Louisa Clement, Human Presences, New Timebased Avantgarde Sculpture

By Verena Johannsmann - Monday, May 22, 2023
Louisa Clement, Human Presences, New Timebased Avantgarde Sculpture

The exceedingly talented as well as early successful artist Louisa Clement (*1987) studied at the Staatliche Akademie der Bildenden Künste in Karlsruhe and at the Kunstakademie in Düsseldorf, where she was previously provided to be a master student of the very well-known, proficient photography expert Andreas Gursky.

The artist`s especial medial artworks explore the human body and its representation by ethical aspects, values and qualities within digital realities. With a strong degree of excitement, she creates a sculptural entity that not only incorporates the body itself, but permeates it.

Photography, video, sculpture as genres that are part of her reflections, integrate philosophical and psychological thoughts within these different local scales. In that regard, she not infrequently opens up her practice to the latest in high technologies. Physicality, its mutability, and the sense of affiliation in times of social insecurity, estrangements and placelessness, are the artist`s central themes. Within this reference, the tender surface of the threshold value itself reside the complex multiform developments on these creative art pieces, which reflect motivic elements and most concentrated considerations.

What can the human being be and represent in the digital age? Alive and invisible unlabeled, timebased themes of a western culture sphere are revealed and intensified in the artistic work. In this compact tableau of narratives, the artist`s distinctive talent fans out developing the open process artistic moment, free and unguarded. Contemplation as such
multiplies the meaning-giving significance dimensions, which are considered in the light of political and economic criteria. Human Presence in the artificial on the one hand, artificial presence in the human on the other alternate and oscillate with each other, draw a spectacle of reality and unrealism.

In this invisible thought space, the artist represents the idea of a innovative humanity image, which is able to combine technology, artificiality and new existence in a most compressed form. Herein enters the further fine elaboration of the questioning and thematizing of what is an artistic
interest: the realized idea and representation of the tangible, perceptible existential. The gossamer surface of a truth, which finds itself under the skin, in the very essence of existence. As a metaphor of the created thought differential and thereby the interface and tangency of the interpersonal lies also the border clearance of painting and photography, which is present in the artist`s pieces as well. Equivalently the approximation of artistic trains of ideas is handily and clearly exposed: like a finely structural functional analogy, image qualities and mentally conscious contents complement each other. This deliberately experimental and critical analysis of the media
simultaneously points to the sublimity of the hidden expressiveness of the work content considered by Louisa Clement.

Digitality, changeableness as well as transformability are at the center in this realization of value- creation genesis. An expanse of what novel perceptions effect in our being, what irritations we experience internally and how we compensate for them. Body and state of mind influenced by digital conception and technology per se form the starting point of the artist`s artistic vision continuously and are at the same time stylistic elements.

In which reality resides the technically changed and modified human being? Are we outside, for more inside a display window, or do we even exist on the margins of the same? What affects and influencesus, takes effect on our lives at this dividing line?

The latest exhibition of the artist Louisa Clement, which was presented by the gallery Eigen + Art in Berlin, continues the thoughtful explanations of her previous works expanding and refined compressive, as well as exceptionally courageous. In highest concentration on essential questions of a self-positioning for human existence and being, the expressiveness in artistic creations manifests the starting point within the intentional heart of her evolving oeuvre. We see the greatest conceivable memory density in the smallest possible space, which also resides in us, the genetic information saved in the so-called DNA. Digital and physical modes of memorization are at this stage the medial expression of the entire artwork created to the present day.

The carrying result is a small silver capsule, measuring just a few centimeters, which contains hermetically sealed data in its huge compacted enclosure. This latest in the Americas and Europe developed digital artistic and retention strategy promises to be the longest-lasting and at the same time most compressed form of keeping general data, which also
preserves the human memory. The visible creation of political reality by human beings as well is theoretically anticipated and also practically queried by the artist at this juncture. Are we dehumanizing ourselves in tandem with highest technology capture and possibility, are we placing ourselves in a danger zone? Evident effects of radical changes and twists in the idea of truth, based on profound evolutionary research in human life, henceforth form the basis for artistic-philosophical reflections in the creative process - as truth and scientific change have an influence on the basic cognitive situation of human beings.

Louisa Clement thereby presents the grant, attention and eagerness of human existence in that highly interesting manner and vein, that simultaneously functions as a spectacle of the real: within a more than global media experience. The viewer discovers a self that is sensitized and also located by invisible but delicately touching technologies; active and passive at the same time, we grasp and understand ourselves as beings within it. With this idea as the premise of the artistic vision, the epistemic potentials and freedoms of the possibilities of appearance of the self are as well explored. Every man as a work of art is finally taken into consideration.

Aren`t we since time artificial replicas of ourselves in constant contact with the everyday technologies? What degree of freedom and artistic existence do we experience in the disbandment of boundaries as well as in the dissolution time of the self? Is the idea of a living sculptural transition capeable of creating a consciously experienced moment of freedom, peace, tranquility, quietude, truce and natural consistent realness? The academic examination and encounter with the material object provides the consciousness with
epistemological elements of truth - an alignment of the medial visual sphere to an exterior. Mankind has its distinctive reality in culture as the sphere of self-created deeds of every variety.

