All posts by Bettina

2017 wall(s) of shame

Stencils of famous walls, sprayed upon ruined houses in the refugee camps of Western Sahara. #artifariti2017

The ruins of people's houses were caused by the heavy rainfalls of 2015, where adobe brick crumbled like sugar cubes under water. Not only the housing but food and medicine were destroyed, in some cases up to 95%.
The mural of Mariem Hassan made by me in 2015 on the outside of the women's union (UNMS) in the center of Boujdour, Tindouf, Algeria, was altered with the same stencils. 

   
 
     

    

 


100 beautiful first messages

Male_Men_Text

“Hetero White Male in Trouble” oder Wundervolle erste Nachrichten

Eine künstlerische Auseinandersetzung mit Onlinedating, Gender und Alter

Superpowers, 2017, mixed media on canvas, 120 x 100cm

age_play, 2017, mixed media on canvas 100 x 120cm

love_is_blind, 2017, mixed media on canvas 100 x 120cm

do_I_love_older_man? 2017, mixed media on canvas 100 x 120cm

 

intimate_confessions 2017, mixed media on canvas 120 x 100cm

brutally_honest, 2016, acrylics on canvas, 120 x 100 cm

Hope_you_have_certain_underwear, 2017, mixed media on canvas 160 x 130cm

beautiful_slave, 2017, mixed media on canvas 190 x 130cm

In pursuit of oneself, 2017, mixed media on canvas 160 x 130cm

mirror_selfie, 2017, mixed media on canvas, 120 x 110cm

You go first! 2017, mixed media on canvas 100 x 120cm

you_have_sexy_breassst, 2016, acrylics on canvas, 60 x 80 cm

Dieses laufende Projekt, das 2015 begonnen wurde, zeigt Bilder und Texte , die ich mit meinem eigenen Profil auf einer Onlinedating Seite von Menschen männlichen Genders erhalten habe. Nachrichten, die je nach meinem eigenen Profilbild (mal nur ein Oberkörper mit offenherzigem Dekollete, mal ein Ganzkörperfoto oder ein Gesicht) mehr oder weniger sexualisiert waren wurden kombiniert mit non-verbalen Nachrichten in Form von Selbstdarstellungen im Bild ; die so entstandenen Hybride spiegeln eine Durchschnittserfahrung wider, einen Eindruck meiner Erfahrungen als Teilnehmerin des Geschehens. Diese ersten „wunderbaren Nachrichten“, wie ich sie nenne, werden also konfrontiert mit Bildern von Männern, so dass man geneigt ist anzunehmen, die abgebildete Person habe den Text geschrieben. In manchen Fällen wird man Addressatin und Abgebildeten verwechseln, zum Beispiel wenn von Schönheit die Rede ist und der Körper auf dem Bild auch „schön“ ist oder Ähnliches. Dies wäre dann die Umkehrung des Verhältnisses von Mann und Frau, wie man es kennt (weibliche Schönheit wird vom Mann bewundert) und tritt somit in die Sphäre des Detournement, der Verballhornung und Verdrehung.

Das Format des Polaroids mit dem für Text verwendeten weißen Grundraum schafft einen Eindruck von Unmittelbarkeit und Momenthaftigkeit. Die Technik der geschichteten Primärfarben bezieht sich auf Fotografie oder Druck und setzt damit kurzfristig traditionelle malerische Denk- und Wahrnehmungsweisen außer Gefecht, sorgt für Irritation und den Eindruck einer verschobenen Optik.

Ich möchte klarstellen, dass man mit einem sexy Foto nicht unbedingt in Kauf nehmen muss, verbal überfallen zu werden – ähnlich dem Argument, dass eine Frau in einem Minirock Vergewaltigung eben nicht “einlädt“. Dieses vorausgeschickt, stelle ich die Hypothese auf, dass beim Onlinedating, im Vergleich zu einer Anmache im richtigen Leben, Faktoren wie “gutes Benehmen”, Schüchternheit und Vorsicht zu einem Grad abfallen, also eine gewisse Enthemmung stattfindet. Ich kann ernsthaft berichten, dass ich in vier Jahren Online-Dating auf viele solcher Aussagen und Profile von implizitem Sexismus, von Altersdiskriminierung und Herablassung (patronizing) gestoßen bin. Anscheinend haben veraltete Konventionen, wie Frauen und Männer interagieren, eine Hochburg in diesem Feld des Online-Datings. Frauen spielen mit alten Mustern und verhalten sich abwartend, (aus Selbstschutz? aus Gründen der Zahlenverhältnisse 1:16?) passiv auf traditionelle Weise, und die größere Anzahl von Online-Männern zeigt drängelndes und aggressives Verhalten (nicht nur, aber auch). Selbst wenn sich die Menschen ihrer Konditionierung nicht bewusst sind, – und bei dieser Serie sind keine Beschuldigungen, Verurteilungen und Beschämungen beabsichtigt – befestigen sie doch solche herkömmlichen Muster, verletzen und entwürdigen oft. Die Bilder jedoch gehen auf humorvolle Weise mit einem satirischen Ansatz an den feministischen Kern. Daher schließe ich mit diesem scharfen Zitat einer Bloggerin, die nicht nur Frauen, sondern auch Männern Empathie entgegenbringt: “Wenn man die Ungeheuerlichkeit männlicher Gewalt anerkennt, würde die gewaltige Skala des Anspruchs einen so großen Perspektivwechsel erfordern, dass es einfacher ist, den Mund zu halten und nicht darüber zu reden und jeden zu isolieren, der es tut. Wir wollen es nicht hören. Es kann furchtbar unangenehm sein, wenn Männer von Frauenfeindlichkeit hören, besonders von ihren eigenen. Unglücklicherweise stoßen sie, sobald sie anfangen, über das Geschlecht nachzudenken und zu sprechen, oft auf eine schreckliche, unerschütterliche Tatsache: wie sehr Männer insgesamt Frauen verletzt haben. Das bedeutet, dass es für Männer sehr schwierig ist, über Männlichkeit zu sprechen, ohne sich damit auseinanderzusetzen, wie erschreckend und aggressiv Männlichkeit in ihrer modernen Form geworden ist. Es ist beängstigend. Es wird wehtun.”

