Danielle Pamp, Born 1991 in Stockholm (Sweden), works and lives in Vienna since 2015 Education: Akademie der bildende Künste Wien 2015-2020 Gerlesborgsskolan 2014-2015 (in Stockholm Norra Konstskolan 2013-2014 (in Stockholm) Solo/Duo: 2021 Project space “Contrapunto”, Gallery VIN VIN, Vienna 2020 "Family Secrets", Graduation show, Vienna 2020 ”Memory fragments”, Porgy & Bess, Vienna 2018 "Memory fragments & interactions”, Jakobsbergs Konsthall, Stockholm 2017 "Kunst ist nicht Brav” mit Christof Ablinger, Galerie Ursula Stross, Graz 2017 ”Scenes from Reality”, Galleri Helle Knudsen, Stockholm 2016 ”In Between”, Akademie der bildenden Künste, Vienna 2015 ”Contrasts”-Sigtuna konsthall, Stockholm Group shows: 2022 Queering the KHM, Kunsthistorisches Museum, Vienna 2021-2022 “The Poiesis of Composting”, Exhibit, Eschenbachgasse, Vienna 2021 “Non-Verbal Interior”, Desiderio N°1 Gallery, Vienna 2021 “La Femme”, Atelierhaus der Akademie der Bildenden Künste, Vienna 2020 “No One Told Me”, Improper Walls, Vienna 2020 "Mixtherz", Artcare, Vienna 2020 “Spring Salon”, Galleri Backlund (Gothenburg/ Sweden) 2019 ”All paper show” Atelierhaus der Akademie der Bildenden Künste, Vienna 2019 ”Rethinking Vulnerability”, Parallel, Vienna 2019 Järfälla Konstforum 50 years (Jubilee exhibition), Jakobsbergs Konsthall, Stockholm 2018 ”Hinein”, WUK, Vienna 2018 "Das JubJub”, Galerie 5020, Salzburg 2018 ”100 Jahre Frauenwahlrecht”, SALOON Wien VBKÖ, Vienna 2017 ”My Identity”-Motala Konsthall, Sweden 2017 SubDokumenta Athener Museum für Queer Kunst, Athens 2017 California Institute of the Arts (CalArts), Los Angeles 2017 Das Werk, Vienna 2016 Galleri Helle Knudsen, Stockholm |
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My work in general takes on different art-historical references. It can either be through the choice of composition or by playing with the characters timeless look since putting time out of joint fills a logical function for my project and agenda. This is an attempt to rehistoricise or produce alternative forms of historical storytelling, since some of the identities I try to represent have been excluded from art-history (queer, gay, transgender, alternative forms of male and female expression, etc). This disrupts bourgeois painting(s ”embellished” concept of normality, which is reinforced in most of the works of traditional oil painting.
A painting project that I always return to is a series that is largely autobiographical and that I have referred too as “memory fragments” or “family secrets”, since it is a project that circles around family archives and memories. The main narrative is family which I find to be a theme that can harbor other interesting topics. For example: childhood, upbringing, religious structures, the nuclear family, relations, mental illness, traumas, and what they mean for human existence in general. As reference material I use old family albums and other artifacts from my family archive.
In a way I see my painting series that evolve around queer archives as a part of the same project, an extension of the family narrative into chosen family and queer ancestors. I knew some of the characters I portrayed in the family series, knew who some were even though I didn’t meet them, and yet some people further back I don’t even know the identities of, only that they are related to me. In the same respect the queer archive series portray the queer scene that I am a part of (community/chosen family), some characters I don’t know personally but I know their identities (for ex: queer icons), and some of the characters we do not know the names of but just like in the case with the family album we know that they are our queer relatives and predecessors. And just like the persons from the family album is connected to my own existence, our symbolic queer `relatives` lives is linked to our existence through our identities. And as well linked through the struggle of our queer predecessors leading on to us today.