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Michael Kutschbach

 
 
www.michaelkutschbach.com  

“...A blob of paint, instinctively smudged by the artist’s hand: a consciously arbitrary starting point. (As perhaps, in this modern world, which mocks those who try to make sense of it, the only place that an artist can start, is arbitrary.) John Cage might have approved of the blob, for it was as near to random and empty as you could get—without dumping painting altogether. Mikey observed the blob’s surface, listened to its silence, and hand painted the random gesture to various scales...“

(excerpt from Mikey’s world (his beau monde), by James Strickland, 2003)

 
   
Works chronology  
   
miscellaneous Sweet Violet Stanley Beatrice and Friends crashTest GoYouLittle Manxomefoe 2010  
     
Essays  
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Mikey's world , byJames Strickland, 2003
 

'As far as I can tell, it began in an almost scholarly fashion. A blob of paint, instinctively smudged by the artist's hand: a consciously arbitrary starting point. (As perhaps, in this modern world, which mocks those who try to make sense of it, the only place that an artist can start, is arbitrary.) John Cage might have approved of the blob, for it was as near to random and empty as you could get--without dumping painting altogether. Mikey observed the blob's surface, listened to its silence, and hand painted the random gesture to various scales. He sculpted it, traced its outline, and mirrored its characteristics in abstract photographs. This 'process orientated' practice was as up to date as you get; firmly located in a contemporary context through its responsiveness to the dazzling surfaces that surround us in a consumer society. He started to play with consigning out the industrial manufacture of his 'blob'...
Indeed, words like 'playful' and 'light', are about all Mikey does to direct your interpretation of his work. He seems to be saying, 'don't try to read too much into it, don't go and intellectualise it, just enjoy it, like I do.' And you can't help enjoying it-fuck, I'd even enjoy my own art, if it looked half as good as M's. Anyway, it has been an intelligent, scholarly and investigative play. Extensive travel overseas has meant that M's practice is highly informed about historical and contemporary trends in visual art, and his practice is underpinned by thorough research. At the level of process, it has been purposeful about exhausting the possibilities of new materials, freeing painting from the boundaries of the picture frame, and inventive with technology. What we've seen is the prettiest, most radiant tip of an iceberg. It rises gracefully from a solid foundation of practise that is immersed in the often-freezing water of contemporary art and culture (sic).
Yet, research and process cannot account for what it has come to today. It seemed like, one perfectly ordinary day, the shapes just woke up and started to chatter. Mikey's motif became Mikey's pets. Affectionate little things, they played at the birds and the bees. He told me that he made ten of the little sculptures one night, and the next morning there was eleven. Not quite in jest, he said that they seemed to be multiplying.
It seems so natural for the blob to have started to breathe, wobble, bend and squeak. But I want to stress that this sudden liveliness is not merely a logical extension of process-orientated work or a reflection of a fashionable cutesy aesthetic. It is not the 3D animation software that has fertilized, Frankenstein like, inert matter to create life. Nor is the cartoony style of the wall paintings just a natural characteristic of laser cut vinyl. I think it is fair to say that previously the blob was a contingent form on which to hang experimental processes and techniques that reflected aesthetic experiences of contemporary life. Yet now we see that all of this time, Mikey has been nurturing a wonderfully eccentric personality within his blob. In this show, where that personality is fully hatched for the first time, we no longer locate the work against our experience in the 'real' world, but let ourselves be charmed by the personalities of Mikey's world. It's so nice in Mikey's world, all those pretty colours and peculiar things.
'Television space is fishbowl space. There's a world going on in there...'(Vito Acconci). One of the things about the plasma screen is that it is not a box, like televisions are. Not an aquarium that we look into. Nor is the plasma screen anything like the experience of projection, where, in the dark room, we become totally immersed in, and enter into, the world that is projected. Instead, when the plasma screen gets turned on, it brings things, hologram-like, into our world. Similarly, when we turn the stereo on, we almost feel like whoever sings or whatever makes the sound is in the room with us. Sculptures, of course, always share the space of a room with us. M's Vinyls crawl around the gallery, celebrating its walls, rather than themselves as 'paintings'. The work in this exhibition has this presence. The characters from Mikey's world have joined us in ours'.

