in exhibitions in Germany, the Netherlands, Poland, Sweden and Canada. In 2008-2010 she was curator of "Zwielicht", a monthly concert series of experimental new music, together with composer Marc Sabat.
Currently (2011) she is the exhibitions curator of Parkhaus Projects (Berlin). http://www.parkhausprojects.tk
image: "Free Fall", chalk drawing on wall, Parkhaus Projects, Berlin 2011
Studio address
If you would like to have this information, please send an e-mail to contact@berlinerpool.de with subject: studio address, name and surname of the artist
If you would like to have this information, please send an e-mail to contact@berlinerpool.de with subject: studio address, name and surname of the artist
"Crossroads and Measuring Sticks"
Chalk drawing on found wood, chalkboard paint.
Installation view of the exhibition ABSORB, TAC (Temporary Arts Centre), Eindhoven, NL, 2010
Chalk drawing on found wood, chalkboard paint.
Installation view of the exhibition ABSORB, TAC (Temporary Arts Centre), Eindhoven, NL, 2010
"Slapback"
See-saw (wood, paint), posters of water-waves.
Installation view, A trans Pavilion, Berlin, 2009
See-saw (wood, paint), posters of water-waves.
Installation view, A trans Pavilion, Berlin, 2009
"Chain-link…Things we do to be free"
Ink drawings on paper, string, tape, wire.
Installaton view at KISS, Kunst im Schloss Untergröningen, DE 2008
Mareike Lee — Die Zeichnungen "Chain-Link…things we do to be free"
'Kettenglied, Masche'…die Künstlerin spielt assoziativ mit diesem Begriff. Ihr Interesse gilt den vielfältigen Bedeutungen des Wortes. Gleichformigkeit, Regelmäßigkeit, Konformität, Vollkommenheit durch Systematik, Endlosigkeit, innen – außen und die Zone das Dazwischen, die Einschrankung, die Verkettung, die Vernetzung unzähliger Elemente, die ein Ganzes bilden. Ein Maschennetz und das sprichwörtliche 'durch die Maschen Gehen' ist ein Trick, eine Lösung und Ausweg…. Zur visualisierung ihres Assoziationsfelds arbeitet die Künstlerin mit dem Maschendraht, der industriell hergestellt wurde und wahrscheinlich einem universalen Standard entspricht, und eignet ihn sich an, d.h. sie macht ihn weicher und leichter. Grundsätzlich macht sie schwere Dinge leichter. Der dreidimensionale Aspekt, im Gegensatz zu den tatsächlich zweidimensionalen Zeichnungen, wird zur mentalen Landschaft. Das Ziehen der Linien, die organischer werden, als Gegenbewegung und Befreiung des Objekts, wird zur Meditation in Kontinuität und zu 'flow.
—Dr.Otto Rothfuss und Margarete Rebmann (Kuratoren)
Aus der Katalog zur Austellung "aus gezeichnet_im Kraftfeld der Linie"
1.Juni – 28.September 2008
KISS Kunst im Schloss Untergröningen e.V. Temporäres Museum
Ink drawings on paper, string, tape, wire.
Installaton view at KISS, Kunst im Schloss Untergröningen, DE 2008
Mareike Lee — Die Zeichnungen "Chain-Link…things we do to be free"
'Kettenglied, Masche'…die Künstlerin spielt assoziativ mit diesem Begriff. Ihr Interesse gilt den vielfältigen Bedeutungen des Wortes. Gleichformigkeit, Regelmäßigkeit, Konformität, Vollkommenheit durch Systematik, Endlosigkeit, innen – außen und die Zone das Dazwischen, die Einschrankung, die Verkettung, die Vernetzung unzähliger Elemente, die ein Ganzes bilden. Ein Maschennetz und das sprichwörtliche 'durch die Maschen Gehen' ist ein Trick, eine Lösung und Ausweg…. Zur visualisierung ihres Assoziationsfelds arbeitet die Künstlerin mit dem Maschendraht, der industriell hergestellt wurde und wahrscheinlich einem universalen Standard entspricht, und eignet ihn sich an, d.h. sie macht ihn weicher und leichter. Grundsätzlich macht sie schwere Dinge leichter. Der dreidimensionale Aspekt, im Gegensatz zu den tatsächlich zweidimensionalen Zeichnungen, wird zur mentalen Landschaft. Das Ziehen der Linien, die organischer werden, als Gegenbewegung und Befreiung des Objekts, wird zur Meditation in Kontinuität und zu 'flow.
