Jessica Buhlmann

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*1977 Potsdam
1998–2007 Universität der Künste Berlin, Master student Henning Kürschner
  Lives and works in Berlin

Grants / Scholarships

2021 Neustart Kultur, VG Bild-Kunst
2020 Special Scholarship, Senat Berlin
2014 Art-Karlsruhe-Award
2003 Dorothea-Konwiarz-Scholarship

Solo Exhibitions

2021 Remnant/Presage, Galerie Burster, Berlin
2020 Geomancy, Galerie Nicole Gnesa, Munich
2018 Waves Hints Offset, Galerie1214, Berlin
  Garden Rain, Galerie Nicole Gnesa, Munich
  Somatic Variations, Kunstraum 34, Stuttgart
  Contingent Views, Galerie Strzelski, Stuttgart
2017 Pala, Galerie 1214, Berlin
  Shapes and Spaces, Galerie Anja Knoess, Cologne
2016 Morphology, Galerie am Klostersee, Lehnin
2014 Resonant Bodies, Kunstverein Reutlingen, Reutlingen
2013 Neue Abstraktion, Studio d‘Arte Cannaviello, Milan
2012 On the Cusp, Galerie Anja Rumig, Stuttgart
  Reciprocity, SOX, Berlin
2011 Zuspiel, Künstlerhaus Bethanien, Berlin
2010 Out There is Always a Construction Site, Zern, Berlin
  Taken for Stranger No 8, Appartement, Berlin

Group exhibitions

2022 Mixed Media, Evelyn Drewes | Galerie, Hamburg
2021 Mise en Scène, Künstlerhaus Sootbörn, Hamburg
  New Neighbours, Galerie Burster, Berlin
  Against Nature, Milchhof Pavillon, Berlin
2020 Frutti di Mare, Galerie Knut Hartwich, Sellin
  De rerum natura/Über die Natur der Dinge, Kunstquartier Bethanien, Berlin
2019 Ein Monument für Wolfgang Neuss, Haus am Lützowplatz, Berlin
  September in Berlin, Hammerschmidt + Gladigau, Berlin
  Alternative Facts, Laura Mars Gallery, Berlin
  Die Sprache der Formen, Galerie OQBO, Berlin
2018 Shape!, Galerie Burster, Berlin
  In Interim, Galerie K’, Bremen
  Love Triangle, Galerie Domeij, Stockholm
2017 Über Malerei, Galerie Axel Obiger, Berlin
  Surf, Galerie Hartwich, Sellin
2016 Berlin-Klondyke, Maribor Art Gallery, Maribor
  Inscape, Kunsthaus Erfurt, Erfurt
  Les Miniatures, Nicole Gnesa, München
2015 Rauschen, Galerie Alte Schule, Ahrenshoop
  Berlin-Klondyke: 1. Berlin Edition, Salon Dahlmann, Berlin
  Spectrum One, Eigenheim Galerie, Berlin
2014 L‘oiseau Presente: Be Abstract, Kunstverein, Schwaebisch Hall
  Die Leipziger Edition, Wiensowski & Harbord, Berlin
  Bento Box, Anja Rumig, Stuttgart
2013 Berlin-Klondyke, Hipp Halle Gmunden, Austria
  Salondergegenwart, Lippeltstrasse 1, Hamburg

Coming from painting, my artistic work increasingly expands into space. From composition and improvisation emerge ecosystems of subtle relationships and fragile equilibria that work with the irritation through the alienation of familiar things. Starting from found artifacts, such as pieces of glass, bent metal from demolition sites, or wooden slats, fragile poetic formations are formed through a slow process of reworkings, revealing what they once were; mere utilitarian material, manufactured to fulfill a practical use, and joining together, as it were, to become what they then are; form shapes that, in their intrinsic value and in the play of their coloration and painterly gestures, signify ever new points of reference, beginning and end.

Jessica Buhlmann


Living Shapes

Jessica Buhlmann does not look for the loud spectacle, but conducts subtle research work in her painting . How often has the end of painting been proclaimed, as if all colors and forms on the canvas had long since been tested and explored. Jessica Buhlmann does not care. She knows that the search for the perfect composition is an endless endeavor, that one can harmoniously balance the weights on the canvas and yet never reach a conclusion. Buhlmann studied painting, but she never picks up a brush. She develops initial structures on her paintings with tape, then presses the oil paint directly from the tube onto the canvas and works with a palette knife - "so that the paint has a body," as she says. When Buhlmann then tears off the strips again, hard edges emerge that rebel plastically like reliefs. The result is deliberately superficial. For the artist does not want to demonstrate how painting can virtuously open up spaces. She develops level-headed compositions that explore the interplay of elements. The number of her colors is manageable, the hues are pale. Bounded by the edges of the picture, something is pressed here, something is tenderly embraced there. Some forms seem lost, others seem to be enjoying themselves in carefree togetherness. Sometimes a stick bores itself into the blue, then again a point penetrates into a tired triangle. Forms can also be eloquent, live, suffer, love.
 In this play of abstract art, it is not about associations and the appeal of representational motifs. The more Buhlmann distances herself from real references, the more she needs her own rules "to be able to hold on," as she says. During the painting process, which is also guided by intuition, she repeatedly formulates such rules, which she then breaks, so that they can no longer be traced back in the paintings. This creates a free play of forms, full of tension and mysterious references. Painting as a careful research work, modest, concentrated and beautiful. 

Adrienne Braun