Alexandra Hopf: Tomorrow was so different, so appealing
Sobering is pleased to present 鈥淭omorrow was so different, so appealing,鈥� an exhibition of Alexandra Hopf, Berlin based artist working across video, painting and sculpture. In her second solo show at Gallery Sobering entitled 鈥淭omorrow was so different, so appealing鈥� Alexandra Hopf triggers the view into a future paradoxically envisioning the past. The show comprises paintings and objects resembling artifacts of a past avant-garde. Beyond its interest for individual memory and psychoanalysis, Alexandra Hopf鈥檚 work questions the construction of art history. By revisiting the 艙uvre of renowned artists of the Surrealist, Constructivist or Minimalist avant-gardes, it underlines the prevalence of male figures in its narrative and investigates the creation of myths, as well as the discourses that tend to define the identity of an artist.
Alexandra Hopf麓s paintings are created in the process of working on the painting 鈥� by painting, painting over, removing and revealing deeper layers of paint; by working on the surface, which she makes visible as something with depth. The depth of her surfaces does not conceal a measurable space, but rather the depth of time 鈥� she imparts to the contemplative regard the time of their genesis, the layered, recorded time. Her works emerge from the gradual layering of paint and its partial removal. In Alexandra Hopf鈥檚 work, the artistic act is a process of layering and de-materialisation. Her linearly ridged surfaces draw the beholder鈥檚 attention not to the work of art itself, but to its materiality.
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Sobering is pleased to present 鈥淭omorrow was so different, so appealing,鈥� an exhibition of Alexandra Hopf, Berlin based artist working across video, painting and sculpture. In her second solo show at Gallery Sobering entitled 鈥淭omorrow was so different, so appealing鈥� Alexandra Hopf triggers the view into a future paradoxically envisioning the past. The show comprises paintings and objects resembling artifacts of a past avant-garde. Beyond its interest for individual memory and psychoanalysis, Alexandra Hopf鈥檚 work questions the construction of art history. By revisiting the 艙uvre of renowned artists of the Surrealist, Constructivist or Minimalist avant-gardes, it underlines the prevalence of male figures in its narrative and investigates the creation of myths, as well as the discourses that tend to define the identity of an artist.
Alexandra Hopf麓s paintings are created in the process of working on the painting 鈥� by painting, painting over, removing and revealing deeper layers of paint; by working on the surface, which she makes visible as something with depth. The depth of her surfaces does not conceal a measurable space, but rather the depth of time 鈥� she imparts to the contemplative regard the time of their genesis, the layered, recorded time. Her works emerge from the gradual layering of paint and its partial removal. In Alexandra Hopf鈥檚 work, the artistic act is a process of layering and de-materialisation. Her linearly ridged surfaces draw the beholder鈥檚 attention not to the work of art itself, but to its materiality.
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