—Dr.Otto Rothfuss und Margarete Rebmann (Kuratoren)
Aus der Katalog zur Austellung "aus gezeichnet_im Kraftfeld der Linie"
1.Juni – 28.September 2008
KISS Kunst im Schloss Untergröningen e.V. Temporäres Museum
"Do you wonder?"
Ink drawing on paper (detail)
Mareike Lee‘s Lines–A Semiotics Comment
Mareike Lee‘s visual art is musical.
Some images escape the notation of representing edges with lines, and interpreting lines as edges. We can make volumes that don‘t depend on lines – shapes that don‘t have clear edges – clouds, waves. We make lines that are not edges–lines for motion or to highlight brightness. These lines that are free from bounding objects display their own wonderful energetic properties. For geometry, the most radical deployment of lines is to fill rather than to bound space. In mathematical analysis, filling space with lines turns out to imply fractional dimensions. Perhaps more than two dimensions when Mareike Lee draws her chain−links, but slightly less than three when she hangs them across the rooms of her installations.
Lines that are not edges let go of the Gestalt grouping that ties vision to language. Instead, they become inflections articulating perceptual continuities. Inflections are not thing−y; they link to feelings. Music is, in its most typical structures, a continuity articulated by inflections: It is possible, therefore, to say that this visual art which also takes this path is musical.
Mareike‘s lines, not confined to a role−play of edges, are not confined to paper, either. They colonize architectural spaces, rewrite her books, command the viewfinder of her camera and re−imagine landscapes. We noted, to be sure, the free, continuous, inflected shapes in the backgrounds of our shared seen world — waves, clouds, fields billowing in wind, also making forms independent of the dominion of words. But now, in this work, the shaping is not the wind‘s but, as in music, the heart‘s – contours of love, loneliness, compassion … Watch the work slowly and quietly; you may hear it singing.
—David Lidov 2009
David Lidov (York University, Toronto) is a composer of music and the author of "Elements of Semiotics" and "Is Language a Music?" (Indiana University Press, 2004.)
Ink drawing on paper (detail)
Mareike Lee‘s Lines–A Semiotics Comment
Mareike Lee‘s visual art is musical.
Some images escape the notation of representing edges with lines, and interpreting lines as edges. We can make volumes that don‘t depend on lines – shapes that don‘t have clear edges – clouds, waves. We make lines that are not edges–lines for motion or to highlight brightness. These lines that are free from bounding objects display their own wonderful energetic properties. For geometry, the most radical deployment of lines is to fill rather than to bound space. In mathematical analysis, filling space with lines turns out to imply fractional dimensions. Perhaps more than two dimensions when Mareike Lee draws her chain−links, but slightly less than three when she hangs them across the rooms of her installations.
Lines that are not edges let go of the Gestalt grouping that ties vision to language. Instead, they become inflections articulating perceptual continuities. Inflections are not thing−y; they link to feelings. Music is, in its most typical structures, a continuity articulated by inflections: It is possible, therefore, to say that this visual art which also takes this path is musical.
Mareike‘s lines, not confined to a role−play of edges, are not confined to paper, either. They colonize architectural spaces, rewrite her books, command the viewfinder of her camera and re−imagine landscapes. We noted, to be sure, the free, continuous, inflected shapes in the backgrounds of our shared seen world — waves, clouds, fields billowing in wind, also making forms independent of the dominion of words. But now, in this work, the shaping is not the wind‘s but, as in music, the heart‘s – contours of love, loneliness, compassion … Watch the work slowly and quietly; you may hear it singing.
—David Lidov 2009
David Lidov (York University, Toronto) is a composer of music and the author of "Elements of Semiotics" and "Is Language a Music?" (Indiana University Press, 2004.)
