Lada Nakonechna

11 February 2014 - 15 February 2014
Opening: Tuesday 11 February 2014, 5 to 9 pm

See the work of Lada Nakonechna

In her drawings, installations, videos, and performances, Lada Nakonechna confronts the viewer with images of current events and pictorial experiences from collective memory, which she manipulates or distorts. She thereby turns human beings, as viewers, into manipulative disturbing factors who influence and change a given image, themselves "standing in the picture", obscuring or completing it. She places purposeful demarcations or obstacles between the viewer and the picture. In one work she hides the picture behind a separating wall, thereby preventing it from being viewed in its entirety, no matter how far away or close one is. In another work, she conceals a whole wall of the exhibition room with a photo wallpaper showing a copy of precisely the same wall, turning the reproduction into the actual object, thereby creating an aspect of dazzling that covers the actual picture, of which one thinks one has a precise idea. With the aid of demarcations, deceptions, and shiftings of reality, the artist consciously manipulates the viewer's perception.


As an artist who lives in Ukraine but often works and exhibits within the European Union, crossing boundaries and migrating are also part of her own biography and identity.

Though Lada Nakonechna cannot be pinned down to a single medium and even in her large wall pictures a performative aspect always plays a role, for her there is no better means than the pencil for expressing temporality. Instead of working with paint, with which she could rapidly fill large surfaces, she consciously prefers the pencil, with which it takes time before a picture is completed. The labor can be perceived; each stroke and hatching is necessary to produce the picture, whether a small-format work on paper or an entire wall.


For her exhibition, Lada Nakonechna places a tower construction in the middle of the gallery space. From it, as if from a lighthouse or a watchtower, a beam of light falls onto the surrounding walls of the darkened room. At the level of the illumination, the viewer can decipher text noted on the walls in pencil. But to do so, they are blinded and caught by the light, and must move with the light to grasp everything. The lighthouse is actually a symbol of a firm hold, a glimmer of hope on the horizon, toward which one orients oneself when one has lost one's way. In contrast, the watchtower with its spotlight can destroy such hopes in a flash. With the lighthouse/watchtower, the blinding light that blocks one's view is the basis for the manipulation and perception of space between the artist, the visitor, and the exhibition space. What is really there, and what is imagination? Where does the path lead that the light shows, and how promising can the prospect be when the light is simultaneously shut in by four high walls that block the view?

Lada Nakonechna (*1981 in Dnipropetrovsk, Ukraine) studied at the National Academy of Fine Art and Architecture in Kiev. She is a member of the artists group Revolutionary Experimental Space (R.E.P.) and a cofounder of Hudrada, a self-organized community based on interdisciplinary cooperation, with which she also works as a curator. In 2012, she cofounded the initiative ISTM (art worker's self-defining initiative). She lives and works in Kiev.

5 Weeks, 5 Artists, 5 Exhibitions
Galerie EIGEN + ART Berlin

With TAKE FIVE, the Galerie EIGEN + ART Berlin will show five exhibitions of five young artists for five weeks beginning on 14 January 2014.

The exhibitions will open weekly from Tuesday from 5 to 9 pm and be shown through Saturday. Each of the five artists has developed new works for the showing. With works that range from sculpture through painting and drawing to room installations, the gallery will thereby become the stage for a diverse exhibition program for a period of five weeks: Melora Kuhn and Lada Nakonechna have already been seen with exhibitions in the EIGEN+ART Lab; Mirjam Völker, Kristina Schuldt, and Kai Schiemenz were represented in group exhibitions in the Berlin and Leipzig galleries.

Kai Schiemenz
14 January 2014 - 18 2014
Opening: Tuesday, 14 January 2014, 5-9 p.m.

Kai Schiemenz (*1966 in Erfurt, lives and works in Berlin) focuses in his works on the city, space, and architecture and on the regulating function that these constructs carry out on people. His small-format sculptures are self-enclosed structures that combine digital techniques with natural materials like wood or paper. At the same time, they serve as models for spatially expansive installations and architectures for interiors and exteriors, in which Schiemenz uses lines of sight to construct spaces whose permeability enables them to involve the viewer directly. At the center is always the question of the influence of the built surroundings and the urban landscape on people. In his solo exhibition, Schiemenz shows two new groups of works in which the concept of architecture increasingly dissolves and the artificial materiality of the surfaces takes the foreground.

See the work of Kai Schiemenz

Melora Kuhn
21 January 2014 - 25 January 2014
Opening: Tuesday, 21 January 2014, 5-9 p.m.

The works of Melora Kuhn (*1971 in Boston, lives and works in New York) are a constant observation of people’s experiences with themselves and with society. Kuhn makes use of the pictorial language of mythologies and history, in particular the pictorial forms of 19th-century American art history, from which she isolates individual pictures and places them in a new context. Her interest thereby is in details that are forgotten or elided in the narrative, in order to take a firmly established and well-known story in another direction and to inscribe a new readability into the personal biographies of the protagonists in her pictures. To do this, she uses the background to hint at the persons’ state of mind or a contour drawing above the portrait to add a second narration. She will show new paintings in her exhibition.

See the work of Melora Kuhn

Mirjam Völker
28 January 2014 - 1 February 2014
Opening: Tuesday 28 January 2014, 5 to 9 pm

Mirjam Völker (*1977 in Wiesbaden, lives and works in Leipzig) is interested in forms of housing in her paintings. In the form of tree houses, poorly cobbled together huts, mobile homes, or vehicle cabs, they are placed like foreign objects in the midst of nature, where thickets overgrow and conquer them. These housings fail to fulfill their intended purpose, namely to provide shelter and safety from external influences, and they offer signs of discomfort and fragility instead of security and warmth. In her new large-format works on paper, provisional wooden huts stand on rickety stilts in a network of branches with no solid floor. They bear traces of former inhabitants and are now abandoned entirely to themselves and nature, which displaces them and brings them down like uninvited intruders.

See the work of Mirjam Völker

Kristina Schuldt
18 February 2014 – 22 February 2014
Opening: Tuesday 18 February 2014, 5 to 9 pm

In the pictures of Kristina Schuldt (*1982 in Moscow, lives and works in Leipzig), faceless women's bodies lie, fall, loll languorously, or bend themselves, as two-dimensional tubes. They thereby resemble smoothly polished machines more than living beings. Kristina Schuldt unashamedly makes use of the pictorial forms of Classic Modernism, but she creates her own new pictorial language, for example from the wavy hair of a Fernand Léger painting and powerful, schematized bodies that recall the avant-garde pictures of the 1920s. She exposes her figures to a garish party illumination and uses cigarettes and miniskirts to give them a nonchalance and coolness that is more reminiscent of teenagers than of mature, strong women. While in her earlier pictures the figures and their limbs were subjected and "bored into" their situation, in the new works in the exhibition, an increasing consciousness of morals comes into play and is reflected in the bodies.

See the work of Kristina Schuldt