Maike Brautmeier
1988 geboren in Osnabrück
2014
Akademiebrief Kunstakademie Münster
2009 - 2014
Malereiklasse H.-J. Kuhna, J. Schmidt (sowie Gastprofessur: I. Hohenbüchler, P. Schwer)
2008
Studienbeginn Kunstakademie Münster
Julia Drahmann
1988 geboren in Osnabrück
2014
Akademiebrief Kunstakademie Münster
2009 - 2014
Malereiklasse H.-J. Kuhna, J. Schmidt (sowie Gastprofessur: I. Hohenbüchler, P. Schwer)
2008
Studienbeginn Kunstakademie Münster
Exhibitions Julia Drahmann:
Soloexhibitions:
2019 Nachtbrötchen, Rheinterrasse Düsseldorf, Overhead Gallery
2017 „[wieder]sehen“ – Kunstverein Steinfurt
2015 "Tartüfferie", Galerie Müller, Düsseldorf
2012 Nachwuchspreisverleihung, Konzertgalerie Steinfurt
2011 "Gerede“, Kunsthalle des MAM Rhede
2010 "Blickkontakt“, Kunstverein Dülmen, Dülmen
Groupexhibitions:
2020 "Corona Blues. Infizierte Zeitgenossen", Kunsthalle Hense, Gescher
2019 „DurchBruch“, E-Capital, Münster
2019 „geschlossene Ateliers“, Ateliergemeinschaft Speicher II, Münster
2018 „Weltenerzeuger“ – Galerie Müller, Düsseldorf
2017 "Kuboshow" - Kunstmesse für junge Kunst, Herne
2016 "Das zweite Gesicht - Porträt heute", Burg Lüdinghausen
2014 "face to face - Porträtmalerei heute", Galerie Müller, Düsseldorf
2013 "Kuboshow" - Kunstmesse für junge Kunst, Herne
2012 "394durch5", Galerie Schwarzbach, Wuppertal
2011 "Malerei 11", Kunstverein Münsterland, Coesfeld
2011 "Korrespondenz/correspondentie", Galerie Münsterland und akkuH (Aktuele Kunst Hengelo), Hengelo (NL)
2011 "Köpfe und mehr", Münster-Hiltrup
2010 "loft 113", Münster
2010 "Kuboshow“ - Kunstmesse für junge Kunst, Herne
Awards:
2012 Nachwuchspreis „Meister von morgen“ des Kreises Steinfurt
About Maike Brautmeier and Julia Drahmann
Joint work Maike Brautmeier and Julia Drahmann
Maike Brautmeier and Julia Drahmann combine painting and photography in their joint work.
The basis are mostly carefully staged photographs by Maike Brautmeier. Through the exchange, the painterly supplementation and further work by Julia Drahmann, the motifs acquire new meanings, perspective expectations are subtly questioned and the viewer's gaze unsettled.
By merging the disciplines of photography with painting, borders are shifted and the viewer sees himself and the motif confronts many new questions.
What is photographic reality, what is painterly fiction? To what extent have the painterly additions changed photography, created something new or added something missing?
By adding and removing visible and invisible picture elements, analogue picture montages have been created that speak a new, independent visual language.
