Jennifer Oellerich
1974 born / geboren in Cuxhaven
lives and works in Berlin

EDUCATION

1998 Gaststudium am Art Department of Oversea-studies in Haifa, Israel
2003-2008 Studium der Bildenden Kunst an der UdK Berlin, Schwerpunkt Bildhauerei, Klasse Tony Cragg
2009 Meisterschülerin der UdK Berlin bei Florian Slotawa

EXHIBITIONS

Solo exhibitions
05/98 Maon Levzeller, Herzlya, Israel
12/01 Malerei, TIK, Berlin
04/02 Galerie Kunst und Keramik, Berlin
11/05 Hinter Blauen Türen, F40, Berlin
06/09 Galerie Elm 75, Berlin
08/09 Regaining Dimensions, KWADRAT, Berlin

Group exhibitions
07/98 Eifo Noah, Kibbuz En Carmel, Israel
12/00 Malerei, Kommode unter den Linden, Berlin
11/02 Japan Art Project?, Berlin
07/04 ArtOrt, Galerie Weißenseer Freitag
10/05 Kunstbombe, Messe für junge Kunst, Herne
06/06 Zur gleichen Zeit am gleichen Ort?, Zarnitz
07/06 Außer Haus, Berlin
02/07 Klasse!, UdK Berlin
05/07 L?air de berlin, Galerie AVU, Prag
11/08 Motel Zimmer 501?, Berlin
02/09 temporary 1, our 2nd home projects, Berlin
07/09 Infernoesque, Berlin

PRESS

TAZ, die Tageszeitung , 02.09.2009
Monopol-Watchlist, 12/09

english

Jennifer Oellerich is focussing on questioning our perception, our values and our awarenes for objects and matter in general. She ist constantly searching for intereasting material, especially those which are not too known in art. What is more, she tries to combine found, industrial objects witch her own creations and interventions within or around those ?objects trouvés?. Bitumen, a very old material which is left after the destillation of water from raffined oil, is put outdoors by the artist while it is raining. Structures of surprising beauty and depth are created during this ?game? dealing with the two basic materials water and oi, and of course the immaterial factor ?time?l. The ephemere and the fragile drops are being caught and fixed on top of monumental wooden grounds and by this transformed into new values and dimensions. After this short period of creation there follows a long work of taking out the water which is left in thousands of little bubbles on the surface, and getting the work dry. The artist is changing between controle and coincident by leaving the wood outside for certain time-periods and by putting it outside several more times until she reaches the point of satisfaction in her work. Through this a kind of collection or archive is being created which shows various qualities of rain interacting with the bitumen and leaving structures that remind of a midnight sky from different perspectives. The artist is also questioning simple everyday-phänomenons by mirroring the surface of old satellite-bowls she collected all over berlin and germany. The surfaces are gaining new life and the ?object trouvé? is suddenly showing an up-side-down-picture of our surrounding in its mirror- surface which is poetically questioning our common relations. Something similar happens when she transforms huge amounts of found folders from an archive into a fragile tower which could collapse every minute and destroy a seemingly order and stability.

deutsch

Babel ist eben doch ganz nah

Auch wenn Bitumen bereits seit 6.700 vor Christus genutzt wird, kennt man es vor allem über die müden Füße, nach zu langem Asphalttreten. Denn Teer ist schon lange nicht mehr auf unseren Straßen. Jennifer Oellerich schafft mit Holzplatten, die sie mit Öl bestreicht und kontrolliert in den Regen stellt, wunderbare Bitumenoberflächen. Denn nichts anderes ist Bitumen letztendlich: Öl und Wasser, die wohl beiden wichtigsten Energieträger der Menschheit. Lästige Energiefresser, symbolisiert durch Ordner aus Ämtern, hat sie dagegen zu einen Turm gestapelt. Ein fragiles Gebilde, das jeden Moment zu kippen droht. Meike Jansen