Sabine Finkenauer | anamasprojects.com

Flor
Sabine Finkenauer. "Flor" 2018. Acrílico sobre tela. 240x160cm

Sabine Finkenauer | anamasprojects.com

Àrbol (Tree)
2018
Acrylic on canvas
240 x 160 cm

Sabine Finkenauer | anamasprojects.com

S/T
(diptych)
2018
Acrylic gouache on paper
180 x 150 cm ea

Sabine Finkenauer | anamasprojects.com

Untitled
2011
Painting on wood
60 x 53 x 15 cm

Sabine Finkenauer | anamasprojects.com

Untitled
2011
Painting on wood
40 x 18 x 10 cm

Sabine Finkenauer | anamasprojects.com

Forma (Form)
2018
Acrylic on canvas
180 x 130 cm

Sabine Finkenauer | anamasprojects.com

S/T (2016) Gouache and acrylic on paper. 130 x 100 cm

Sabine Finkenauer | anamasprojects.com

Untitled (2016) Gouache and acrylic on paper. 51,18'' x 39,37''

Sabine Finkenauer | anamasprojects.com

Flores (2015) Pencil and collage on paper. 55,1'' x 40,1''

Sabine Finkenauer | anamasprojects.com

Ramas (2015) Pencil and collage on paper. 55,1'' x 40,1''

Sabine Finkenauer | anamasprojects.com

S/T (2016) Gouache and acrylic on paper. 130 x 100 cm

Sabine Finkenauer | anamasprojects.com

S/T (2016) Gouache and acrylic on paper. 130 x 100 cm

Sabine Finkenauer | anamasprojects.com

S/T (2016) Gouache and acrylic on paper. 130 x 100 cm

Sabine Finkenauer | anamasprojects.com

S/T (2014) Drawing and collage on paper. 70 x 90 cm

Sabine Finkenauer | anamasprojects.com

Untitled (2016) Gouache and acrylic on paper. 51,18'' x 39,37''

Sabine Finkenauer | anamasprojects.com

S/T (2014) Drawing and collage on paper. 50 x 65 cm

Sabine Finkenauer | anamasprojects.com

Petals (2013) acrylic on canvas 130 x 160 cm

Sabine Finkenauer | anamasprojects.com

Petals (2013) oil on canvas 150 x 180 cm

Sabine Finkenauer | anamasprojects.com

Untitled (2018) acrylic on paper 150 x 115 cm

Sabine Finkenauer | anamasprojects.com

Untitled (2018) acrylic on paper 150 x 115 cm

Sabine Finkenauer | anamasprojects.com

Flower (2018) acrylic on canvas 180 x 130 cm

Sabine Finkenauer | anamasprojects.com

Flower (2018) acrylic on canvas 180 x 130 cm

Sabine Finkenauer | anamasprojects.com

Flower (2018) acrylic on canvas 180 x 130 cm

Sabine Finkenauer | anamasprojects.com

"De otra forma". Ana Mas Projects, (Barcelona). 2018. ©robertoruiz

Sabine Finkenauer | anamasprojects.com

"De otra forma". Ana Mas Projects, (Barcelona). 2018. ©robertoruiz

Sabine Finkenauer | anamasprojects.com

"De otra forma". Ana Mas Projects, (Barcelona). 2018. ©robertoruiz

Sabine Finkenauer | anamasprojects.com

"A presence in the void", RPHart Gallery (Madrid), 2015

Sabine Finkenauer | anamasprojects.com

"A presence in the void", RPHart Gallery (Madrid), 2015

Sabine Finkenauer | anamasprojects.com

"From red to blue", etHALL Gallery (Barcelona), 2015

CV

SABINE FINKENAUER

Rockenhausen, Alemania, 1961

SOLO EXHIBITIONS

2018

Ana Mas Projects. De otra forma. Barcelona, España

Arróniz arte contemoráneo. Simiente. Ciudad de México

2017

Palacio Quintanar, En otro orden de cosas, con Mª Jesús Gómez Garcés, Segovia

Paper Positions Art Fair, stand Galerie Ulf Larsson, Berlín

2016

ArtBo (Art Fair), Galería Rafael Pérez Hernando, Bogotá
Swab Art Fair, Galería Rafael Pérez Hernando, Barcelona
Paréidolie Art Fair, stand Galería Rafael Pérez Hernando, Marseille
La vida es probablemente redonda, López-Sanz Collection, Cretas, Teruel
Hotel de las Letras (in collaboration with Galería Rafael Pérez Hernando), Madrid

2015

Estampa 2015, Mein Garten, stand Galería Rafael Pérez Hernando, Madrid Galería Rafael Pérez Hernando, A presence in the void, Madrid
Galería etHall, From red to blue, Barcelona

