Painting Goblin exhibition overview
Painting Goblin exhibition overview
Anacoluthon. Aluminum, MET-Rx Size-Up strawberry flavour.
Teerling (Goblinisms and other Gnomes and Ungnomes). HD video, 2.20 min. by Timmy van Zoelen.
Red Herring. Aluminum, MET-Rx Size-Up strawberry flavour, wax, pigments, magnets, plastic nails.
Painting Goblin. Fluorescent lights, green foil, vaseline.
Artificial Sweetner. Vaseline, maltodextrine.
Painting Goblin (2015)
Collaboration with Timmy van Zoelen.
B32. Maastricht, NL.
1. Every time I play, I start my family with a “painting goblin”. I make it morbidly obese with green skin. I make sure to give it the following traits: likes to be alone, likes art, hates the outdoors.
2. The first thing I do, once I have enough money, is build a small room in the basement, send it down there, and then remove the stairs. I set it up in a tiny little area with only an easel, a toilet, a refrigerator, a bed, a shower, and a trash bin.
3. All it does all day is paint. That’s it. It paints and paints and paints and paints.
4. Eventually its paintings become very good and worth a lot of money. Every few minutes I go downstairs and sell whatever painting it has finished, and then I return to playing the game. My family always ends up feeling blessed because of their fortune, and they never find out about the horrible secret living beneath their home.
5. Are there any merits to the supposedly typical Dutch Huiselijkheid in the contemporary discourse on ecology? Oikeiôsis… And why do all these words bounce off when I try to shatter this oozing corundum conundrum? A designated intimately privatized cosmos to be called upon by uttering a B followed by a drivelling 3 whilst slow-jerking 2 in the corner curved accordingly impvites you to hospit a domiciliary demonstration on the edifying blurvival of a trolltall pixiesphere of gnomologies and what most will spirit as the all-embracing gamut of goblinisms. Nevertheless be wary! For besides the gnome gnomes and gnome ungnomes, there are ungnome ungnomes… with the exceptional loom and gloom of ungnome gnomes… It is a koboldicated kobolitics, but we make excellent cavity detectives!
Kunsttour @ Big Boys (2016)
Installation, various dimensions.
Watermelons, Iphonecover-stickers, infrared lights.
Lucid Ways (2015)
Poppositions. Brussel, BE.
Site-specific installation. Approximately 6 x 5 x 3,3 m.
Astrid Mingels is an artist who’s work is object-based, focussing on the value of materiality. She is often seeking the tension between ancient times in relation to contemporary life and between the material and the immaterial, virtual world.
At Poppositions Mingels is presenting works concerning the subject of immortality, a universal thought that already starts occupying people’s minds in early youth. The longing for immortality, literally the longing to have an immortal body and soul - but as well the type of immortality of those who after their death remain in the memory of posterity - is present in every culture and religion throughout history. Acquiring immortality is a drive and a challenge every artist - perhaps unconsciously - faces.
One part of Mingels’ presentation is an ongoing work that shows several enlarged Wikipedia webpages - printed on mesh fabric - that are intertwined and folded into a new shape. This new structure makes it impossible to read a complete webpage and thereby impossible to determine what the main article you are reading actually is. A projection of a woman in black who is performing desktop-yoga emphasizes the atmosphere filled with lucid meaning.
Like Wikipedia itself, she provides a source of knowledge that is unreliable, ready to be consumed and edited by anyone at anytime. A highly subjective web of information is the result, associatively creating a new narrative. The mesh fabric recalls the pixels of a computer screen and increases the tangible tension between the virtual world and the material object. Transhumanists thoughts and the Epic of Gilgamesh blend together and shape a new story transcending time.
Mingels is captivated by the commodity industry, marketing and the trivial objects in her surroundings. Nowadays the industry offers us a wide variety of products related to the idea of immortality and we are seduced by the promise that these products help us extended our lives happy and healthy.
