ART^S KITCHEnCooperation Project

ART^S KITCHENLinda Nadji / Elisabeth WindischGallery BOX / Sweden1 tonne of Tösalt, postcard, saltmoons, artist`s book - a collecting of ran-dom information about salt2018

A tear is a SALTy body fluid that is produced constandly by the lacrimal glands of humans and mammals.

Tears do not lie, what will you do with your freedom.

In the history of medicine SALT has played a role since Hippocrates investigated in the use of SALT water to heal various ailments by immersing patients in sea water.

Throughout all the myths, from the ancient epoch to modern times there are three basic qualities of SALT: its ability to protect, to clean and to heal.

With SALT, alliances were sealed, including marriage.

In the history of medicine SALT has played a role since Hippocrates investigated in the use of SALT water to heal various ailments by immersing patients in sea water.

The SALTier the water, the higher the speed of sound.

If all the world‘s seawater evaporated a 60-meter-thick SALT crust would occure on all seabeds.

The king dispeled his youngest daughter after she told him that she loved him as much as SALT. Only as all the SALT in his kingdom had disappeared and humans and livestock had become ill, the king saw his mistake.

A healthy adult can compensate for too much SALT in the body by absorbing water: about 80-100 ml must be drunk to rinse 1 gramm of SALT.

SALT cannot burn.

When Lot’s wife looks back while escaping, she freezes to a pillar of SALT.

Experts suspect that SALT crystals are the oldest known material in our solar system. The reason for this assumption is a meteorite called Zag, which occurred in 1988 in Marocco.

You shall not speak with unSALTed fools.

Roman legionnaires were paid in SALT - salarium, the Latin origin of the word salary.

Worried mothers give SALT to their daughters to protect them from getting involved with young men or even from falling in love.

SALT is an essential mineral for our body. It regulates the water balance and the tissue ten-sion and is the basis for the excitability of nerves and muscles. It plays an important role in bone formation and digestion.

A salinometer is a measuring device for determining the SALT content of SALT water.

For a long time it was assumed that SALT crystals are frozen water.

CONFUSING THE DEVIL

CONFUSING THE DEVIL

CONFUSING THE DEVILKunsthaus NRW / Kornelimünster AachenMixed Media Installationdrawing, glas, alu tank, aple scagliola technique, clow scagliola tech-nique, metall, canister, saltmoon2017

ZUCHT II ( Hommage an einen Garten)breeding II (hommage to a gardencnew talents biennale / Kölnporter‘s lodge, Alaun, glas, neonlights, metall, canister3 x 2 x 2,40 m2016

Whether they are intrusive advertisements for pornos on the internet, ludicrous high performances for the Guinness Book of Records, the massive image problem of the feminist movement or urban gardening as a green revolt against the sad grey of many an inner city – they are nonetheless always current societal developments and pheno-mena with which Elisabeth Windisch grapples in her works.

Reality, for Elisabeth Windisch, is simultaneously starting point and artistic materi-al. Emanating from a certain questioning, observation or idea, she develops space-embracing installations with which she reacts to each exhibition site and thus speci-fically accentuates the found situation. To the most part she uses everyday materials and objects but displays them in unusual forms, contexts and relationships rendering new, unexpected and often irritating meanings. The open-endedness of her works is elementary for the artist. The artwork functions as an experiment in which time and (chemical) reactions play a decisive role and determine, in part, the end result. To obtain her diploma from the Düsseldorf Art Academy, Elisabeth Windisch const-ructed a 500 kilo ambrosia, the biggest jelly pudding in the world. Titled AMBROSIA OFFICIALLY AMAZING it was a minimalist sculpture, but over the period in which it was exhibited, gradually broke into pieces. The warm temperature in the room caused the disintegration of its form. “Frauengold” also involved the interplay bet-ween conception and creative coincidence. The work was completed, amongst other things, via a similarly incalculable as well as uncontrollable factor: the exhibition visi-tor. For their ambiguity these large scale and simultaneously, most fragile sculptures of flour, tempted the viewer to touch them, thus causing their original form to be irreparably destroyed.

In her current works Elisabeth Windisch concerns herself with the moment of bree-ding. In laboratory situations, artificial crystals can be generated from potassium alum sulphate. They spread and grow independently. Such controlled propagation in biolo-gy is described by the term “breeding” (in German Zucht): here, desired properties are strengthened and undesirable properties suppressed. In the process of breeding valued judgements are decided upon regarding what is permitted to exist and what not. Elisabeth Windisch’s breeding of crystals become performative sculptures that reflect their own processes of creation as well as striving for optimisation and trans-formation of that which exists. (Anne Schloen-publisher MOFF Magazine)

ZUCHT ISERIE 330 LP

ZUCHT I (330 LP)breeding I (series 330 LP)EINSTOSZ die Fenstergalerie / DüsseldorfAlaun, glas, neonlights, metal pliers106 x 60 x 90 cm2016

Green carpetTemporary Pop up

GREEN CARPETTEMPORARY POP UPEbertplatzpassage / Köln130 m2 turf on six inoperative escalators installation time three days2015

