About this item
BEATRICE SCHUETT MOUMDJIAN (DE, 1986)
Ore Mountains Stollen-Temple (2021)
Fine Art Print on Hahnemühle Photo Rag 189
50 x 67.7 cm / 19.6 x 26.6 in
The edition is 1/10.
*1986 in Sofia, People's Republic of Bulgaria to Armenian family. 1990 emigration to Berlin, Germany. Education 2013 – 2020 at the art academies in The Hague (NL), Weimar and Leipzig (DE). M.F.A. in Media Art and Photography in 2020 with the professors Clemens v. Wedemeyer and Tina Bara at the Academy of Fine Arts Leipzig. 2017, Studienpreis of the Academy of Fine Arts Leipzig; 2018, DAAD scholarship 'Go East'. 2019, winner of the competition Art in the Underground by the nGbK Berlin. Recent exhibition participations include Gegenwarten/Presences in Chemnitz and The Viral City at Goethe-Institut Montréal. My site specific project International Bun was shortlisted in 2020 in the (upon invitiation) competition about art in urban space Kunst im Stadtraum - Karl Marx Allee by the Berlin Senate. Screenings internationallly e.g. in 2018 at Kasseler Dokfest and interfilm Berlin, and 2019 at LUFF.
I have built a cityscape from everyday objects that I found in my house. From the assembly of objects and foods from a diverse set of cultures arise imaginative buildings that recall among others the numerous churches in their typical Armenian architecture, many of whom in ruins or destroyed after the rule of the Ottoman Empire, like they are pictured in books from my library. In my library is also the book „The Magic City“, published 1913 by writer Edith Nesbit who is popular in the UK for her children’s books. She invented the building of Magic Cities for children and adults likewise to allow the playful examination of architecture and ones own built environment. My Magic City links my biography with world history. When building I feel connection with those of my family murdered and those who fled the Ottoman Empire to settle in Bulgaria. This is also a kind of self-empowerment in regards to squarely owning my place between the cultures and shedding the confining identities that were attributed to me by the outside growing up. In the work I also use various symbols of the homogenous society in the former East of Germany where, as a child, I was assigned the status of a migrant, and became a target of racism. Exterior views of representative buildings are rebuilt in my private living room. In the magical cities speculaas cookies become concrete facades, sugar boxes domes, roofs pide, pantry and cityscape (German: Speisekammer und Stadtansicht) approach each other.
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