Using objects like a jade-stone face-massage-roller, a USB-powered air-humidifier and a Mountain Dew soda-bottle she plays with the contrasts that outline the relationships between these objects.
Astrid Mingels starts working from the objects and utensils surrounding her. Her practice consists of an investigation of these objects and their value. Like the title of the show – Unfixed Exchange – the works in the show function within the system of speculative currency. With the transition from the gold standard to the dematerialized monetary system of ascribed value we have made room for an economy based on speculative growth.
By bringing together seemingly unrelated objects, she associatively looks for meaning by creating a certain order. By combining objects and materials she aims for an outcome of more than the mere sum of their parts, and attempts to add a surplus value, thereby employing the rhetoric of the economic system and its marketing tools.
Although her installations, including the video works, have a strong material presence, many of her sources derive from the digital and the online world. The internet is an important source of information and inspiration, which are then translated into physical objects. These material objects will return to an immaterial state in order to circulate in the virtual world. This aspect of her work relates to the simulacrum, a term introduced by Jean Baudrillard to describe the phenomenon of the copy without original. Like for instance a plane crash, a simulacrum is an image of something created not by seeing the original, but by something we have got to know though the media, which, by its nature, are self-imposed. In this sense Astrid Mingels´ works go beyond the point of the authorship of the original, resulting in pieces that could be considered both artifact and meta-object.
Her works have one foot in the world of art and (cultural) heritage, and one in the realm of economy. By presenting her works alongside with bought and found objects, she incorporates the aesthetics and modes of display as used by ethnographic museums. In her practice she approaches her subjects as commodities, and often displays them as such. Astrid Mingels undermines the classifications of objects and artifacts by era. She would easily display a hand-axe or a spear next to a series of objects in porcelain-plaster that are reminiscent of Modernist architectural models; of an oddly familiar shape and size, and, upon closer inspection, turn out to have been cast from Apple-products´ packaging. As the ultimate symbol of contemporary commodities, these objects have taken over the role of the mediaeval hand-tool. With her mode of displaying everyday objects next to ancient utensils Mingels’ work process could be described as archeology of the current age. — Bas Hendrikx. P/////AKT.
Folded zebraskin. Appr. 80 x 60 x 15 cm.
Caldic Collectie Wassenaar
In the 19th century animal skins were shown in science- and ethnographic museums in relation to foreign cultures inferior to Western society. With Introverted the skin is removed from its colonial context and its value changes. From a precious living animal to exotic illustration, to decoration, to art object - the value of objects can change through time and context.
Flash Crash (2014)
Polished Nautilus-shell, silicon, Ipod with earplugs. Appr. 17 x 13 x 8 cm. Audio recording 3.39 min. Loop.
Kunstcollectie De Nederlandsche Bank
The work Flash Crash (2014) consists of a polished Nautilus-shell which is held to the ear. This type of shell was often depicted in the still lifes of the Dutch Golden Age as a symbol for prosperity and wealth.
The shell emits the sound of a live news report on the ‘Flash Crash’ of May 6, 2010. This was the moment on the American Stock Market when the Dow Jones lost almost 10% within just a few minutes (but recovered again quickly). The audio recording captured the disbelief and panic that arose.
Designed in California (2014)
Five porcelain-plaster objects presented on a table made of wood and aluminum. Appr. 406 x 45 x 90 cm.
The work Designed in California consists of a serie of five, sleek designed, objects. The objects have a geometrical shape and are made out of porcelain-plaster. In a way these objects and their size feels familiar; they are casts of the ubiquitous Apple-products’ packaging. At the same time they do not indicate this directly and might remind you of for example architectural models or archeological finds.
The work came into being trying to find a contemporary translation of the cosmetic palettes that were used in Ancient Egypt (5000 B.C.). These cosmetic palettes are very fascinating objects to me; aesthetically as well as conceptually. In Ancient Egypt these palettes composed an important part of the culture and were used for religious purposes; and thus of great importance. I believe the Apple-products have become a symbol of our prevailing commodity-fetish and could be associatively compared to these cosmetic palettes from Ancient Egypt.