2014

 Galeria Miquel Alzueta, Palau de Casavells, Baix Empordà, Girona

2013

Pepnot Gallery, Artá, Mallorca

2011

MasArt Gallery, 2-Dimensional Sculpture, Barcelona

2010

SIS Gallery, Some Things, Sabadell

2009

Jones Gallery, cosas singulares, Colonia, Alemania

Miquel Alzueta Gallery, Espai Casavells, Corça, Girona

Art Amsterdam, Artbackoffice, Amsterdam, Holanda

2008

Can Mora de Dalt Gallery, Sant Vicenç de Montalt, Barcelona

MasArt Gallery, Drawing Objects, Barcelona

Carmen de la Calle Gallery, Playground, Madrid

2007

Städtische Gallery, Anima, Villingen – Schwenningen, Alemania (catálogo)

L´Estruch Cultural Center, Domestic, Sabadell

2006

Sis Gallery, Dibuixos, Sabadell

Carmen de la Calle Gallery, La casa de Carmen, Madrid

2005

MasArt Gallery, Open House, Barcelona

2004

Artothek, Munich, Alemania (with Anne Rössner)

Esther Montoriol Gallery, Barcelona

2002

Esther Montoriol Gallery, De niñas y flores, Barcelona (catálogo)

2001

Claramunt Gallery, Barcelona (catalog)

1999

Can Xerracan, Montornès del Vallès, Barcelona (with Carles Gabarró)

1995

Museum of Valls, Out of Valls, Valls, Tarragona (catalog)

1994

Ebert Gallery, Baden Baden, Alemania

 

GROUP EXHIBITIONS (SELECTION)

2018

ARCO ‘18, Galería Rafael Pérez Hernando, Madrid

2017

Repetition Échantillon Collection, Château de Servières, Marseille

Swab Art Fair, Barcelona, stand Galería Rafael Pérez Hernando

Galería Esther Montoriol, DelicArtessen, Barcelona

2016

Untitled Art Fair, Galeria Ana Mas Projects, Miami

Galerie Espace despalles, #BRINGSOMETHINGPINK, Paris

Galerie Grand E’terna, Estampes +, Paris 2016

Arts Libris 2016, booth R.L.D. Éditions, Barcelona

Arco ‘16 – Arts Libris, booth R.L.D. Éditions, Madrid

Biblioteca Central de Cantabria, De repente bien, Santander

2015

Galeria Esther Montoriol, DelicArtessen, Barcelona

Arco ‘15, Galería +R, Madrid

Goethe Institut, Status Alterado 2, Barcelona

Galería Esther Montoriol, Flors, Barcelona

Celebración y Naufragio, Museo Municipal de Bellas Artes Juan Sanchez.

Gral, Roca, Patagonia, Argentina.

Biennal de Valls, Valls, Tarragona

2014

Iceberg Z46, Galeria Trama, Barcelona

2015

Celebración y Naufragio, Museo Municipal de Bellas Artes Juan Sanchez.

Gral, Roca, Patagonia, Argentina.

Biennal de Valls, Valls, Tarragona.

2014

Iceberg Z46, Galeria Trama, Barcelona

2013

Centenera Foundation, Me, Myself and I, Madrid.

Esther Montoriol Gallery, Vincles y Referents, Barcelona

+R Gallery, L’aigua es una xarxa, Barcelona

Swab, +R Gallery, Barcelona

Pulse Miami, +R Gallery, Miami

Esther Montoriol Gallery, DelicARTessen, Barcelona

2012

Arco ‘12, MasArt Gallery, Madrid

Swab, MasArt Gallery, Barcelona

Flamicell Art Contemporani, Group exhibition, Barcelona

Esther Montoriol Gallery, DelicARTessen, Barcelona

2011

Pulse LA, MasArt Gallery, Los Angeles, EE.UU.

A&D Gallery, Wallpaper, Barcelona

Esther Montoriol Gallery, Hora O, Barcelona

Jones Gallery, I Spy, Colonia, Alemania

Esther Montoriol Gallery, DelicArtessen 11, Barcelona

2010

Arte Fiera, Bologna, MasArt Gallery, Italia

Art Karlsruhe ’10, Jones Gallery, Karlsruhe, Alemania

Swab, MasArt Gallery, Barcelona

Esther Montoriol Gallery, DelicArtessen 10, Barcelona

MasArt Gallery, Al limite – un proyecto colaborativo, Barcelona

Centro de Arte Santa Mónica, Liaisons, Barcelona

2009

Arco 09, MasArt Gallery, Madrid

Can Framis, Vila Casas Foundation, Barcelona

Art Karlsruhe ’09, Bernhard Knaus Gallery, Karlsruhe, Alemania

Esther Montoriol Gallery, Laberints, Barcelona

Museum of Pollença, International art contest of Pollença, Pollença, Mallorca (catalog)

