Barbara Hindahl

On the wall in the frame hang sheets of paper with Edding marker traces. On some, only the edge is marked. The result is an irregular frame that extends beyond the edges of the paper. On others, there is a muddle of half lines. These are blotting pads that were used to draw an edge on a DIN A4 sheet of paper. Sometimes you can only see the print-throughs on the back. Prints of coloured Edding marker lines or loosely drawn grids. There are also the backs of notes, the backs of letters that have run off.
The question of meaning arises. Who is to blame? What does it all mean? What was it really like?
Barbara Hindahl 02/2024

This is not a scrap paper

I examine sheets of paper with pictures and texts, notes, slips of paper with quick sketches. These sheets are about the loss of information of what is meant: Faded, smudged, print-throughs on the back, and on other sheets there are fragments that convey the meaning only piecemeal. I take these and other pictorial accidents seriously by copying them graphically at great expenditure of time. Fake, the environment of emptiness, subjects that are generally not worthy of representation, but also distorted grids and impressions of unsuccessful prints deliberately resist the rules of possible narrative topoi.
The viewer’s mind often feels provoked by the faulty reproduction to want to restore the original text, the original image. The reverse of the positive connotations of pictorial worlds, empty spaces as pictorial spaces of freedom. To retell ‘the picture’, to see it, to imagine it and to perceive it in reality, or simply to immerse oneself in what is depicted.

CV

Exhibitions: 2020 Fake & Fiction, solo show, Kunsthalle Mannheim, participation in national and international projects in public spaces such as (2018) Raye-Dust-Light, Sao Paulo / ITU, Brazil, (2016) A Sense of Place Hauptbahnhof Frankfurt / Main, (2015) ÜBER WOHNEN Bern/ CH (project, residency), solo and group exhibitions (Kunstverein Rosenheim 2017, Kunstverein Trier 2015, Kunstverein Reutlingen 2014, Kunstverein Ellwangen 2013, Galerie im Kornhaus Weingarten 2012, Kunstverein Tierqarten Berlin and Städt. Galerie Saarbrücken 2011, Wilhelm-Lehmbruck- Museum Duisburg 2004), own art spaces PENG and KINGKONG,
Scholarships and residencies in Vienna, Schrattenberg (Austria) and Yokohama (Japan), Brussels (Belgium), Bern (Switzerland), works in public collections. Teaches in Hanover