EDUCATION
2003 BFA Nova Scotia College of Art and Design, Halifax, CA
2002 University of Toronto, Arts and Science
2001 Universität der Künste, Berlin DE
1998 Nova Scotia College of Art and Design, Halifax, CA
Image: "Luggage", Inkjet print, 120x80cm, 2008
2003 BFA Nova Scotia College of Art and Design, Halifax, CA
2002 University of Toronto, Arts and Science
2001 Universität der Künste, Berlin DE
1998 Nova Scotia College of Art and Design, Halifax, CA
Image: "Luggage", Inkjet print, 120x80cm, 2008
EXHIBITIONS
SOLO EXHIBITIONS:
2009 "SLAPBACK". A trans Pavilion, Berlin, Germany
2006 "YOU CAN HAVE IT ALL". Stichting Duende, Rotterdam, Netherlands
2005 "W TYM MIESCIE *wie tym momencie* IN THIS CITY *at this instant* But really it could just be called Longing". Galerie Naprzewic, Poznan, Poland
2003 "Pink Arm Lived and then Died". Anna Leonowens Gallery, Halifax, Canada
2001 "makeshift" Khyber Closet Gallery, Halifax, Canada
"Always wanted(sidelong)(otherthings, othertimes)or place for a wallflower". Eyelevel Gallery Windows, Halifax, Canada
SELECTED GROUP EXHIBITIONS:
2010 "ABSORB: Crossroads and Measuring Sticks)". TAC Temporary Arts Centre, Eindhoven, Netherlands
2010 "pigment". Ehemalige Markthalle des Zentralviehhofs, Berlin, Germany
2010 "from the nipple to the bottle never satisfied". Nadania Idriss Contemporary, Berlin, Germany
2010 "ABSORB". Extrapool, Nijmegen, Netherlands
2009 "Big Bang Beautiful". Parkhaus, Berlin, Germany
2009 "Gründonnerstag". K-Salon, Berlin, Germany
2008 "Von Jetzt bis Dann".Kunstraum Kreuzberg Bethanien, Berlin, Germany
2008 "ARTFORUM". mit Goldrausch Art IT. Berlin, Germany
2008 "aus gezeichnet_das Kraftfield der Linie//drawing all over_the power of line".
Curated by Dr. Otto Rothfuss and Margarete Rebmann. KISS (Kunst im Schloss Untergröningen), Germany
2008 "Show Me the Way" La Condition Japonaise, Berlin, Germany
2007 "Labyrinths". Botkyrka Konsthall, Sweden
2006 "HUT: Red Threads and Welcome and Heart". Galerie MAI (Montreal Arts Interculturels), Montreal, Canada
2006 "Rotterdam [inter]nationaal". KunstAmbassade, Rotterdam, Netherlands
2006 "Exota". Kunsthal, Rotterdam, Netherlands
2006 "L’affaire est dans le sac!/It’s in the Bag!" Galerie Diagonale, Montreal, Canada
2006 "Small Pieces". Galerie von Döring, Schwäbisch Hall, Germany
2005 "The Landscape is Beautiful". Stichting Atelierbeheer Slak, Arnhem, Netherlands
SOLO EXHIBITIONS:
2009 "SLAPBACK". A trans Pavilion, Berlin, Germany
2006 "YOU CAN HAVE IT ALL". Stichting Duende, Rotterdam, Netherlands
2005 "W TYM MIESCIE *wie tym momencie* IN THIS CITY *at this instant* But really it could just be called Longing". Galerie Naprzewic, Poznan, Poland
2003 "Pink Arm Lived and then Died". Anna Leonowens Gallery, Halifax, Canada
2001 "makeshift" Khyber Closet Gallery, Halifax, Canada
"Always wanted(sidelong)(otherthings, othertimes)or place for a wallflower". Eyelevel Gallery Windows, Halifax, Canada
SELECTED GROUP EXHIBITIONS:
2010 "ABSORB: Crossroads and Measuring Sticks)". TAC Temporary Arts Centre, Eindhoven, Netherlands
2010 "pigment". Ehemalige Markthalle des Zentralviehhofs, Berlin, Germany
2010 "from the nipple to the bottle never satisfied". Nadania Idriss Contemporary, Berlin, Germany
2010 "ABSORB". Extrapool, Nijmegen, Netherlands
2009 "Big Bang Beautiful". Parkhaus, Berlin, Germany
2009 "Gründonnerstag". K-Salon, Berlin, Germany
2008 "Von Jetzt bis Dann".Kunstraum Kreuzberg Bethanien, Berlin, Germany
2008 "ARTFORUM". mit Goldrausch Art IT. Berlin, Germany
2008 "aus gezeichnet_das Kraftfield der Linie//drawing all over_the power of line".
