Nadine Wölk
CV
*1979 | in Jena |
2001–2008 | Hochschule für Bildende Künste Dresden, master student Prof. Martin Honert |
Lives and works in Dresden |
Solo exhibition
2017 | nightglow, Galerie Himmel, Dresden |
2014 | Key Groups, Galerie Ines Schulz, Dresden |
YOLO, Evelyn Drewes | Galerie, Hamburg | |
2012 | See Yeah ... Again, Galerie PopArtPirat, Berlin |
2011 | See Yeah, Galerie PopArtPirat, Hamburg |
2010 | Colours of Night, Projektraum am Weißen Hirsch, Dresden |
2008 | Delected Scenes – Nighthawks, Galerie Epikur, Wuppertal |
Group exhibition
2018 | Blickwechsel, Galerie Himmel, Dresden |
2017 | NEON. NIGHTHAWKS. GLOW IN THE DARK, Galerie drei, Dresdner Sezession 89 e.V., Dresden |
The Delft Project, Werksgalerie Kreative Werkstatt e.V., Dresden | |
Colours of Night II, Rathausgalerie Roßwein, Roßwein | |
2016 | NEON BLACK, produzenten galerie, Dresden |
NEO NOIR, Galerie Budissin, Bautzner Kunstverein e.V., Bautzen | |
2014 | 6 Künstler – 6 Kunstakademien, Sparkasse Karlsruhe Ettlingen, Karlsruhe |
Portraits, Evelyn Drewes | Galerie, Berlin | |
2013 | Nighthawks, Miachaela Helfrich Galerie, Berlin |
2012 | Made in Germany, mit Galerie PopArtPirat, London |
2011 | Nachts allein im Atelier, Galerie PopArtPirat, Hamburg |
2010 | 2. Eberhard – Dietzsch – Kunstpreis, Gera |
2009 | wasistdas, Gruppenausstellung parallel zur FIAC, Paris |
Mal was Deutsches, Hangar 7, Salzburg | |
Zitate. Nach allen Regeln der Kunst, Vonderbank ArtGalleries, Berlin | |
2007 | FREMDE, Galerie Adlergasse, Dresden |
Von der Schönheit des Alltäglichen, Galerie Epikur, Wuppertal |
Texts
Nadine Wölk plays with the different levels of perception of the painterly representation, in which she extends traditional techniques with modern means of expression. In her new works, painting seems to enter into a dialogue with photography and youth culture more than before. It is no longer an examination of the childhood past, but a kind of documentation of the present, in which the fleetingness of moments and experiences is thematized. [...] The question of the retrievability of subconscious experiences comes to the fore. In this context, Wölk makes use of the documentary quality of the photograph as a depiction of reality, while at the same time pointing out that the associated memory is inevitably to be found outside the photograph. This results in a legible discrepancy in her works between subjective and objective perception of what is experienced and of herself.
Excerpt "Deleted Scenes" Galerie Epikur, Wuppertal, 2008
Caroline Linssen