 


PLEASURE PLANTS

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Bettina Semmer / Najdat Rustom

Pflanzen, die heilen, würzen und Vergnügen bereiten

Im Rahmen von Pleasure Ground, einem Projekt von Neues Atelierhaus Panzerhalle, 2016

Save the Date: 27. November 2016: Pleasure Ground – Aktionen im winterlichen Garten    http://pleasure-grounds.tumblr.com/post/151746207227/bettina-semmer-najdat-rustom-pleasure-plants

Plants that heal, season and please.

With the framework of Pleasure Ground, an project by Neues Atelierhaus Panzerhalle, curated by Petra Stegmann

 

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Meditation on being a plant, Aktion Pleasure Ground, Juli 2016

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Two authors, two languages: Pleasure Plants in Arabic and “German”

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Pleasure Plants – with Najdat Rustom (Pleasure Ground project by Neues Atelierhaus Panzerhalle)

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Pleasure Plants – plant signs in Arabic from the side of the new neighbours (Pleasure Ground project by Neues Atelierhaus Panzerhalle)

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Pleasure Plants – sowing seeds (Pleasure Ground project by Neues Atelierhaus Panzerhalle)

 


SLAVES and SAINTS

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A group of new work at Fort Sagres, Portugal, within the exhibition „Peregrinacao – a partir de las Paneis de Sao Vicente/Pilgrimage – from the Panels of San Vicente“

This piece is dedicated to Emile Akakbo from Togo, who made for me a beautiful crow mask, and all the artists around the world.

My gratitude to Drury Brennan, based in Berlin, who travelled to Sagres with us and made the beautiful calligraphy; to Babette Semmer assisting in the making, and Fico Artista who helped and performed the crow dance.

PDF_Slaves and Saints

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Indigo Saints (installation)

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Indigo Saints (installation); canvas painted with real indigo, part of the colonial exploits from overseas

For those who went round the mark stone of shame

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First participant in “Pilgrimage to Nowhere – 12 minutes a Slave”

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Handing over the certificate for taking part in “Pilgrimage to Nowhere – 12 minutes a Slave”

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Performing “The Shrowd of Saint Vincent covering the mark stone of shame”

Covering the Mark Stone of Shame with the shrowd of St. Vincent

“12 MInutes a Slave – A Pilgrimage to Nowhere” Opening ceremonial march

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Performance with Fico Artista and Bettina Semmer, shrowd covering mark stone

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Shrowds (installation); human body prints on canvas

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Scriptures and Saint Vincent’s shrowd (installation at church de Dama de Graca, Fort Sagres); calligraphic works by Drury Peregrin Brennan; text by Jacinto

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Jacinto Palma Dias after signing the calligraphy

Drury Brennan – Calligraphy:  “I know not what tomorrow will bring” (Pessoa)

 

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Planting seed mines for peace in a circle. In the back, the church containing the scriptures

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Indigo eye (centre of the secret circle of seeds)

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stranded Indigo Saints (pre-installation)

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Indigo Saints (pre-installation)


paintings 2015 – 2016

Five senses, 2016, acrylic on canvas, 290 x 190 cm

donuts and a yogi, 2016, acrylics on canvas, 210 x 200 cm

spiral and two circles, 2016, acrylic on canvas, 210 x 210 cm

a whirl and a wind, 2016, acrylic on canvas, 210 x 210 cm

redgreen_veil

redgreen_veil, 200 x 300 cm, acrylic on canvas, 2015

 

 

 

 

 

 

 

