Short biography

© Antje Blumenstein
© Antje Blumenstein

Antje Blumenstein

Visual Arts

September, October, November 2021

Ministerium für Wissenschaft, Forschung und Kultur des Landes Brandenburg

Antje Blumenstein studied Graphic Design at the Akademie der Bildenden Künste Nuremberg as well as Painting and Graphic Art at the HfBK Dresden; she was a master-class student of Prof. Bosslet. Since 2017, she is lecturer and curator of the Takt-Residency Berlin.

Recent solo exhibitions include: tactics of lines, Galerie Nanna Preußners Hamburg, 2020; nineteen lines, Botschaft Berlin (2017); cross straight and turn around... Galerie Kunsthaus Erfurt (2017); lines, Galerie Hammerschmidt & Gladigau, Erfurt (2016); five lines, Galerie Martin Mertens, Berlin (2014); lokal 10, CAD, Skulpturensammlung Albertinum Dresden (2012); Kunstkammer No. 7, Georg Kolbe Museum Berlin (2010). She has also been involved in many other exhibitions, most recently at Brandenburgischer Kunstverein Potsdam, Galerie Axel Orbiger, Uferhallen Berlin, Deutscher Künstlerbund Berlin. In 2019 she received the Pollock-Krasner Foundation Grant.

Since 2014, the artist has been concentrating on the three parameters of space: line, form and color. With linear objects made of neon, plastic, and aluminum rods, in recent works she returns from the two-dimensional picture to the actual space and expands them into installations. The aspects of light and shadow play an increasingly important role.

The three-dimensional works, the aluminum folds as well as the neon objects, have so far been created without a fixed, mathematical system. The working process always begins with paper models, experimental folding of small rods—and is thus a creative process of chance. In Wiepersdorf, Antje Blumenstein wants to develop a system that bypasses the restrictions imposed by habits of seeing and thinking. A mathematical system, based on three-dimensional parameters, will expand her own spatial imagination. Formally, a structure is to be developed that makes it possible to stabilize the neon glass objects, which are very fragile in their materiality, by means of a metal system in such a way that they can stand freely in space. The construction itself is to become part of the work, without simply doubling the lines of the neon rods.