*1988 in Schöntal-Berlichingen.
Lives and works in Berlin.

Exhibitions

Stromzähler #8
Jan 15th - Jan 22nd 2022
Isarparkhaus/Baaderstr, Munich

I Like My Guests To Think They Are Eating in A Clean House
July 15th - July 25th 2021
Nails Projectroom, Düsseldorf

Café Futurama
Mar 26th - April 4th 2021
Magma Maria, Offenbach

Made Me Think of You/ It’s More Like a Memory
Dec 31st 2020 - Jan 24th 2021
Displays at Weststrasse, Zurich

Let’s Face The Music And Dance
January 24th, 2020
Caranguejo Project Space, London

Berlin Praha Barter
May 17th - June 26th 2019
Trafo Gallery, Praha

Scrims and Blurs
July 19th - July 28th 2018
Museo de Los Sures, Brooklyn, New York

Dirty Voyage
May 05th - May 21st 2018
Schaufenster, Berlin

Akademie[Arbeitstitel]
Oct 21st 2017 - Feb 7th 2018
Kunsthalle Düsseldorf

Klasse Katharina Grosse stellt aus- Malerei!
Nov 5th - Dec 10th 2017
Kunstverein Lippe

Elephant and Castle
April 8th - April 28th 2017
2025, Hamburg

The Spiral
Jan 27th - Mar 4th 2017
LibraryLondon, London

Foreign Surface
Oct 28th - Nov 5th 2016
Dalston Printhouse Gallery, London

Goldsmiths MFA Show
July 14th - July 18th 2016
Goldsmiths University of London

No Lifeguard On Duty
April 1st - April 17th 2016
Westwerk, Hamburg

Press

Gangsta Rap trifft Malerei
PART Online Platform,
November 2021

https://producersart.com/index.php/2021/11/19/theresa-volpp-gangsta-rap-trifft-malerei/

 

Feuer Fangen
Harpers Bazaar Germany,
October 2019

Print Issue

The Art of Becoming
Office Magazine NYC,
September 2019

http://officemagazine.net/art-becoming

7 Emerging Berlin Artists You Need To Know In 2019
Sleek Magazine Berlin,
January 2019

https://www.sleek-mag.com/article/emerging-berlin-artists/

About

Looking at Theresa Volpp’s abstract paintings, it seems as though we exist in a world without objects. Nothing to remind us of familiar things or shapes, to interrupt our vision and hold it in place, somewhere comforting and secure. Her paintings are all bold and defiant, asking the viewer to accept the necessity to enter a visual field without the certainty of finding markers linked to reality. But certainty seems to be a thing of the past anyway. So, it is only conclusive that Volpp omits it - maybe not intentionally, but consciously - in her images.

Instead, the eye meets forms and colors of different proportions and saturation. An invigorating jungle of zigzags and fluorescent pinks, oranges and greens, that seems fresh and unseen before. The titles, such as ‘Habibi’ or ‘Kimberly’, are also not helpful in detecting something faintly figurative. They mostly refer to feelings or personal names. Both, abstract entities themselves. So, this bears the questions: if one does no longer paint after reality, what is the purpose of painting then? Is it still abstraction, if it doesn’t ‘abstract’ from something within our visual realm? It is this willingness to take risks - like getting lost in a discussion about l’art pour l’art - in order to find answers to these questions, that is one of the many qualities of Volpp’s works. She chooses to let her paintings speak for themselves - and they do.

Coming from a training as a painter under Anselm Reyle and Katharina Grosse, Volpp has freed her abstract visual language from the canvas quite early on in her career. For the artist, painting was never bound to a certain surface or any rectangular structure for that matter. Like color it can be found anywhere one is willing to look for it. And so Volpp experiments with different surfaces, methods and tools to show how far abstraction is able to go. (Is an abstract painting on a handmade carpet an artwork or is it interior design?) Volpp’s work refuses to rest within the confines of traditional painting and the interpretive parameters defining what it ought or ought not to be.

Seeking inspiration everywhere, from architecture and urban structures, to vernacular objects found in natural and man-made surroundings, to elements of street culture such as fashion, graffiti and fast cars, Theresa Volpp draws from a seemingly endless source of colorful and vibrant references to make visual statements about the potential function of painting in today’s visual culture and its aesthetic value to address the world. So instead of claiming a higher social or political motivation for the medium, Volpp demonstrates painting’s power to exist in different states of temporality and varying contexts, and still be irrefutably urgent in this very moment.

Text by Annika Turkowski

Education

2016 - 2018
Art Academy Düsseldorf
Class of Katharina Grosse

2014 - 2016
Goldsmiths University of London,
MFA Fine Art (With Merit)

2014 - 2014
University of Fine Arts Hamburg,
Class of Anselm Reyle

2012 - 2012
Bezalel Academy of Art and Design Jerusalem (studies abroad)

2010 - 2014
University of Applied Sciences Hamburg, BA Design

Grants

2015
German Academic Exchange Service (DAAD), UK scholarship

2012
Karl H. Ditze Foundation, scholarship for studies abroad

2012
Leah und Jehuda Bacon Foundation, scholarship for studies in Jerusalem, Israel

Residencies

Dr Éva Kahán Foundation - Artists in Residency Programme, San Sano, Tuscany, 2022

Residency Unlimited, Brooklyn,
New York City, 2018

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