{"id":1658,"date":"2023-06-30T19:01:36","date_gmt":"2023-06-30T19:01:36","guid":{"rendered":"https:\/\/softpower.world\/?post_type=projekt&p=1658"},"modified":"2025-05-23T13:33:03","modified_gmt":"2025-05-23T13:33:03","slug":"all-muses-are-dead","status":"publish","type":"projekt","link":"https:\/\/softpower.world\/en\/projekt\/all-muses-are-dead\/","title":{"rendered":"All Muses are Dead"},"content":{"rendered":"

In Ancient Corinth, a young woman had a pretty good idea: she drew the shadow profile of her lover, which she had cast on the wall with the help of a light source; as a memento of the departing beloved one, who, like most men in mythological narratives, was probably a hero travelling on a mission. Called Dibutade<\/em> or Kore\/Kora\/Kallirhoe<\/em> depending on the source, the protagonist and her story are often stylised as the origin myth of painting\nor drawing. What has remained of Kore are romanticised depictions of a young woman painting her lover (often in the presence of a Cupid guiding her hand) \u2013 a motif that has been depicted by numerous painters1<\/sup> throughout art history. Instead of entering the history of the Western notion of art as an inventive maker, Kore herself was reduced to being a muse.

In her solo exhibition All Muses are Dead<\/em> Donna Volta Newmen focuses on the complex characters and hidden histories of the artists, inventors, political wire-pullers, and patrons hidden behind the countless, often anonymous portraits of women in Western art history and its institutions. Her portraits insist on the authorship, autonomy, (self-)representation, and subjectivity of the depicted persons. Newmen\u2019s historical, personally known or\nsometimes fictional figures are stubborn, defying the male gaze\u2019s<\/em> ideals of beauty and grace; they are rebellious\nor vulnerable, at times marked by age or exhaustion, at times demonstratively self-assured in their appearance. Respecting the individuality of her subjects, the artist abandons the serial language characteristic of printmaking \u2013 line etching, aquatint, mezzotint, and drypoint \u2013 by employing painterly elements of monotype. The results are not editions, but individual works.

The traditional craft of printmaking has been listed as Intangible Cultural Heritage since 2018. The fact that it is a historically male-dominated practice has been readily justified in the past on the grounds that it is a physically demanding craft as well as requiring a chemical knowledge of acids. In her artistic research, Newmen observed that the few women who found a place in the art historical canon as the originators of print works were often daughters of master printers. A detail akin to both Newmen\u2019s own biography and that of Dibutade\/Kore \u2013 whose attributed name was derived either from that of her father, the artist Butades, or from the (ancient) Greek word \u039a\u03cc\u03c1\u03b7<\/em> which simply means \u201cgirl\u201d or \u201cdaughter.\u201d

By declaring death to the muses, Donna Volta Newmen\u2019s new works not only create critical references to (art) historically female-attributed roles, but also point out that the exclusion mechanisms established for centuries in relation to the intersectional categories of gender, race, sexuality, and social class are still reflected in monetary and representational realities today; female identifying artists remain underpaid and institutionally underrepresented in gender-specific comparisons.2<\/sup> All Muses are Dead<\/em> celebrates such figures who have been\nstructurally excluded from art history or reduced to being a muse, while also honouring their inventive strategies: from Kore\u2019s shadow drawing on the wall to the characteristic side-eye in female portraits \u2013 a pose that may be read as a submissive posture, but in truth often stems from the fact that women were long prohibited from drawing from live models and instead directed their gaze diagonally downward into a mirror to portray themselves.3<\/sup> This bombastic side eye<\/em>4<\/sup> can be found in Newmen\u2019s portraits alongside other more or less subtly defiant poses, standing in as subversive and emancipatory gestures for social and political processes of change in historical as well as contemporary contexts of self-representation.

