Kubus. Sparda Art Prize 2017

Corinne Wasmuht – Myriam Holme – Leni Hoffmann

In 2017 the “Kubus. Sparda Art Prize” devoted to the theme of “Extended Painting”. The nominees were Corinne Wasmuht, Myriam Holme, and Leni Hoffmann. The selection demonstrated how diverse the forms of expression in painting are today: Painting has long since ceased to occur only on the surface but has also conquered the surrounding space. Myriam Holme received the jury prize, and the public voted for Corinne Wasmuht.


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Corinne Wasmuht

The exhibition at the Kunstmuseum Stuttgart provided comprehensive insight into the work of Corinne Wasmuht (b. 1964 in Dortmund). On view were works from 2002 to 2017. The artist uses a painting technique, in which the paints are applied layer by layer on wood, giving the work a sense of vibrating colorfulness, transparency, and lightness. Her kaleidoscope-like compositions are based on a photo archive, arranged according to themes and motifs.

From this, Wasmuht collages her pictorial concepts on the computer as models for her large-format paintings. The precisely painted pictures initially appear as to be snapshots. The layering of structures and perspectives creates an autonomous, detailed pictorial reality, with which the artist brings the simultaneity of various time levels to concurrence.

Corinne Wasmuht, Ausstellungsansicht Kunstmuseum Stuttgart, 2017
Corinne Wasmuht, Uqbar II, 2012, © Corinne Wasmuht
Corinne Wasmuht, Ausstellungsansicht Kunstmuseum Stuttgart, 2017

Myriam Holme

Work on and with materials has been characteristic of art since the mid-1960s. Myriam Holme (b. 1971 in Mannheim) opens the boundaries of painting and panel painting with regard to both content and space through the use of a variety of materials. On the one hand, she combines various genres, such as collage, panel painting, and sculpture, into accessible installations. On the other hand, her works often move from the wall into the exhibition space and traverse it in all directions. 

Holme is interested in experimentation and the processual aspect of painting. Both become visible through the combination of the most diverse materials, surfaces, and textures, such as aluminum, wood, bamboo, cords, stains, reflective foil, lacquer, soap, or glass. Their contrasting properties, such as matt and shiny, firm and transparent, open up a poetic dialogue about the painterly possibilities of materials.

Myriam Holme, Exhibition view Kunstmuseum Stuttgart, 2017, © Myriam Holme
Myriam Holme, lomnambule, 2017, © Myriam Holme
Myriam Holme, Exhibition view Kunstmuseum Stuttgart, 2017, © Myriam Holme
Myriam Holme, Exhibition view Kunstmuseum Stuttgart, 2017, © Myriam Holme

Leni Hoffmann

Leni Hoffmann (b. 1962 in Bad Pyrmont) disturbs visual habits; she works in situ and develops settings for the host spaces and their context. On site, she defines an accessible pictorial space with the help of various, everyday materials. A decisive factor here is the recontextualization of the materials used. Her ephemeral interventions, also into the architecture, interconnect the museum’s interior and public exterior spaces. The viewer is emancipated and becomes a co-author and part of an imaginary collective.

In addition to the works developed in the Kunstmuseum Stuttgart, Leni Hoffmann continued her project “pizzicato_42”, begun in 1997, with an intervention in the Stuttgarter Zeitung. Here, the artist defined the public space as a pictorial space. She intervened in the production process of the rotary printing of the daily newspaper and, in dialogue with the printing press, drew a colored stripe drawing throughout the entire printing process which had the total length of the daily circulation. With the packaging of the newspapers into bundles, this continuous drawing became fragmented. Each newspaper, which had become a unique work of art, was then distributed through the customary newspaper sales channels.

Leni Hoffmann, under milkwood, 2017, © VG Bild-Kunst, Bonn 2019
Leni Hoffmann, under milkwood, 2017, © VG Bild-Kunst, Bonn 2022
Leni Hoffmann, pentax_mocatta, 2017, © VG Bild-Kunst, Bonn 2019
Leni Hoffmann, blinky, 2017, © VG Bild-Kunst, Bonn 2022