Curated by Dr. Otto Rothfuss and Margarete Rebmann. KISS (Kunst im Schloss Untergröningen), Germany
2008 "Show Me the Way" La Condition Japonaise, Berlin, Germany
2007 "Labyrinths". Botkyrka Konsthall, Sweden
2006 "HUT: Red Threads and Welcome and Heart". Galerie MAI (Montreal Arts Interculturels), Montreal, Canada
2006 "Rotterdam [inter]nationaal". KunstAmbassade, Rotterdam, Netherlands
2006 "Exota". Kunsthal, Rotterdam, Netherlands
2006 "L’affaire est dans le sac!/It’s in the Bag!" Galerie Diagonale, Montreal, Canada
2006 "Small Pieces". Galerie von Döring, Schwäbisch Hall, Germany
2005 "The Landscape is Beautiful". Stichting Atelierbeheer Slak, Arnhem, Netherlands
SCHOLARSHIPS, AWARDS
SCHOLARSHIPS, AWARDS
2010 INM curatorial grant for ZWIELICHT, with composer Marc Sabat
2009 INM curatorial grant for ZWIELICHT, with composer Marc Sabat
2008 goldrausch künstlerinnenprojekt art IT
2005 Commission by SLAK Foundation for edition of etchings
2001 Joseph Beuys Scholarship, Nova Scotia College of Art and Design
2001 Canada Millenium Award of Excellence
Image:
"Couldn’t Somebody please tell me which mountain is it I’m supposed to climb?"
54,5 x 55 cm, copper print, varied edition von 5, 2007
SCHOLARSHIPS, AWARDS
2010 INM curatorial grant for ZWIELICHT, with composer Marc Sabat
2009 INM curatorial grant for ZWIELICHT, with composer Marc Sabat
2008 goldrausch künstlerinnenprojekt art IT
2005 Commission by SLAK Foundation for edition of etchings
2001 Joseph Beuys Scholarship, Nova Scotia College of Art and Design
2001 Canada Millenium Award of Excellence
Image:
"Couldn’t Somebody please tell me which mountain is it I’m supposed to climb?"
54,5 x 55 cm, copper print, varied edition von 5, 2007
PUBLICATIONS
"The Very Last Drop", artist book, 2010
"Eye Pulse Tone", artist book, 2009
"Looking Forwards, Backwards", artist book, ISBN 978-3-937476-91-9, 2008
"Aus gezeichnet: im Kraftfeld der Linie," Exhibition Catalogue, KISS, 2008
"Subject: Yellows", artist pages, Tidskriften OEI, issue #31-32, 2007
"Arts Atlantic", artist’ pages, "Pink Arm lived and then Died", Winter issue 2004
"In this city," artist book, 2004
"Homesick tic(k)," artist book, 2003/2006
"Isolating Red," artist book, 2001
Image: "Isolating Red", artist book, 15x15cm, varied edition of 10, 2001
"The Very Last Drop", artist book, 2010
"Eye Pulse Tone", artist book, 2009
"Looking Forwards, Backwards", artist book, ISBN 978-3-937476-91-9, 2008
"Aus gezeichnet: im Kraftfeld der Linie," Exhibition Catalogue, KISS, 2008
"Subject: Yellows", artist pages, Tidskriften OEI, issue #31-32, 2007
"Arts Atlantic", artist’ pages, "Pink Arm lived and then Died", Winter issue 2004
"In this city," artist book, 2004
"Homesick tic(k)," artist book, 2003/2006
"Isolating Red," artist book, 2001
Image: "Isolating Red", artist book, 15x15cm, varied edition of 10, 2001
"The Perfect Blue"
Installation view at Duende Studios, Rotterdam, NL, 2006.
The lower half of each window was painted with a thin, translucent layer of yoghurt and varying amounts of blue pigment.
Since each window differed in hue, at one point during the day or night - for a moment only - a certain window would match the blue of the sky perfectly. The lower (painted) half and the upper (sky) half were then indistinguishable from each other.
The blues changed throughout the days and nights with the changing light and skies outside...and made skies seem blue even when the day was grey.
Installation view at Duende Studios, Rotterdam, NL, 2006.
The lower half of each window was painted with a thin, translucent layer of yoghurt and varying amounts of blue pigment.
Since each window differed in hue, at one point during the day or night - for a moment only - a certain window would match the blue of the sky perfectly. The lower (painted) half and the upper (sky) half were then indistinguishable from each other.
The blues changed throughout the days and nights with the changing light and skies outside...and made skies seem blue even when the day was grey.