Text: Linn\u00e9a Bake

1) Wikipedia compiles an (incomplete) list of these works, often under variations of the title The Invention of Painting.<\/em> Of the 30 works listed (1676-2008), 6 were painted by women, 4 of which are contemporary artists.
2) Women make up the majority of students at art academies (70%), but are affected by the gender pay gap (30% in 2021 (German Federal Statistical Office, 2022) \u2013 in comparison, the cross-sector gender pay gap was 18% in 2021 in Germany) as well as the so-called gender show gap, which assesses the gallery representation of women and their presence in exhibitions or at fairs. In the context of historical collections, the gender-specific comparative numbers are even more extreme. The Alte Nationalgalerie in Berlin, for example, has a maximum of 2% female artists in its collection. In its recently opened exhibition Secessions: Klimt, Liebermann, Stuck,<\/em> 220 works by men and 15 by women are featured, as the organisation fair share!<\/em> recently published on Instagram. <\/sup>
3) see Jennifer Higgie, The Mirror and the Palette: 500 Years of Women\u2019s Self-Portraits<\/em> (London: Weidenfeld & Nicolson, 2021)
4) The term bombastic side eye<\/em> refers to a TikTok trend in which users stage a sideways glance to express disdain or disapproval of others\u2019 statements.<\/sup><\/p>","protected":false},"excerpt":{"rendered":"

In her solo exhibition All Muses are Dead<\/i> Donna Volta Newmen focuses on the complex characters and hidden histories of the artists, inventors, political wire pullers, and patrons hidden behind the countless, often anonymous portraits of women in Western art history and its institutions. Her portraits insist on the authorship, autonomy, (self-)representation, and subjectivity of the depicted persons. Respecting the individuality of her subjects, the artist abandons the serial language characteristic of printmaking \u2013 line etching, aquatint, mezzotint, and drypoint \u2013 by employing painterly elements of monotype. The results are not editions, but individual works. By declaring death to the muses, Donna Volta Newmen\u2019s new works create critical references to (art) historically female-attributed roles, while celebrating those personalities who have been structurally excluded from art history or reduced to the status of muses. In All Muses are Dead<\/i> their defiant poses stand in as subversive and emancipatory gestures for processes of social and political change in historical as well as contemporary contexts of self-representation. <\/p>","protected":false},"featured_media":2638,"template":"","meta":{"_acf_changed":false,"footnotes":""},"pro_forder":[261],"pro_mitwirkende":[247],"pro_kun":[246],"pro_tag":[],"pro_type":[62],"class_list":["post-1658","projekt","type-projekt","status-publish","has-post-thumbnail","hentry","pro_forder-bezirksamt-tempelhof-schoneberg-dezentrale-kulturarbeit","pro_mitwirkende-donna-volta-newmen","pro_kun-donna-volta-newmen","pro_type-ausstellung"],"acf":{"pro_tag":false,"pro_tag_source":{"label":"Tag","type":"taxonomy","formatted_value":false},"pro_type":[62],"pro_type_source":{"label":"Filter","type":"taxonomy","formatted_value":[62]},"pro_date":"20.7.\u201310.8.2023","pro_date_source":{"label":"Zeitraum","type":"text","formatted_value":"20.7.\u201310.8.2023"},"pro_artist":[246],"pro_artist_source":{"label":"Namen","type":"taxonomy","formatted_value":[246]},"pro_with":[247],"pro_with_source":{"label":"Mit","type":"taxonomy","formatted_value":[247]},"pro_link_text":"","pro_link_text_source":{"label":"Verlinkungen","type":"wysiwyg","formatted_value":""},"pro_curated_by":"","pro_curated_by_source":{"label":"Kuratiert von","type":"text","formatted_value":""},"pro_thanks":"Thomas Merkel, Austin Redman, Barbara Fellmann, Josefine Leonhardt-Laurent, Martino Semenzato, Silviu Guiman, Werkstatthaus Stuttgart, Druckwerkstatt Kunstquartier-Bethanien, Frameworks, Glaserei Hadzic, 44INCH Printworks ","pro_thanks_source":{"label":"Mit Dank an","type":"text","formatted_value":"Thomas Merkel, Austin Redman, Barbara Fellmann, Josefine Leonhardt-Laurent, Martino Semenzato, Silviu Guiman, Werkstatthaus Stuttgart, Druckwerkstatt Kunstquartier-Bethanien, Frameworks, Glaserei Hadzic, 44INCH Printworks "},"pro_sponsor":"Bezirksamt Tempelhof-Sch\u00f6neberg \u2013 Dezentrale Kulturarbeit","pro_sponsor_source":{"label":"Gef\u00f6rdert von","type":"text","formatted_value":"Bezirksamt Tempelhof-Sch\u00f6neberg \u2013 Dezentrale Kulturarbeit"},"pro_photographer":"Silviu Guiman \u2013 B\u00fcro f\u00fcr Kunstdokumentation","pro_photographer_source":{"label":"Fotos","type":"text","formatted_value":"Silviu Guiman \u2013 B\u00fcro f\u00fcr Kunstdokumentation"},"pro_access_informationen":"","pro_access_informationen_source":{"label":"Accessibility","type":"text","formatted_value":""},"pro_press_text":"https:\/\/www.kaltblut-magazine.com\/all-muses-are-dead-by-donna-volta-newmen\/<\/a>","pro_press_text_source":{"label":"Presse","type":"wysiwyg","formatted_value":"