With regard to the mindful use of the latest technologies, we are faced with the consideration of an appropriate relationship to the freedom of personality, the protection of privacy and informational self-determination.

Artistic reflections on the human being in its cultural conditionality is carried in the interdisciplinary spectrum of scientific concepts. Based on transcendental reality relations and cultural continuity, undeterred by the statement of the being`s abstinence per se, we locate ourselves indissolubly
thoughtfully close to that knowledge which becomes experienceable to each other. By gaining experience of existing levels of knowledge and values, as well as by entering into a relationship with a variety of contexts through interface and size-dependent phenomena, by becoming aware of the dialogue between external and internal reality through the contemplation of our own seeing, we always also locate a new being that approaches the claims of avant-garde universalist and performative measurements of reality.
The human body is therefore also placed at the centre of the artistic exploration into reality itself as a representation of the real. And herein, in addition, the examination of the artistic value of the work of the artist Louisa Clement reaches a climax: her detailed and compressed view refers to the latest performative discoveries in relation to particularly contemporary intermedial artistic strategies and questions. Aesthetic, social and cultural aspects of digitality and their interpretation form a basis of this complex
work character. In excess of this, conceivable theses and ideas about the future relationship between man and machine form a tableau of exemplary truth spectra. In this way, the emerging contemporary parallel bodies, which are not only created by the artist but even incarnated, vividly and meaningfully form the reference for perceptible possibilities of existence and their analogous appreciation. The experimental character of the value-creating, doubly reflective artwork thus serves the process of finding value-identifying ways of being in specifically artistic engagement. Elevated prepared reflections, storage and conservation characterize the medium itself and in this case complement one another additive. In this consciously unconscious self - insurance, being, in essence, gradually and thoughtfully gains automatically a renewed opportunity and refined condensation.
We are living in an economic system organized along capitalistic lines in an effort to face the problems of adaptation. Gaining access to a wide and varied range of artistic manifestations and cultures to the means of expression and dissemination are important elements in strengthening the
diversity of stronger, empowered cultures and encouraging greater levels of understanding towards valued living conditions. Every new knowledge, fascinating insight and achievement, embodies in its sculptural autonomy the
useful access to reality-essential movements of life that are necessary for their existence. The state of Louisa Clements artistic aspirations is not to be determined by their material character, merely by the meaning realized in them.

The ability of the reflective consciousness to capture perceptions of the immediately preceding moment in addition to the current sensitivities flowing towards it, then describes the image within performance that the artist has mentally projected for the viewer. And it is precisely at this point where New Timebased Avantgarde Sculpture at the artistic core can emerge, come to life and unfold.

Space and time remain valid as first perceptions.

Images :Louisa Clement, compression Installationsansicht, 2023 Galerie EIGEN + ART Berlin Foto: Uwe Walter, Berlin

While thinking about advancement of her theses and post doc research in Avantgarde Performance-Art, Dr. Verena Johannsmann worked for Art Basel on Curatorial Design (between Miami Beach and Hong Kong) in the last months. Before then, she assisted temporarily with the preparation for the Honolulu Biennale Foundation and its Prologue Exhibition in Hawaii while she was finishing her PhD thesis in Europe. Verena Johannsmann currently works and lives in Berlin and feels at home in research activities in international libraries (including the Lincoln Centre for the Performing Arts), artists’ archives and private collections (Paul Rosenberg Collection, New York). Verena worked in several museum environments like the Museum of Modern Art in New York. As a Trainee, she assisted Klaus Biesenbach in the Media and Performance-Art Department and Michelle Elligott in the Archives of the Museum. Besides press work, corresponding with high profile individuals and international artists (such as Marina Abramovic, Tehching Hsieh), Verena assisted with the preparation and implementation of two major exhibition projects. To that, Verena also worked in several auctioning environments while she was studying and finishing her PhD.

ArtDependence WhatsApp Group

Get the latest ArtDependence updates directly in WhatsApp by joining the ArtDependence WhatsApp Group by clicking the link or scanning the QR code below


Subscribe to the Newsletter

Image of the Day

Anna Melnykova, "Palace of Labor (palats praci), architector I. Pretro, 1916", shot with analog Canon camera, 35 mm Fuji film in March 2022.

Anna Melnykova, "Palace of Labor (palats praci), architector I. Pretro, 1916", shot with analog Canon camera, 35 mm Fuji film in March 2022.


About ArtDependence

ArtDependence Magazine is an international magazine covering all spheres of contemporary art, as well as modern and classical art.

ArtDependence features the latest art news, highlighting interviews with today’s most influential artists, galleries, curators, collectors, fair directors and individuals at the axis of the arts.

The magazine also covers series of articles and reviews on critical art events, new publications and other foremost happenings in the art world.

If you would like to submit events or editorial content to ArtDependence Magazine, please feel free to reach the magazine via the contact page.