Montagn'Art - 2. Symposium sur bois, Thyon-Les Collons, (CHE)
7. Holzbildhauersymposium, Empfertshausen, (D)
1. Preis der Jury, 12. internationales Holzbildhauersymposium, Ossana, (IT)
Sparkassen-Kunststipendium “Wilhelm von Kügelgen”, Bernburg (DE)
The American writer Henry David Thoreau wrote in his last essay "Walking" in 1862: »Life is wildness. The wildest is the liveliest.« Wilderness is the necessary antithesis to ordering culture. The wilderness is both a place of longing and a place of terror for the civilized. In the wilderness man hopes to find himself and inspiration for his actions. The series of figures named Wild made by the young Hallenser-based artist Daniela Schönemann, has been growing for several years. The mostly small-format wooden sculptures seem to have sprung from unknown stories. With fantastic hybrid creatures and outrageous deformations, the artist sends the viewer off on a humorous journey of discovery into the inner and outer wilderness. It's getting wilder.
Art traders Huber & Treff, about the sculptures by the sculptress Daniela Schönemann:
Daniela Schönemann's sculptures assert themselves in space. They want to be noticed, arouse curiosity, although they have shrunk from life size to small format - maybe that's why. Two or three protagonists in wood, some in PU foam, some installed on a tabletop, with titles like Uprising, Dogville or Resistance. It's always women, without color, without glamour, without accessories to spice things up, but with a neatly arranged hairstyle. Usually dressed simply in sweaters and skirts or pants, some also wear coats - identifiable as fur by the intricately cut surface. Their girth is strong, constantly increasing, until finally there is nothing left of body structure, curves are leveled by fat mass and limbs degenerate into ridiculous appendages. The hands, clenched into fists, in a defensive position and often raised, remain as a sure sign that these ladies are not to be trifled with. They are ready for battle and determined to defend themselves exposed in their bodies, their possessions, their position, their posture, their order, their view of the world, which is just defined by the armchair, the sofa and the carpet. They are bulky, they defy our notion of woman as beauty, as a desirable being. They wear hazmat suits and resist anyone who challenges their principles. At least they try. They challenge us! Provoke us, these obese women who probably negate medical instructions, any slimming diet and body ideals that are always conveyed in the media! Some not even able to stand on their own feet! Like a beetle on its back, completely dependent on outside help - with so much energy rolling into the void... Resistance as the title of Daniela Schönemann's first solo exhibition. The first thing that comes to mind is intestinal bacteria and surrendering antibiotics. Resistance as the ability to withstand negative but also positive influences. Resistance - a difficult word, at least for East Germans: it was used in an inflationary manner in the GDR era in the forced learning and reading material of anti-fascist heroic stories. It designates diverse types of personal or social refusal based on intellectual, moral or political convictions. Nonconforming action! Resistance can be active, passive and even non-violent, silent or loud, small or large, on the street or in the corner of the living room, from risk-free to sacrificing one's existence. There is a right to resist and an obligation to resist. And according to Hannah Arendt, "no one has ... the right to obey." Art is resistance. Art gets in the way, irritates, questions, protests. Art is not a plush sofa. And so, alongside the countless smoothly polished, naked, lolling female sculptures in art history, there are the figures of Daniela Schönemann, who address the complexity of the concept of resistance and question it in its ambivalent form - with wit and irony, a sharp observation of contemporary behavioral patterns and made in a very own artistic language, in which the attention to detail and the sense for the big picture are balanced. Living room revolutions - possibly as a reflection of our affluent society, whose citizens mutate into oversatiated consumers, so that shape and content are replaced by mass - immobile, incapable of action, but full of potential energy in the defense of private systems of order: There are fists lying on the shelf like precisely folded towels or threatening made of pedantically wrapped sofa cushions in imitation leopard skin - like a detailed view of the artist's small scenarios, which are transferred to the realm of reality and are far removed from the Biedermeier dollhouse idyll ...