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auch - Programm","type":"relationship","formatted_value":[{"ID":57,"post_author":"4","post_date":"2022-04-30 21:47:45","post_date_gmt":"2022-04-30 21:47:45","post_content":"\n

In Anlehnung an Diana Ross\u2019 ikonischen Hit It\u2018s my house<\/em> besch\u00e4ftigte sich Sangun Hos Einzelausstellung bei soft power<\/em> mit den Details, die unser Alltags\u00ad\u00adleben an der Oberfl\u00e4che bestimmen. Die romantische Begegnung zweier Tauben auf einem B\u00fcrgersteig; ein verlassenes Kissen, das gem\u00fctlich auf einem Fensterbrett ruht; ein kleiner Hund, der \u00fcber die Kante des Fr\u00fchst\u00fcckstisches lugt; eine Flasche, die sich unter dem K\u00fchlschrank versteckt \u2013 Sangun Ho f\u00e4ngt diese Momente, denen wir alle jeden Tag begegnen, ein. Er sammelt und akkumuliert diese Fragmente auf eine schnappschussartige Art und Weise und h\u00e4lt ihre fl\u00fcchtige Pr\u00e4senz an, indem er jedem von ihnen die konzentrierte Aufmerksamkeit schenkt, die seine detaillierten Handzeichnungen verlangen. <\/p>\n\n\n\n

Als Gesamtwerk scheinen diese t\u00e4glichen Zeichnungen die \u201ereale Welt\u201c zu repr\u00e4sentieren, und doch kreiert der K\u00fcnstler dabei eine Welt f\u00fcr sich. Oftmals unterwegs aufgenommen, auf dem Weg zum Atelier, oder nach Hause, verweisen Sangun Hos Motive auf die Sch\u00f6nheit, die den seltsamsten Situationen innewohnt. In seinen Beobachtungen gibt es keine Hierarchie zwischen re\u00ad\u00adalen Begegnungen, Szenarien, die sich auf einer ima\u00ad\u00adgi\u00adn\u00e4ren Ebene abspielen, oder Fragmenten eines Tagtraums, die jemand anderes ihm erz\u00e4hlt hat. Sie wurden gleicherma\u00dfen \u201eaus der visuell lauten Welt herange\u00adzoomt und murmeln ihre eigenen unklaren, aber \u00fcber\u00adzeugenden Geschichten.\u201c1 Was f\u00fcr andere wie ein beil\u00e4ufiges Ereignis erscheinen mag, birgt f\u00fcr Sangun Ho das Potenzial f\u00fcr \u201edas wesentlichste aller Vergn\u00fcgen.\u201c Nun haben wir kollektiv die Erfahrung gemacht, auf unser Zuhause beschr\u00e4nkt zu sein, auf unsere t\u00e4glichen Wege zur Arbeit und zur\u00fcck, auf Routinen, die vielleicht nicht \u00fcber den gelegentlichen Gang zum Supermarkt hinausgehen. Unser Blick f\u00fcr diese zuf\u00e4lligen Ereignisse hat sich m\u00f6glicherweise gesch\u00e4rft, oder wir haben ihn ganz in Gleichg\u00fcltigkeit verloren. Sangun Ho l\u00e4dt uns ein, in die pr\u00e4zise Zuf\u00e4lligkeit eines jeden solchen Moments hineinzuzoomen; er l\u00e4dt uns ein in seine Welt, manchmal buchst\u00e4blich in sein Haus. <\/p>\n\n\n\n

