Since the 1990s, von Wulffen has created a sophisticated and unique oeuvre that enquires into the historic, economic, and social conditions of painting. Highly self-reflexive, von Wulffen’s practice expands to include the artist herself. She frequently appears in her own work in different guises, interweaving her family’s past with national history and existential questions about a specifically German cultural heritage. Von Wulffen’s works purposefully juxtapose aesthetic incongruities and combine different styles of painting from art history and amateur art to re-purpose their associative weight.
In that respect, her work reads as a meta-reflection on the aesthetic incongruities of both post-war Germany as well as contemporary popular and political culture. This effect is compounded by the inclusion of references to decorative arts, furniture and architectural elements.
Similar to von Wulffen’s previous painting cycles, her new paintings also reflect upon the abysmal dimensions of the family as a site which embodies love and culture as much as it uncovers grim problems and repression. By carrying the idea of emancipation and liberation from one’s own parents, these works have a strong emotional quality. Newly produced small sculptures are arranged in a scenographic, painted genre installation—a dramatic cabinet of curiosities of sorts which circles around the relationship between humans and nature, one which, despite vast environmental destruction, is still dominated by romantic projections of landscape and nature. The installation is accompanied by a selection of existing paintings, drawings, furniture, sculptures, and films by the artist.
Curator: Anna Gritz
Assistant Curator: Kathrin Bentele
The exhibition by Amelie von Wulffen is supported by the Senate Department for Culture and Europe, Berlin.