AMBROSIA OFFICIALLY AMAZINGroom 009 / DüsseldorfDr.Oetker Götterspeise Waldmeister, gelantine, Guinnes World Records certifikat, plexi DC, MDF2014

The concept of AMBROSIA OFFICIALLY AMAZING was to cast the largest „Götterspeise“ jello and to achive a Guinness World Records Titel to receive my final exam at the Academy of Fine Arts Düsseldorf. Both the sculpture and the certificate were presented at the annual exhibition of the Academy.„The grean, slippery ‘Götterspeise‘ in XXL fomat is to be regarded as an ironic contribution with reference to a society in which people count as sales markets and the art market serves as entertainment zone. It subordinates to the giganto-mania like everything else“ (Saskia Zeller perphere.de)

Throughout my latest works, my interest in experimenting has grown continuously.This resulted in projects that each had their own conceptual idea as well as a degree of unpredictability. It is largely unknown and uncertain how, for instance, 15m3 packing chips, 3.5 tonnes of flour or half a tonne of winegum-jelly-mass, will behave once you force them into your concept. Admittedly, this uncertainty and the risk of the unknown drive me enormously. Fur-thermore, the satisfaction and joy are more intense when a vision gains indepen-dence, becomes uncontrollable and what finally turns out is absolutely aesthetically convincing.

AMBROSIACandy

CANDYDepot 4.9 / Münstervegitable boxes, plexi DC, MDF, vakuum mashine, scale ...Ambrosia (ingredients: shurag, gelatine, acidulent fumarate,Carduus concentrate flavor, dye e 131)2014

FRAUENGOLD

FRAUENGOLDBruch&Dallas / Köln3,5 tonnes of flour, aluminium rims RAL 3027, engraved cake server, pallets2013

The work of each and every artist is a result of his or her individual view and individual interest. My forms of expression are not developed out of a specific material, but come from my subjective view which is indispensably white, wes-tern and female. This three elements are the simple key to the concept FRAU-ENGOLD. The basic intetion was to create a female exhibition with sexappeal. After the drive of the 80s and early 90s there was again an euphoric interest in genderspecific research topics. In contrast we are facing the youngest develope-ment of feminism-bashing. Books or events with „ gender “ or even „ feminism “ in their title appear as stigmatised; questions of gender differences might suggest ideological doggedness. The exhibition FRAUENGOLD picks up on this theme of divergent regularities in a playful and sensitive way.

LOOKING FOR JACKflour, MDF, colour RAL 901090 x 200 x 140 cm2012

HÄNSEL & GRETELBERLIN

LONDON NEW YORK

HÄNSEL & GRETELBERLIN LONDON NEW YORKGerresheimerstrasse 100 / Düsseldorf15 m3 FloPak Green packaging chips, folie, neonlights2013

BEFALLAkademie/ Düsseldorfsalt, tiles, room corner2013

MOND IM TOPFSalz, Kasserolle35 x 15 x 120 cm2013

ELISABETH WINDISCH

geb. 1986 in Pforzheim2006 Kunstakademie Münster2007 Studies in the class of Henk Visch2009 Studies in the class Suchan Kinoshita2010 Kunstakademie Düsseldorf class Richard Deacon2014 Akademiebrief Meisterschülerin Richard Deacon2014 Organisator / curator non-commercial-gallery Bruch&Dallas / Köln2016 lectureship Universität zu Köln / Kunst- und Kunsterziehunglives and works in Vienna and Düsseldorf

EINZELAUSSELLUNGEN2018ART^S KITCHEN with Linda Nadji / Gallery BOX /Göteborg TANGENCY / Neumarkt Osnabrück2016new talents / KölnEINSTOSZ / Düsseldorf2014CANDY / Depot 4.9 / Münster2013DIA LOG with Inga Krüger / Gerresheimerstrasse 100 / DüsseldorfFRAUENGOLD / Bruch&Dallas / Köln 2012Dok25a with Heinz Baumüller / Düsseldorf 2011STEREO / Düsseldorf (K)

GRUPPENAUSSTELLUNGEN 2018Smart Nature / Gesellschaft für zeitgenössische Kunst Osnabrück e.V. / Osnabrück2017Kunsthaus NRW / Kornelimünster AachenFAR OFF / KölnDie Große / Museum Kunstpalast / Düsseldorf2016Schaustelle / WienKunsthalle Recklinghausen / Recklinghausen2015Posta Portae / Düsseldorf (K)Contemporary Pop Up II / WienContemporary Pop Up I / Sommerfest Ebertplatz / KölnEs klingelt das Belohnungszentrum / BerlinTHE LAND AFTER THE RAINBOW / Württembergischer Kunstverein / StuttgartKINDERGEBURTSTAG Cité des Arts / Studio 8002 / Paris2014Das Marsie’s / Kaskadenkondensator / BaselStipendiatenausstellung Kunstgenerator / ViersenKunsthistorisches Institut Paul-Clemen-Museum / BonnPWC Förderpreisausstellung / Düsseldorf (K)

Talrstr. 109 A / 40217 Düsseldorf Hernalser Hauptstr. 35 / 1170 Wien E-mail: elisabeth.rebekka.windisch@gmail.com