Pulse Miami ‘09, MasArt Gallery, Miami, Estados Unidos

Esther Montoriol Gallery, DelicArtessen 09, Barcelona

2008

Arco 08, MasArt Gallery, Madrid

Arte Fiera, Bologna, Bernhard Knaus Fine Art Gallery, Italia

Bâlelatina, MasArt Gallery, Basilea, Suiza

10th International art contest of CEC Cádiz, (adquisition), Cádiz y Jerez de la Frontera (catalog)

Valencia.Art, MasArt Gallery, Valencia

Estampa 08, Carmen de la Calle Gallery, Madrid

Esther Montoriol Gallery, DelicArtessen 08, Barcelona

2007

The Drawing Center, Selections Fall 2007, Non-Declarative Drawing, New

York, Estados Unidos (catalog)

Bernhard Knaus Gallery, Sommer, Sonne, Mond und Sterne, Mannheim Alemania

Esther Montoriol Gallery, DelicArtessen, Barcelona

2006

Museo de la Ciudad, XV Drawing contest Gregorio Prieto, Madrid

Art Brussels MasArt Gallery, Bruselas, Bélgica

Valencia.art MasArt Gallery, Valencia

XVIII Biennial City of Zamora, Zamora (catalog)

Esther Montoriol Gallery, DelicArtessen, Barcelona

2005

La Santa proyectos culturales, Brigadas al muro, Barcelona (catalog)

Esther Montoriol Gallery, Lectures, Barcelona

Art Frankfurt, MasArt Gallery, Frankfurt, Alemania

Fundación Vila Casas, III award of contemporary painting Torroella de

Montgrí, 2. Award, Palau Solterra, Torroella de Montgrí, Girona (catalog)

Minyonies, Alghero, Cerdeña, Italia (catalog)

Valencia.art, MasArt Gallery, Valencia

1r MMAC, Mollerussa mostra d’art contemporani, Mollerussa, Lleida

Museum of Fundación Gregorio Prieto, XV Drawing contest Gregorio Prieto, Valdepeñas, Ciudad Real (catalog)

Palacio Municipal de Congresos, Premios Ángel, Madrid (catalog)

Esther Montoriol Gallery, DelicARTessen, Barcelona

Flamicell Art Contemporani, Petit Format, Barcelona

 

2004

Galería de la Riba, Imágenes ambiguas…miradas jóvenes sobre Dalí, Cadaqués, Perelada y Toulouse (catalog)

MasArt Gallery, Fauna, Barcelona

Esther Montoriol Gallery, DelicArtessen, Barcelona

Museo Valenciano de la Ilustración y la Modernidad, Sala Parpalló, Premios

Angel, Valencia (catalog)

2003

Casal Solleric, Premi Ciutat de Palma “Antoni Gelabert”, Palma de Mallorca (catalog)

Flamicell Art Contemporani, Barcelona

Hartmann Gallery, Soledades, Barcelona

Botella ao mar, Vigo y Santiago de Compostela, (catalog)

La Santa proyectos culturales, X anniversary, Barcelona

MasArt Gallery, Barcelona

Esther Montoriol Gallery, DelicArtessen, Barcelona

2002

Arco 02, Claramunt Gallery, Madrid

Senda Gallery, Codespa Foundation, Barcelona

Fundació Vila-Casas, En Color, Barcelona (catalog)

47º Salon de Montrouge, Salon Européen de Jeunes Créateurs, Montrouge,

Sant Cugat y Oporto (catalog)

Montoriol Gallery, DelicArtessen, Barcelona

2001

Art Frankfurt, Claramunt Gallery, Frankfurt, Alemania

Art al Hotel, Claramunt Gallery, Valencia

Inter Art, Claramunt Gallery, Valencia

The third Austrotel contemporary art fair, Claramunt Gallery, Viena, Austria

 

2000

Katia Ried Gallery, Munich, Alemania

Art al Hotel, Claramunt Gallery, Valencia

 

Texts

  • MÁS ALLÁ DE AQUÍ
    Óscar Alonso Molina

    Text for the catalogue 2-Dimensional Sculpture, galeria MasArt, October 2011

    I call our world Flatland, not because we caIht so, but to make its nature clearer to you, my happy readers, who are privileged to live in Space.
    Edwin A. Abbott