Im Rahmen der Ausstellung bei soft power<\/em> er\u00f6ffnete der K\u00fcnstler erstmals in Deutschland sein Hosangun Reproduction Office<\/em>. In diesem fortlaufenden Projekt l\u00e4dt Sangun Ho das Publikum dazu ein, solche Schnappschuss-Momente, Erinnerungen an den Traum der letzten Nacht oder sogar ein pers\u00f6nliches Geheimnis mit ihm zu teilen. Der K\u00fcnstler fertigt daraus eine postkartengro\u00dfe Zeichnung an, die er schlie\u00dflich an die jeweiligen \u201eAutor*innen\u201c schickt, um die Produktion des Werkes abzuschlie\u00dfen. W\u00e4hrend der gesamten Dauer der Ausstellung war das Hosangun Reproduction Office <\/em>ge\u00f6ffnet, um Besucher*innen zu empfangen und ihren verirrten Geschichten ein Zuhause zu geben. <\/p>\n\n\n\n

Anl\u00e4sslich der Ausstellung produzierte Sangun Ho die Edition Love of Pigeons<\/em>, 2022 (420 x 297 mm, fine art print on mediaJET Litho Archiv mat, 30 + 3 AP) im Auftrag von soft power <\/em>und in Kollaboration mit Contemporary Artist Things.<\/p>\n","post_title":"It\u2019s my house","post_excerpt":"In Anlehnung an Diana Ross\u2019 ikonischen Hit It\u2018s my house<\/i> besch\u00e4ftigte sich Sangun Hos Einzelausstellung bei soft power<\/i> mit den Details, die unser Alltagsleben an der Oberfl\u00e4che bestimmen. Die romantische Begegnung zweier Tauben auf einem B\u00fcrgersteig; ein verlassenes Kissen, das gem\u00fctlich auf einem Fensterbrett ruht; ein kleiner Hund, der \u00fcber die Kante des Fr\u00fchst\u00fcckstisches lugt; eine Flasche, die sich unter dem K\u00fchlschrank versteckt \u2013 Sangun Ho sammelt und akkumuliert diese Fragmente auf eine schnappschussartige Art und Weise und h\u00e4lt ihre fl\u00fcchtige Pr\u00e4senz an, indem er jedem von ihnen die konzentrierte Aufmerksamkeit schenkt, die seine detaillierten Handzeichnungen verlangen. Ho l\u00e4dt uns ein, in die pr\u00e4zise Zuf\u00e4lligkeit eines jeden solchen Moments hineinzuzoomen; er l\u00e4dt uns ein in seine Welt, manchmal buchst\u00e4blich in sein Haus.","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"its-my-house","to_ping":"","pinged":"","post_modified":"2025-05-23 15:03:23","post_modified_gmt":"2025-05-23 15:03:23","post_content_filtered":"","post_parent":0,"guid":"https:\/\/softpower.world\/?post_type=projekt&p=57","menu_order":0,"post_type":"projekt","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":36,"post_author":"4","post_date":"2021-09-09 20:58:03","post_date_gmt":"2021-09-09 20:58:03","post_content":"\n

Die Ausstellung A Guide to Softer Ware<\/em> ist eine kollektive Erforschung zeitgen\u00f6ssischer (und weniger zeitgen\u00f6ssischer) Sprachen der Instruktion im Kontext des \u201eFrausein\u201c. Ihr eigenes Verhalten als sozialisierte Frauen analysierend, untersuchten Charlotte Rohde und Vera van de Seyp Manuals von Frauen f\u00fcr Frauen, um Regelwerke f\u00fcr das Frausein zu hinterfragen und deren bin\u00e4re Vorstellung von Gender kritisch zu beleuchten. Die Idee des Handbuchs wird hier als eine (selbst)auferlegte Richtlinie entlarvt, gefangen zwischen dem Imperativ der bedingungslosen Best\u00e4tigung durch andere und dem Bed\u00fcrfnis, f\u00fcr das eigene Narrativ verantwortlich zu sein.<\/p>\n\n\n\n