James Strickland
2003

 
 
[essays should not be reproduced without permission from the authors]
 
 
   
 
 
BIOGRAPHY
1975 Born, Melbourne, Australia Michael Kutschbach
1992
Advanced Certificate of Art and Design, RMIT, Melbourne
1993-96 Bachelor of Arts (Fine Art), Victorian College of Arts, Melbourne
1997
Artist-in-Residence, Adelaide Central Studios, South Australia
1998 Travel/Research, EVA Award, Adelaide
1999-2003 Casual Lecturer, Adelaide Central School of Art, South Australia
2002-2004 Master of Visual Art, South Australian School of Art, University of South Australia
2004 Studio Residencies, Haus Schwarzenberg and Zentralburo Berlin
2006 MA Fine Art, Chelsea School of Art and Design, London
2011 Guest Professor, University of the Arts (UdK), Berlin
   
 
SOLO EXHIBITIONS
2013 mad odor roses, Semjon Contemporary, Berlin
2011 hoi polloi, Semjon Contemporary, Berlin
Galerie Carolyn Heinz, Hamburg (with Katharina Büche)
2010 Manxome foe, Greenaway Art Gallery, Adelaide
Callooh! Callay!, Künstlerhaus Bethanien, Berlin
2008 all mimsy were the borogoves, and the mome raths did outgrabe, KoCA -Weimar
2007 crash test at seth's arc, Greenaway Art Gallery, Adelaide
2005

where celia sticks it to stanley, Greenaway Art Gallery, Adelaide

2004 little big things, Conny Dietzschold Gallery, Sydney
2003 stanley, beatrice and friends, Greenaway Art Gallery, Adelaide
2002 lionel, The Project Space, Contemporary Art Centre of South Australia, Adelaide
2001 sweet violet, Greenaway Art Gallery, Adelaide
2000 Adelaide Central Gallery, South Australia
roundhouse, 220 Hindley St, Adelaide
1998 Adelaide Central Gallery, South Australia
 
SELECTED GROUP EXHIBITIONS
2012 FLYING, Künstlerhaus Bethanien, Berlin
SNO@BHO, Ballhaus Ost, Berlin
at the parkhaus, Parkhaus Projects, Berlin (Curator)
2011 About Abstraction, KTV, Berlin
The Way Things Move, Parkhaus Projects, Berlin
Drawn to Drawing, Galerie Carolyn Heinz, Hamburg
2010 From the Nipple to the Bottle, Never Satisfied, Nadania Idriss Contemporary, Berlin
Resume/Choice of (I), Kioskshop, Berlin
Press Pause, Parkhaus Projects, Berlin
Satellit #1 auf Papier, Galerie Axel Obiger, Berlin
Generation II - abstrakt konstruktiv gegenstandslos, Kunsthalle Brennabor
2009 Zombie Kunsthalle, Berlin
Fine Art Services, Adalbertstr.9 Berlin
2008 go you little dynamo, go Adelaide Festival of the Arts major commission
2007 DLA Piper Art Award, Sarah Myerscough Fine Art, London
Art Cologne (Conny Dietzschold Gallery)
2006

Art (212), (Greenaway Art Gallery), New York
Video Invitational #3 (video in tutti i sensi), ViaFarini, Milan
soundworks, Triangle Space, Chelsea College of Art and Design, London
Susak Expo 2006. Susak Island, Croatia
MA Show, Chelsea College of Art and Design, London
New Talents (Foerderkoje), Art Cologne (Conny Dietzschold Gallery)
there's no place like home, Homestead Gallery, London

2005 Rohkunstbau Xll (kinderszenen), Schloss Gross Leuthen, Germany
Australia Art, Conny Dietzschold Gallery, Cologne
2004 ec/play/pause, N-Gallery, University of South Australia
mind’s eye, Hazelhurst Regional Gallery and Arts Centre, New South Wales
Melbourne Affordable Art Show, (Greenaway Art Gallery), Royal Exhibition Building, Melbourne
Sydney Affordable Art Show, (Conny Dietzschold Gallery), Fox Studios, Sydney
Cologne Artfair 2004, Conny Dietzschold Gallery, Sydney/Cologne
2003 SALA, Art Gallery of South Australia, Adelaide
SALA Windows, Arts SA (collaboration with Johnnie Dady), Adelaide
Sydney Affordable Art Show, (Greenaway Art Gallery), Fox Studios, Sydney
Moving Image, Mercury Cinema, Adelaide
Surface, Liverpool Street Gallery, University of South Australia, Adelaide
Australia Art, Conny Dietzschold Gallery, Cologne
Cologne Artfair 2003, Conny Dietzschold Gallery, Sydney/Cologne
2002 Freedman Foundation Awards Exhibition, Sir Hermann Black Gallery, Sydney
The Melbourne Art Fair, (Greenaway Art Gallery), Royal Exhibition Building, Melbourne
2001 Blanc, Artspace, Adelaide Festival Centre, South Australia
pre-fab, Riddoch Art Gallery, Mount Gambier, South Australia
2000 Adelaide Festival Exhibition, Scotch College, Adelaide
1999 Central Studios, Adelaide Central Gallery, South Australia
1998 Adelaide Festival Exhibition, Scotch College, Adelaide
1997 Just Add Water, North Adelaide School of Art, South Australia
Emerging Visual Artist Awards (EVA), Adelaide
 
