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Elisabeth Moch

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CV

*1991 Idrinskoje, Russland
2012–2020 Hochschule für bildende Künste Hamburg, master class Pia Stadtbäumer
Lives and works in Hamburg

Grants / Scholarships

2021 Hamburger Arbeitsstipendium
2020 Förderpreis 2020 der Carolina D’Amico Stiftung
2018 ASA-Reisestipendium an der China Academy of Art in Hangzhou, Karl-Heinz-Dietze Stiftung
2017 Nominierung, Studienstiftung des deutschen Volkes
  Ausstellungsaustausch, Goldsmiths, London
2015 Projektförderung des HFBK Freundeskreises

Solo exhibitions

2018 Waves Of Reflection, Kunstforum Markert, Hamburg

Group exhibitions

2021 Lab, Evelyn Drewes | Galerie, Hamburg  
  One Echo Or More, Mom Art Space, Hamburg  
  Body Re-Divined 2, Mom Art Space, Hamburg  
  Arbeit Am Mythos, St. Jacobi Kirche, Hamburg  
  Dialog 5: See U Th3re, Kunstverein Harburger Bahnhof Vitrinen, Hamburg  
  Nominees, Nominiertenausstellung Für Das Hamburger Arbeitsstipendium, Kunsthaus, Hamburg  
2020 salondergegenwart, Hamburg  
  Graduate Show, Hfbk, Hamburg  
2019 Parallel Picnic, Krebs-Kontor, Hamburg  
2018 Ask The Gallerist Mit Philipp Haverkampf, Hfbk Galerie, Hamburg  
2017 Graduation Show, Hfbk, Hamburg  
  Art Letter Home, Museum Of Contemporary Art Of Caa, Hangzhou, China  
  Art School Alliance, Asa Open Studios, Hamburg  
  We Take No Responsibility, Hfbk Galerie, Hamburg  
  Nominiertenausstellung Der Studienstiftung Des Dt. Volkes, Hochschule Für Grafik Und Buchkunst, Leipzig  
  Focal Point Within The Small Garden, Goldsmiths, London, Uk  
2016 A4B4, Tonenton, Kopenhagen, Dnk  
  Hfbk Thugs Iii, Hfbk Thugs, Hamburg  
2015 Hfbk Thugs I, Hfbk Thugs, Hamburg  
  Painter’s Delight, Tonenton, Kopenhagen, Dnk  
  040/46632021, Grindelallee 117, Hamburg  
2014 Spiritus, Golden Pudel Club, Hamburg  
  Equal Goes It Loose, Gruppenausstellung Der Klasse Markus Vater, News Of The World, London, Uk  

Texts

Elisabeth Moch's works play with the role of folk art as well as domesticity within a digital, networked and hypercultural world. Smoothness and chaos, machine production and craft, visionary and nostalgic, as well as the relationship of the individual to the community materialize in her works. Dealing with craft techniques and genres, such as weaving, carving and a specially developed form of reverse glass painting, she creates sculptural pictorial objects, stages spaces and deliberately mixes organic with inorganic materials for this purpose. In the LAB, the artist shows pictorial objects that she applies and molds onto a glass plate using a technique similar to reverse glass painting, as in a monotype process.

Here, the technical-male connotation of the material fiberglass, which is used industrially for shipbuilding and aircraft construction, space travel, and digitization and represents a basic building block of modern networking, meets clichéd feminine connotations reminiscent of decoration and domesticity.