 

multiple hearts, 2015, acrylic on canvas, 200 x 300 cm

I am one and I want to be many, 200 x 300 cm, acrylic and chalk on canvas, 2016

 

Rajasthan file 1, 210 x 200 cm, oil on canvas 2016

These paintings are reflections of my recent research into body, mind, spirit and sacred traditions.
Ranging from prints of my own body to chaos-driven expressions, they also include images that I find in Indian and other traditional imagery of divinity. I do not wish to install hierarchies and favour one approach over the other. On the contrary, the aspects filter into one another, freeing me to form a new tradition of the „free fall“, parallel to abstract expressionism but less dogmatic. At the centre, one could detect a „truth of the present moment“ idea, that if one is totally present and free of conventional thinking, colour and shape will manifest themselves immediately due to an immediate necessity. This requires a frequent process of tying the work back to the body be it through hands and feet that touch the canvas, printing the body as a whole, or through knowledge and experience. Titled “In Pursuit of Chaos and Light”, these paintings are a continuation of the „Body, Gender, Fluidity“ series of earlier years.

bones of a woman, 2015, acrylic on canvas, 200 x 160 cm

blcak sun, 2016, acrylic on canvas, 210 x 210 cm

bowing to each other, 2016, acrylic on canvas, 120 x 200 cm

 

chinnamasta

Chinnamasta, 220 x 200 cm, acrylic on canvas, 2015

8-Breasted-Jesus_w

Eight breasted Jesus, 210 x 155 cm, acrylic on canvas, 2016

Kali-w

A blue Goddess in the night, 210 x 175 cm, acrylic on canvas, 2016

 


2015 Mural in Western Sahara

MARIEM HASSAN 1958 – 2015
A tribute to the women of Western Sahara
Boujdour, Sahara refugee camps, Tindouf, Algeria 2015

 

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Outside wall of Saharui Women’s Union

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Right side (with the artist present)

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Left side, with Ismail Banan, artist and calligrapher

 

 

„Mariem Hassan 1958-2015“ is a mural, placed on the outside wall of the Union National de Mujeres Saharauis(the national women’s association of Western Sahara), which was planned and executed by myself, Bettina Semmer in November 2015 in Boujdour/refugee camps during the 9th edition of ARTifariti.

Divided in two by the entrance, the wall has a portrait of MH singing to the left of the gate,  and five figures that portray her dancing during a concert on the right.

This division marks a duality of beauty: the beauty of outer shape and colour (the singer in a blue melfa, with pretty face and traditional head jewelry), and the beauty of movement or action, as seen in the dancing multitude of figures in black, on the right. One could also project a duality of Apollinian and Dionysian attitude into the two sides of the mural: wild dance, with hardly discernable features, on the right, and calm composed expression with Mother-Mary-like body language on the left.

This is not some kind of personality cult, nor the simple portraiture of MH, even though she is probably one of the finest examples in world music  of a combination of tradition, political resistance and a unique voice, deserving far wider recognition than she already has. To paint  her in the year when her life ended – prematurely caused by a terminal illness, that finally prompted her to return to her people in the refugee camps – would be reason  enough. But there is more to it: I used the figurative representation of MH, together with words (This exile is too much – Morocco out – freee Sahara now!) and concrete shapes (the two big, intersectioned circles on the left as well as many smaller spheres on the right) to make up a postmodern, readable narrative in many facets.

The stylistic eclecticism gives room for imagination, for making connections and for free play of creative readingwhich is one of the most rewarding things in art/life. Last but not least, the mural serves as a huge opportunity to have one’s portrait taken there, should one agree with the words, thereby sending out a message to the world.

Colour has always been a great attractor, associated with experiences out of the normal everyday life (church windows, medieval art and it’s rare and costly pigments), with exultation, joy and lust for life. Specific colours have been said to have powers over the mind-body-unit, as in colour psychoogy and therapy.

The intersections of the larger circles on the left are inspired by Barbara Steppe, who in turn takes her inspiration from Otto Neurath, the inventor of graphics for statistics. They can be read as depictions of states of mind, of a country’s socio-economic order (or disorder), as arbitrary as the world’s division of riches, or merely as formal play. They are based on Mandalas with their power to focus the mind.

The priority was to make something understandable, readable, a common narrative combined with decorative elements, and also a tribute to the strength and beauty of Saharaui women. It would not occur to me to alienate the ladies who run the place, (Fatma, Hassina) so a meeting over the drafts preceeded the actual painting process. Occasionally, children from the nearby school and neighbourhood would assist, even in my absence adorning the wall with handprints and marking the faces with pink dots, making this piece complete. This fits in with my general approach of taking participation seriously, and incorporating into my work what I find in a place, and in its people.

I hope to contribute to a free Sahara where people can live in dignity, without being oppressed by a hostile regime, and where the Saharaui’s talent for a good life, as we as particpants know it, can blossom in a peaceful surrounding, in independance.