AWARDS
2011 Australia Council for the Arts, New Work Grant
2009 Australia Council Studio Residency, Künstlerhaus Bethanien, Berlin
2007 Pollock-Krasner Foundation grant
2006 New Talents (Foerderkoje), Art Cologne
2005 Australia Council, project development grant for Rohkunstbau, Berlin
2004 Australia Council Studio Residency, Via Farini, Milan, Italy
Bank of Tokyo-Mitsubishi Japan/South Australia Award
A.R.T. Residency Tokyo
Anne & Gordon Samstag International Visual Arts Scholarship
Schinkel Progressive Residency, Zentralburo, Berlin
2003 Arts SA Project assistance grant
Helpmann Academy project assistance
2002 Martin Bequest traveling scholarship
2001 SAYAB invitation at short notice
Australian Post Graduate Award (APA)
2000 NAVA, Freedman Foundation Emerging Artist Scholarship
1997 FH Faulding Central Studios Residency Scholarship, Adelaide
EVA Award, Adelaide
 
COLLECTIONS
Artbank
FH Faulding
Art Gallery of South Australia
Ernst & Young Collection
Gallery Of Modern Art (GOMA) Brisbane
Riddoch Art Gallery
Bendigo Art Gallery
 
PUBLICATIONS
Elisabeth Weiss, Judith, Fix und Flux, Exhibition catalogue essay, mad odor roses, Semjon Contemporary, Berlin, 2013
Gorman, Louise, From A to B, Going the Distance. The Adelaide Review, P.36, April 2013
FLYING, Künstlerhaus Bethanien GmbH, Berlin, (group exhibition catalogue) 2012, ISBN: 978-3-941230-20-0
FUKT, Magazine for Contemporary Drawing, #11 - 2012. Revolver Publishing, Berlin
Interview: Sculpture and the Enemies Magazine, p.28-32, July - September 2011
Weisheit, Sascha. Michael Kutschbach, “Callooh! Callay!”, 2010 http://www.freeguide-berlin.de/kultur/michael-kutschbach-callooh-callay/06-04-2010.html
Mueller, Joerg. Michael Kutschbach, Australische Kultur Fruehling, 2010
Tannert, Christoph, Harmonious Designs in Micro and Macro, (catalogue essay) ISBN: 978­3­941230­02­6
Nunn, Louise. Switched on by creative dynamo, The Advertiser, 24/2/08
Nunn, Louise. AdelaideNow to unveil peek at defining visual art, The Advertiser, 24/10/07
Scott, Duann. Cartsen’s Modular re.strukt & Kutschbach at KoCA. 07/08 http://blog.ponoko.com/index.php?s=kutschbachScott, Duann. Interview with the Artist Michael Kutschbach. ibid
Jendricke, D. Crash test at seth’s arc. Catalogue Essay. Greenaway Art Gallery, 2007
Walker, Wendy. Basic forms simply inspired, The Australian, p.10, 16/4/07
Radok, Stephanie. Crash test at seth’s arc. The Adelaide Review, p.15 27/4/07
Walker, Wendy. Michael Kutschbach (profile), Contemporary 2006 Annual, 2006
Hosseini, Varga. Michael Kutschbach: Surface in Flux, Australian Art Collector, issue 34 (October-November), p.241, 2005
Gisbourne, Mark. Scenes from childhood. Rohkunstbau 12 catalogue essay. 2005
Parth, Silke. Rohkunstbau, Kultura-Extra, www.kultura-extra.de/kunst/feull/rohkunstbau_kinderszenen_berlin2005.php 7/2005
Timms, Peter. Art In An Age Of Anxiety. Anne & Gordon Samstag International Visual Arts Scholarship Catalogue, 2004
Lloyd, Tim. Scholars Revealed, The Advertiser, p.75 8/11/2004
Strickland, James. Young South Australian Art, Artlink, vol.24 no1, p.24-27
Strickland, James. mikey’s world, (his beau monde), stanley, beatrice and friends, Greenaway Art Gallery, 2003
Neylon, John. Michael Kutschbach, stanley, beatrice and friends, The Adelaide Review, p.18, 8/2003
Woodburn, jena. Blobs with Personality ,Realtime, August 2003, www.realtimearts.net/rt56/woodburn.html
Walker, Wendy. A lighter touch The Advertiser, p.81 19/7/2003
Woodburn, Jena. The Project Space Broadsheet, vol 32 no 1, p.30 2003
Bilske, Maria. Smart Art (Artist Profile), Australian Art Collector. issue 22 (October-November), p.93, 2002
Bilske, Maria. Luxe, Calme, Volupte and Something Else: Michael Kutschbach. Broadsheet, vol 31 no2, p.14 - 15, 2002
Walker, Wendy. Apocalyptic Vision The Advertiser, p.72 17/7/2001
Reid, Chris. Artist profile, ACSA website, www.acsa.sa.edu.au 05/2001
Dutkiewiez, Adam. Simply Abstract The Advertiser, p.68 5/4/2000
Dutkiewiez, Adam. Abstract Expressions The Advertiser, p.36 13/2/1998