DAGMARA GENDA

Works on paper
Wall works and installation
Writing
Bio and CV

Wall Tracing, Arp Museum (2017)

This tracing was done over the wall where the curatorial didactic is usually placed. From years of adhering and removing vinyl lettering, there is a distinct pattern of damage left on the wall. Angular scrapes can be found on the left and right hand sides, while the middle is so liberally painted that the remnants of latex seem to stream down like waterfalls. These elements were carefully traced out of the paint and form a visual didactic for "Was sich abzeichnet," a group exhibition about drawing.

Unfolded Niche (2017)

An in-situ studio drawing completed in a niche that was presumably once a door, was photographed, stitched together and printed on aluminum. Rather than exhibit documentation of the site-specific work, a new work was made that creates an impossible space meant to be inserted into different settings. Like the strange functionless niche in my studio, the large-scale print works on an architectural scale.

Wall Tracing, Project Space at Schloss Balmoral, Bad Ems (2017)

This was the wall drawing made for the exhibition of the three 9-month Fellows at the Künstlerhaus Schloss Balmoral. The project room bore the marks of previous installations, patches, cut plumbing and even previous doorways that were poorly boarded up and plastered over. I attempted to trace out as many of these histories as possible over a five day period.

Raufaser (2016)

This was an in situ studio wall drawing completed during a 9-month residency at the Künstlerhaus Schloss Balmoral in Bad Ems, Germany. I noticed the ubiquity of Raufasertapete (literally translated as "rough grain wallpaper") which forms the background of many German households, including my bedroom and atelier. Using brush and ink, I traced out the grain of the wallpaper as well as the years of paint applied to it. I used a niche in my studio as the boundary for the drawing.

The sun's rays... (2016)

The sun's rays, as they passed through my studio skylight from early August to late-September, when they stopped reaching my walls at all is a site-specific studio wall drawing done at the Künstlerhaus Schloss Balmoral in Bad Ems, Germany.

cutting out the snow (2015)

Over the course of a year, I cut out all the images of snow from a picture book on the arctic. In this particular work the cut-outs are simply pinned inside vitrines like preserved butterflies or scientific specimens.

The Sky's the Limit (2015)

As part of the Remai Modern's prelaunch programming, a durational smoke drawing was presented. The pilot traced the figure 8 in the sky over Saskatoon's downtown until he ran out of smoke.

Baby, it's cold inside (2015)

Ann Arbor Art Center's Aquarium Gallery was transformed into a freezer filled with snow. Flipping the title of the 1944 duet inside out, Baby, it's cold outside, the piece alludes to the often alienating interior space of the gallery and its various attempts at using public address to reach a wider audience.

Beating the Bush (2015)

A Common Laurel in London's Regent Park was photographed over the course of the spring months under varying weather conditions. The result was a wide variance of green captured in a plant whose colour was actually consistent. The photographs of leaves were used as a palette with which to make geometric shapes that speak to the history of painting, the picturesque, as well as private and public space. The Common Laurel is traditionally pruned into walls used to divide property.

a really really big doodle! (2014)

As part of Contemporary Art Forum Kitchener + Area's Biennial, the Charles & Benton Garage was covered by a five-storey doodle. Based on earlier drawings where I combined gestural strokes with architectural forms, I decided transfer the process onto an actual building. The absent-minded doodle contrasts automatic drawing with industrial design.

Panorama (2012)

This 25' long collage presents a Hieronymous Bosch-like view of the Canadian landscape. Using cliche depictions of the wilderness, the immersive space does not permit itself to be seen in one glance. Perspective is always at close range forcing one to focus on details.

Bush Garden (2012)

Tom Thomson and Group of Seven paintings were traced and printed on cut adhesive vinyl wallpaper to create an abstract design. Combined with images of animals fighting, fucking and camping equipment, the work is an irreverant take on tradition, regionalism and the landscape.

>

Collapsed Building (2012)

This adhesive vinyl piece is a version of the apartment block I lived in as a small child in Poland. The design is based on a photograph and has undergone a complex, layered process of tracing and retracing to render it limp.

Building Disaster (2011)

This work was made by tracing different views of Warsaw's Palace of Culture and Science and using its elements to digitally create new drawings that verge on abstraction. The Palace was built in the style of Socialist Realism, which was, ironically, based on turn-of-the-century American architecture. The most recent incarnation of this work can be found amidst its stylistic origins in the US, in a Chelsea brownstone on 421 W22nd Street.

Limp Landscape (2010)

Over 60 years of landscape paintings from the Mendel Art Gallery's (Saskatoon, Canada) permanent collection were traced and rendered into one massive abstracted landscape. Limp Landscape continues my interest in regional practices, tradition and how these histories surface in contemporary art.

Screamers and Bangers : the wallpaper project (2008)

Using a technique of tracing, the paintings of Tom Thomson and the Group of Seven were abstracted into bright red, adhesive vinyl. Combined with images of animals either fucking or fighting, the work is intended as an irreverant homage to the manufacturing of art history, regionalism and tradition.

Jack Pine (2008)

Tom Thomson's iconic work Jack Pine was reproduced using screen-printed wallpaper whose repeated pattern consisted of Canadian animals having sex.

-Review of moving is in every direction at the Hamburger Bahnhof for Border Crossings.

 

mail@dagmaragenda.com
+49 (0)157 318 346 25

Instagram ©2017 Special thanks to Canada Council for the Arts and the Ontario Arts Council.