How would you describe your work?
Michaela Zimmer: As something which you can maybe get a glimpse of on the screen, but that you have to experience in real, with your body, standing right before it, since it is an experience related to the whole body.
Who or what inspired your approach?
Whose work would you most like to be exhibited alongside?
The work of all great artists — and maybe with a certain piece by Portuguese photographer and conceptual artist Helena Almeida. Years ago something amazing happened that I only recently found out about. She took a photo of a body laying flat on a stool around the same time as I took exactly the same photo while still at Chelsea College of Art. There was no way we would have known each other, and it took my breath away when I discovered it. Not because I was afraid of being copied, but because there were two women in what is called Seelenverwandtschaft in German. We both picked up on the same issue at the same time, and created something almost exactly alike.
In your opinion, what is the most exciting development in contemporary art?
There’s a strong new movement on its way — a sort of new force against all odds that a manic art market has produced in the last few years and that has left artists baffled. It’s about a new understanding of community: one in which artists claim back the expertise. To initiate and produce amazing work, whether it is about single pieces or group shows, based on the idea that art is the only thing we can set against the nonsense that goes on elsewhere. The image of the single genius is replaced by the understanding of each artist as a vessel. There are important issues in the air. We have to be very attentive to notice them, and let them be translated through us for others.
Can you tell us something interesting/unusual about yourself?
I am very lucky to be in the right place at the right time.
Bianca Chu, Head of Sale for First Open / London: Traces of the body and performance are confronted in Michaela Zimmer’s 140801. As the format and interior structure of her canvases are based on the artist’s height and reach, there is a performative or corporeal element which surfaces though the viewer’s first-hand experience of her work.
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