A selection of reviews, articles and texts of Vanessa von Heydebreck’s work:
REVIEW: STRATIFIED: Fragmentierte Welt(en)
2. Februar 2017 • Text von Anna Möslinger
“Vanessa von Heydebreck’s artistic practice is fuelled by a dissatisfaction with the traditional limitations of collage. Frustrated by its two-dimensionality she repeatedly seeks to reinvent the medium, asking how far the act of putting things together and taking things away can take her.
Cut-outs are subjected to complex processes and layering. They are enlarged on digital scanners, or abstracted and reprinted in black and white. The flat images are displayed in inventive installations–brought into three dimensions in ways which still bear reference to their former flatness. She even experiments with architectural interruptions, a process she sees as an extension of collage, working with cut-outs in the third dimension.
Von Heydebreck works from an inventory of images supplemented with found objects. With a playful approach she repurposes these chance encounters, finding the extraordinary in the ordinary aiming to discover a silver lining in an object’s previous rejection. There is a surreal dimension to her work as she uses these readymades to flip our perception of the world around us.
Von Heydebreck has a keen sense of visual humour. She sets up falsities, creates illusions and uses trickery to beguile and amuse the viewer, playing on what is missing in the image as well as what is visible. There is magic in her combinations which seek to take their viewer down the rabbit hole into a weird and wonderful world of distorted objects.”
Alexander Ochs Cuts Through Conceptual Fat With Group Show
by Alexander Forbes | BLOUINARTINFO 2013
As a place for philosophically engaged, rigorously conceptual art, Berlin has it made. But sometimes you need to cut through the fat for a lighter, even funny, take on art making. Alexander Ochs’s current group show “Thank God I’m Pretty” is just such a digestif. Featuring two gallery staples, Andreas Amrhein and Per Adolfsen, and two newcomers, Frederik Foert and Vanessa von Heydebreck, the show is mouth-curling with wit.
Of the quartet, Foert’s works might o er their irony most readily, especially his salon hung group of collages in which jokey or slightly lewd phrases make side-commentary on the oft-Victorian source imagery. Foert also has a series of kinetic sculptures strewn throughout the gallery. Demure walking sticks form a through-line in those creations stuck onto vintage tables and wooden tripods. With electric motors and servos whirring along, the stick’s golden handles in shapes like a thumbs-up or a vulture head turning back and forth suggesting shifting fates or downright dissension.
Per Adolfsen’s offerings at Alexander Ochs in oil play on the narcissistic tendencies of contemporary artists and society at large. In “Thank God I’m Pretty II, Selfportrait” (2013) the artist presents him- self against a black backdrop, shirtless, and with a rather distended potbelly, which continues below the canvas’s waistline cuto . A pallid complexion from a too-long Berlin winter is accented by a pink daisy pasted to the left side of his widow’s peak.
Also taking on the body in jest, von Heydebreck’s collages feature disembodied legs, breasts, and hybrid woman-animal creations. Through the cooptation of often-fetishized portions of the female body into non-human entities, there is a suggestion of the object-based rather than human relations of the sexes. Meanwhile, Andreas Amrhein shows dream-like figurative paintings in acrylic. “Suburbia Diaries” (2012) for example shows a young, slightly deranged-looking girl in a dressing gown, walking through a mushroom patch with cabin and 80s era sedan in the background. Fantastical at first, it, like the other artists’ works as well, proves there’s a lot more to irony than pure dismissiveness.
Berliner Zeitung by Irmgard Berner
Welt.de by Karl Heinrich