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During my residency at the Xiao Ying International Art Museum I got invited to participate in a group show, which focussed on malaysian and chinese artists, working in the field of traditional chinese painting.
The event itself was going to be outstandingly official and ceremonial, involving a press conference, dinners, red carpets and a broad range of side activities such as a so called painting demonstration. In order to react to this circumstances, which seemed very particular to me, I decided to prepare a reception for the Chinese - Malay delegation, the other artists and the visitors. Therefore I created around 40 flags, that were installed along the gateway leading to the museums. The flags were made with traditional material such as rice paper, chinese ink and bamboo sticks. Despite the traditional approach to chinese painting, the images itself were held abstract, mainly depicting geometric forms.
In the reception hall of the museum the geometric forms were continued on the glass roof, being projected through the sunlight onto the museums wall. This intended to foster the ritual aspect of the situation, recalling the sacral atmosphere of a church and its colored ornamental windows. 

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What does it mean to be an artist? And how does an artist communicate with his or her public? Johanna Binder adopts a variety of artistic identities in the course of her work. At one moment she may be an academic heavyweight who makes complicated pronouncements, at another the archetypical artist struggling with self-doubt, and at another an ingénue trying to dance her way into the macho hierarchy of big-shot artists. In doing so, Binder is not averse to humour or absurdity; on the contrary, these are important ingredients of her oeuvre. She has designed her own "artist-in-residence" solution, a freight tricycle capable of conversion into a small, one-person room complete with table, bench and mattress. Monsieur Hulot, as the conveyance is called, travels from artist to artist, a mobile studio operating autonomously within the art world.-Merel Bem



 As a final project displayed during the Open Studios at the Van Eyck Academie, my studio was treated as a stage, revealing the commonplace actions of the artist in a performative approach. Focussed on the artists studio as a frame of actions less then a place of production, the studio transformed into a 380 degree backdrop for my own practice throughout the whole year. The studio and its context of being within an institution as well as the idea of it being a place of cultural production brought me to a series of site-specific actions, displayed within the set:
Dancing with the stars: A daily base routine which started in october and lasted for 6 months, until the day before the Open Studios. Therefore I collected portraits of the 100 most important artists, according to artist ranking. I danced for and with them, I tried to advance my dancing throughout this project as much as I could. Sometimes I would come to my studio only to dance.Artist Talk :,Artist Talk‘ is a video-performance, in which I inhale Helium whilst speaking out an automatically generated artist statement created through keywords by an algorithm in the internet. The video was displayed right at the entrance as a reception for the visitors.
I recorded the talk for a lecture at the Van Eyck Academie that I had to hold earlier this year. Therefore the visitors were asked to come into my studio instead of the auditorium. There it was not me that received them, but solely the Video displayed largely above my working table. Only after the clip finished I entered the scene, telling the audience about my current practice in an extremely nervous manner. At the same time I showed intimate episodes that had taken place in my studio, such as dancing, eating, ect. When the time of the audiences questions arrived, I requested them to look up to the ceiling, which was full of helium-balloons. In order to ask a question they were cordially asked to inhale helium. Monsieur Hulot: Monsieur Hulot was displayed as a para-institution outside the Van Eyck Academie at the bicycle parking. For more information please visit Not titled 1+2:Two videos dealing with the audience, both shot in front of a large scaled wall-painting which served as a Trompe L‘oeil like backdrop, as a space within the space.




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