Mariele Neudecker is a German-born, Bristol-based artist working at
the crossover of art and science. Her multimedia practice, which
incorporates sculpture, video, painting and sound, explores the
processes and effects of perception, the complexities and
contradictions of landscapes and visuality, and the politics of
representation and territorialisation. The influence of the
nineteenth-century German romantic sublime is interwoven alongside
inspiration from Neudecker's work with scientists, as a guest
artist on the Arts at CERN programme, her trips to the Arctic and
travel elsewhere. This major monograph, published following an
exhibition of the same name at Limerick City Gallery of Art -
Neudecker's first comprehensive solo exhibition in Ireland -
presents more than 200 works from a 35-year-long career. In
addition to a foreword by Una McCarthy, the gallery's Director and
Curator, essays by distinguished academics and curators from across
the fields of art and science address diverse areas of Neudecker's
practice. A 'timeline' that Neudecker made specially for 'SEDIMENT'
concludes the publication. Greer Crawley, an Honorary Research
Fellow in the Department of Drama, Theatre and Dance at Royal
Holloway, University of London, considers Neudecker's archive,
studio and her working processes, while Ariane Koek, an
international expert in the field of arts, science and technology,
suggests that the contemporary sublime Neudecker is so often
described as seeking is, for her, the very process of perception
itself. Her comprehensive introduction to Neudecker's practice also
discusses the tank works, for which the artist is best known, in
which fibreglass landscapes are suspended in chemical solutions.
James Peto, from the Wellcome Collection, London, focuses on issues
of representation, post-colonialism and 'time', while Alice Sharp,
Artistic Director of Invisible Dust, looks at Neudecker's work and
collaborations concerning the deep sea. Klaus Dodds, Professor of
Geopolitics at Royal Holloway, University of London, returns to
questions of territorialisation in and around the Arctic, and
Professor Kerstin Mey, Interim President of the University of
Limerick, considers the genre of still life in Neudecker's
photographic series 'Plastic Vanitas' (2015). Dominic Gray,
Projects Director at Opera North, offers insight into Neudecker's
work with sound and music, addressing issues of performance,
translation and scale; while Pontus Kyander, an independent writer
and curator based in Helsinki, returns to the motif of the forest,
arguing that any reading of Neudecker's work might be taken beyond
an interest in landscape and the sublime to incorporate
contemporary ecological questions. Finally, Crawley's second
offering returns to Neudecker's use of sound - its juxtaposition
and superimposition, alongside the notion of the window as a
device, considering how each creates 'temporal turbulences' and 'an
entanglement of materiality, space, form and position,'
foregrounding the artist's desire for viewers to see everything as
eternally in flux. The publication, which is released to coincide
with a new iteration of Neudecker's exhibition 'SEDIMENT' at
Hestercombe, Somerset, in summer 2021, has been edited by Greer
Crawley, designed by Herman Lelie and Stefania Bonelli, and printed
by EBS Verona. It is published by Anomie Publishing, London.
Mariele Neudecker (b. 1965, Dusseldorf, Germany) undertook a BA at
Goldsmiths College, London (1987-90), and an MA in sculpture at
Chelsea College of Art and Design, London (1990-1). She has shown
widely in international solo and group exhibitions. Neudecker is
Professor of Fine Art at Bath School of Art, where she runs the
research cluster Making | Art | Science | Environment. She is on
the Arts at CERN's guest programme, the European Commission's JRC
SciArt advisory panel and the steering committee of Centre of
Gravity, UK. Neudecker works with Pedro Cera, Lisbon; In Camera
Gallery, Paris; and Thomas Rehbein Galerie, Cologne.
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