    Everything in Sabine Finkenauer’s delightful oeuvre is a little flat, a little sketchy and more sophisticated than it appears at first sight. With a characteristic and mannered formal reduction of her figures, increasingly singled out using their basic geometric structural components, she has got us to believe that her paraphrasing of individuals and objects is in truth the result of a ingenuous, childlike and spontaneous perspective; it is almost as if the author, in a state of grace, or rather being funny (to be sure very nice and even amusing), approaches her task of portraying things with singular spontaneity and fluency, with great ease, taking a swift tour of the aspect they present to us and through which it is easier to recognize them.
    Is this true? Does the artist have a special ability to connect with the essence of what she observes and offer it to us, translated one might say in an unmediated way into a naif and innocent code without mediation? I am afraid that taking an attentive look at that universe populated by girls, dwarfs, flowers and gardens (in principle, it is true, so simple and happy) that until recently characterized her work was enough to realized, for example, that Finkenauer ultimately always refers to issues that lie beyond the aspect of these characters, or that the graphic repertoire of her drawing of the children is just another visual code, and I would say an especially convoluted one, with which first of all she addresses the expectations and knowledge of the world of adults, or that the iconography she handles discreetly and maturely transcends the symbols, archetypes and strata which traditional anthropology ascribes to the limits of the imaginary of a children’s tale. Yet there is more; it would also be sufficient to follow the process of progressive abstraction in her issues and ways of dealingwith them, her growing austerity going hand in hand with the rise in multidisciplinary spatial concerns, or the increasing importance she attaches to the site-specific location of her three-dimensional works, to understand that something in this work is maturing before our eyes. All of this is especially relevant in this new exhibition at masART Galeria, which in some way rounds off a process which had already been quite clearly marked out in her previous appearance at the gallery.

    This is because, and I will say it now, Finkenauer’s recurring “childlike universe” (which, according to what I have read and heard, for many is practically the same as infantilized) is just that: a tale, in other words, in itself a narrative formula based on clarity, the effectiveness of certain stuctural patterns of characterization, action and meaning, which allude t.o morecomplex issues, through which they are compressed and expressed in a brief and figurative way for a universal audience.
    But no, Sabine’s art is not for everyone, this should be accepted. As indeed neither is that of Klee or Calder, despite their amazing popularity, nor even that of Torres Garcia or Basquiat. Successfully explicit in spite of their almost complete abstraction, these most recent scenes of hers, in particular her models and installations, without drama or stage (everything in them develops the intense but laconic main performance by a usually unique, and increasingly generic, abstract and mental character) function as hermetic emblems, onlywithom a legend or moral. Reflections of a gem, tightly fitted pieces of a puzzle, the warp and woof of a space where the conical perspective is alluded to … These are very unusual things for the drawing ability of a child, aren’t t they? And yet at the same time, how attractive and close for their attention. The perception of what surrounds, in a real or imaginary way, this hypothetical immature consciousness may, it is true, be one of the driving forces of Finkenauer’s work then and now, but stated just as we in the adult world assume it should be as they pass through life; full of attention and surprise compared with the mystery and magic that psychologists associate with that age.
    It is thus not surprising that now things are slowly peeling off the walls, coming off the wallpaper or the pages of the tale that was left open, since this is something that occurs relatively frequently and without great problems for kids’ imaginations. Through the mirror, the reflected (in her crystal moon or the child’s little head that Sabine offers us with no little malice) is literally the fruit of quicksilver …Indeed, behind the smile that they undoubtedly cause, I suspect the uneasiness of anyone who has to navigate between all these figures through the rooms of the gallery that, as in a puppet theatre, leap into three-dimensional space without totally convincing us of their status as certain or free-standing bodies. It is as if there were a strobe of their bodily presence and therefore of their specific meaning for those who perceive them. The remains of the representational artifice in these most recent pieces by Sabine, nowadays more complex, intellectual, abstract and concerned about their location in the particular space they are to occupy, as in the author’s much better-known drawings and paintings, are evident, even ostentatious. This is a world held in two dimensions which aspires to conquer the third but which, as in Abbott’s famous novel, is something that will only happen at another time, through gaininga new future generation, a final transfer that we are about to witness, waiting.
    It is, I repeat, an effort of artifice, of the wonderful artifice of an which makes Sabine Finkenauer’s personal worldview into a place, as if it were a sound box, where the presence of man in the world, his very physical location, so basic and at the same time problematic, reverberates in a strange and very stimulating way. The power and the energy which surrounds it and he manages give shape to her endearing but at the same time so curious, deformed and succinctly allegorical cast. I also believe that nature, paraphrased as the ultimate referent, as an Edenic state of a psychology or a natural state in the species (the child, the primitive, the madman, the wild man), is in actual fact the true absentee, the same in her synthetic landscapes as in her inhabitants and fruits. It is a nature that more than once while writing these lines has reminded me of that described by the narrator in The Little Prince at a point in that famous story, no less wonderful and deceptively simple – as if for children – than Sabine’s: “I soon learned to know this flower better. On the little prince’s planet the flowers had always been very simple. They had only one ring of petals; they took up no room at all; they were a trouble to nobody.” So be it.

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