Bettina Allamoda

CARTOLINAwe

Bettina Allamoda is a Chicago born German-American artist working in Berlin. Her extensive body of work has been shown internationally for over three decades and includes major works of sculpture, reliefs, installations, collages, documentary photographs, silkscreens, drawings, video and performance, as well as artist’s books, text publications and curatorial projects. The foundation of Allamoda’s practice involves the exposure/ uncovering/ excavation of politics and strategies of visibility inscribed in popular cultural phenomena, challenging the social role and even the function of art itself today.Seeking to expand and explore the representational systems of art, architecture, fashion, design, politics, and history, with an emphasis on spacial research, yet also considering the analysis of material and bodies in space, her work deals with how physical experience is warped through media experience and transfers it into the realm of sculpture and collage, formalizing it into a paradigmatic, abstracted, yet concrete spatio-sensory experience, Allamod likes to refer to as Spandex Studies, which is title of her current book published by Revolver Publishing Berlin .She is a current Rome Prize winner at the German Academy Rome Villa Massimo, is recipient of numerous awards and has work in David Roberts Art Foundation London, n.b.k Berlin and IFA – Institut für Auslandsbeziehungen. Selected shows include: Spandex Studies, Villa Massimo Gallery (2018), HMKV Dortmund(2017), n.b.k Berlin (2017); NEWBUILD, Verein für Kunst und Kultur Rosa Luxemburg Platz, Berlin; Expo, with Manfred Pernice, Brandenburgischer Kunstverein, Potsdam (2014); Hybrid Naples, Fondazione Morra Greco, Naples; No Go –The Exorcist Revisited/Brick Security, Kunsthaus Erfurt (2013); Public Fabric, with Rainer Kamlah, BM Suma Contemporary Art Center, Istanbul (2010); Wall Wear / Nation Building, Hubert Bächler Gallery, Zurich (2009); To Die For, September Berlin (2008)She and studied sculpture (Freie Kunst) at Universität der Künste Berlin, and Central/ St. Martins School of Art & Design London and a frequent visiting guest professor and tutor at art academies worldwide.

WORKS

Untitled (Eck Rammschutzbügel), 2013/18, matte metallic PU coated polyester spandex, yellow-black striped vinyl coated steel,  matt.-metallisch PU-beschichteter Spandex, gel-schwarz gestreifter Vinyl-beschichteter Stahl 221 x 87 x 55 cm

Untitled (Eck Rammschutzbügel), 2013/18, matte metallic PU coated polyester spandex, yellow-black striped vinyl coated steel, matt.-metallisch PU-beschichteter Spandex, gel-schwarz gestreifter Vinyl-beschichteter Stahl, 221 x 87 x 55 cm

Talocan_BA_Page_130

Talocan, PVC-mesh, photo, 30 x 40 cm, framed

Hollyhock House : Lime_BA_Page_129

Hollyhock House / Lime, liquid lamée, photo, 30 x 40 cm, framed

Ennis House : Green_BA_Page_128

Ennis House / Green, polyester holographic glitter mesh, photo, 30 x 40 cm, framed

Las Vegas_BA_Page_127

Las Vegas, liquid lamée, photo, 30 x 40 cm, framed

Sahara,_BA_Page_126

Sahara, metallic sequin spandex tulle, photo, 30 x 40 cm, framed

Tricia Treacy/Bettina Allamoda | Slot/Spandex Studies
Tricia Treacy - Bettina Allamoda

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Colli independent art gallery presents the sixth project room dedicated to new work by international artists. On this occasion, the featured artists are American graphic designer Tricia Treacy with her project Slot and the German visual artist Bettina Allamoda with her Spandex studies series.

Tricia Treacy, a Rome Prize Fellow in Design at the American Academy in Rome this past year, proposes a printed matter setup investigating the relationship between art, design, and collaborative writing. Various voices contributed to a cross writing format, creating an interdisciplinary and international exchange. Their efforts produce in Treacy’s work a series of publications and artist prints animated by narration, superimpo- sition, comparative research, and open dialogue. Slot is an artist’s book that blurs, conceals and reveals, an interactive reading experience that taps into the various perspectives of members of the creative community at the American Academy in Rome. There, Fellows, as well as Rome-based artists and writers, were asked to pause and reflect upon the themes of privacy and matters unspoken. In developing a graphic language to convey these themes, and dwell upon the thresholds between public and private, Treacy drew inspiration from the Roman cityscape. Mail slots, which beckon passersby to imagi- ne private realms hidden from prying eyes, shutters, and painted urban walls offered conceptual and format elements in visual collages and motifs that echo throughout the book. The title of the book, slot, deliberately suggests, not only these physical thresholds, but also gaps in social intercourse that trigger conversations.

The exhibition of Tricia Treacy in the ground floor includes:
(1) Original wood block, screen print + letterpress prints in an variable edition by Tricia Treacy. Printed at L’Istituto Centrale per la Grafica in Rome, Italy + Penland School of Crafts in North Carolina; (2) Experimental artist books, Risograph-printed by Jo Frenken at the Charles Nypels Lab at Jan van Eyck in Maastricht, Ne- therlands. Cases were designed and produced by John DeMerritt in Emeryville, California. Edition of 70; (3) Risograph and digitally printed swatchbook (in an edition of 150) highlighting a close-up of all work associa- ted with this project from the analog and digital components acts as an archive.

The exhibition continues in the underground space with the work of Bettina Allamoda.
Tension may be considered one of the key aspects of Allamoda’s research. The tension between opposite dualities, the force occurring as a result of stretching and twisting. In the underground space of Colli inde- pendent gallery Bettina Allamoda shows a sculpture, a textile “study”, an assemblage and some collages describing icons of fashion, architecture and urban landscape. She has always been interested in art and the place where it is shown, often engaging architecture in her hybrid status between material and culture. The work of Bettina Allamoda, who has been in residence at Villa Massimo – Accademia Tedesca in Rome this year, explores the surface of the textile ‘spandex’ to create spatial forms, architectural and artistic, and the relationship of fashion to space.

The intervention is the first of the Happy Fashion program, a series of events that will culminate in the publi- cation of Happy Fashion 2 / reprint, a visual and iconic essay on architecture, society and fashion, curated by viaindustriae publishing.

Tricia Treacy’s project is made possible by the Fellows’ Project Fund of the American Academy in Rome.


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