Hannah Maria Schmutterer and Linus Schuierer: just because something is made up doesn’t mean that it’s not real

 

16.6.—25.6.2023

format

exhibition

dates

15.06.23, 5 pm, opening

studio

Now closed

I guess I want to hear more about your questions - or your notions around self and character and anything else that comes up for you (..)

Well, just because something is made up doesn’t mean that it’s not real. So, (laughs) that's a funny thing.

yeah

It's a funny thing that there is kind of a one way street there, right? Well masks are fun. It would make sense that we like them. And what you point out about this book “containing a pair of autofictions written by a character” , I'm glad you say that, you know. Indeed! We have two autofictional works there. And it interests me to think about what happens when you ask a character to make something. I think that something different happens when you ask a character to make something, than when you have a character do something. 

1:30:59 (Edited), Between the Covers, David Naimon in conversation with Lucy Ives

'just because something is made up doesn’t mean that it’s not real' is an exhibition of work by artists Hannah Maria Schmutterer und Linus Schuierer. Borrowing its title from a conversation between writers Lucy Ives and David Naimon, the exhibition brings the artists' work into conversation with one another. Presented together for the first time, Schmutterer and Schuierer, who are friends as well as colleagues, imagine one thing as another – textile wall pieces that are also paintings, vessels that are also sculptures and sculptures that are also domestic tiles – bringing into question what we mean by truth or reality versus subjective reality.

In 'just because something is made up doesn’t mean that it’s not real' at Lothringer 13 Studio, the artists explore narrative as portraiture – and those receptacles for stories, from carrier bags to vessels – albeit through distinctly different visual languages. Schmutterer's layered and laboured large-scale wall hangings envelop the space in a saccharine palette, while Schuierer's deconstructed vessels rendered in aluminium and arachnid clay tiles occupy the central space turning the exhibition into a site for many stories that are at times spectral, and other times familiar or almost domestic.