THE FAMILIAR WILL HAVE THE VALUE OF THE UNKNOWN (2013)
BFA exhibition, ABK Maastricht, NL.
Although Astrid Mingels (1987) mainly starts working from theory, material and its meaning play a central role in her work. Ordinary materials such as salt and butter are displayed, examined and questioned by her. The value of these ubiquitous products is the overarching theme of her stylized work. In Maastricht she exhibited a heap of salt that contains a kaleidoscope of color within itself, and shows 100 kg. of butter bars (the comparison with gold is easily made) that will melt during the exhibition. A bald-cut cactus, with next to it a piece of graph paper on which all its spines are accurately arranged, shows the care and humor seen in the work of Mingels. Yet her work is also serious: the search for the value of material is a research for the value of art. The devaluation of the once so precious salt can be read like a gloomy metaphor. Fortunately, the beauty of both is not subjected to decay.
— Sanneke Huisman. Metropolis M, 2013-no4. (translated from Dutch)
Time Future Contained In Time Past (2013/14)
Video. 3.17 min. Loop.
I’m interested in the idea of ownership - for example in relation to time, in the triviality of certain objects and mass production.
I was intrigued by this prehistoric flint hand axe because it incorporates a commonness whilst at the same time it is a very personal and specific object. This tool carries the shape of its owners hand; it refers to its utility and to its invisible user.
I had this prehistoric tool scanned by a 3D-scanner and the video work shows this scanning-process. Even though we reproduce endlessly, every object - copy or original - I believe has its own entity and will live through time. This object from the past contains the future whilst the object from the future contains the past.
What's in a Name (2015)
Beetle, perspex, mirror, white lacquer. Approximately 9 x 9 x 12,5 cm.
Ceramics and aventurine. Variable dimensions.
Private collection Belgium
Videoprojection. 45 sec. Loop.
Caldic Collectie Wassenaar.
The videowork Botergoud shows a hovering piece of butter rotating in the air.
Butter has a long history. It used to be a very expensive and valuable product, that was even smuggled over the German - Dutch border during WWII. Nowadays it is a very cheap and common, daily used product and an example of how the value of material can change over time.
The video has a strong material presence but leaves open the question whether the image is created virtually/digitally or analogue. As a viewer you anticipate for something to happen - will the butter eventually melt? This feeling is intensified by showing the video as a projection (the hot beam of light); but in the end nothing happens; the video is an endless loop - like a screensaver.
Too Many Histories / Hostility To Narrative (2013)
Video 7.30 min. Loop.
Het filmisch onderzoek van Astrid Mingels tast het interieur en de directe omgeving van de WinselerHof af en stelt vragen over begrippen als authenticiteit en toe-eigening. Bij de recente restauratie van landgoed WinselerHof kregen de entreepoorten hun historische authentieke kleur blauw terug. Een kleur die echter nog geen jaar oud bleek te zijn. Wat begon als een zoektocht naar de oorsprong van de verf mondde uit in het bekijken en analyseren van de eclectische mix aan sporen van gemigreerde beelden en objecten: landkaarten, fotografische Italiaanse impressies en artefacten van het Limburgse boerderijleven.
In haar (video)collage eigent Mingels zich de beelden en objecten op associatieve manier toe en combineert ze deze met een voice-over van een Afrikaanse vrouw die in het Engels (kunst)theoretische teksten van Rosalind Krauss en Jan Verwoert voorleest. Deze Zimbabwaanse dame gaf een beeldhouwworkshop ‘Afrika Anders’ in het nabijgelegen Overste Hof in Landgraaf. De teksten adresseren onderwerpen als de rol van de avant-garde in de kunst, toe-eigening, de structuur van het grid, originaliteit, repetitie en representatie. - Saskia van Stein, NAiM/Bureau Europa.