Das Format des Manuals wurde hier als rhetorisches Kon\u00adstrukt verwendet, das erforscht, wie sich die sozialen Rollen von Frauen durch das Aufkommen neuer Technologien seit der zweiten H\u00e4lfte des 20. Jahrhunderts bis heute ver\u00e4ndert haben. Mit ihrem gemeinsamen Hintergrund, der von (Schrift-) Design bis hin zu kreativem Coding reicht, dekonstruieren und reprogrammieren Charlotte Rohde und Vera van de Seyp (im wahrsten Sinne des Wortes) diese rhetorischen Mittel der Anweisung\/Unterweisung: Von den Formulierungen in technischen Gebrauchsanweisungen der 1960er Jahre f\u00fcr N\u00e4h-, Strick- und andere Haushaltsger\u00e4te, die Hausfrauen als neue Zielgruppe ansprechen, bis hin zu Memes und YouTube-Tutorials als Ph\u00e4nomen der heutigen Internet-Kultur der Selbstoptimierung.<\/p>\n\n\n\n

Mit ihrem Guide to Softer Ware<\/em> reflektierten die K\u00fcnstler\u00adinnen das vermeintliche Bed\u00fcrfnis nach fest- und vor\u00adgeschriebener Anleitung und die Formen, die diese in der Vergangenheit angenommen hat und noch immer annimmt. Die Ausstellung bei soft power<\/em> pr\u00e4\u00adsentiert neue Arbeiten der beiden K\u00fcnstlerinnen, die als Handbuch f\u00fcr die Betrachter*innen und gleichzeitig als Schriftproben fun\u00adgieren k\u00f6nnen. Der Einsatz von Werkzeugen und Typografie, Seife und Metall, Software und Code (und letztlich der Einsatz des K\u00f6rpers selbst) lud dazu ein, die \u201esoftness\u201d zu hinterfragen, die historisch\/konventionell\/unbewusst bestimmten Materialien und R\u00e4u\u00admen, Gender und dessen Konstruktion zugewiesen wird.<\/p>\n","post_title":"A Guide to Softer Ware","post_excerpt":"Die Ausstellung A Guide to Softer Ware<\/i> pr\u00e4sentierte neuen Arbeiten von Charlotte Rohde und Vera van de Seyp, die sich mit zeitgen\u00f6ssischen (und weniger zeitgen\u00f6ssischen) Sprachen der Instruktion im Kontext des \u201eFrausein\u201c besch\u00e4ftigen. Mit ihrem gemeinsamen Hintergrund, der von (Schrift-)Design bis hin zu kreativem Coding reicht, dekonstruieren und reprogrammieren Charlotte Rohde und Vera van de Seyp diese rhetorische Mittel der Anweisung\/Unterweisung: Von den Formulierungen in technischen Gebrauchsanweisungen der 1960er Jahre f\u00fcr N\u00e4h-, Strick- und andere Haushaltsger\u00e4te bis hin zu Memes und YouTube-Tutorials als Ph\u00e4nomen der heutigen Internet-Kultur der Selbstoptimierung.","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"a-guide-to-softer-ware","to_ping":"","pinged":"","post_modified":"2023-08-08 17:26:53","post_modified_gmt":"2023-08-08 17:26:53","post_content_filtered":"","post_parent":0,"guid":"https:\/\/softpower.world\/?post_type=projekt&p=36","menu_order":0,"post_type":"projekt","post_mime_type":"","comment_count":"0","filter":"raw"}]},"pro_related_products":[1682],"pro_related_products_source":{"label":"Siehe auch Shop","type":"relationship","formatted_value":[1682]}},"_links":{"self":[{"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/projekt\/1658","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/projekt"}],"about":[{"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/types\/projekt"}],"version-history":[{"count":43,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/projekt\/1658\/revisions"}],"predecessor-version":[{"id":2663,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/projekt\/1658\/revisions\/2663"}],"acf:post":[{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/produkt\/1682"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/projekt\/36"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/projekt\/57"}],"acf:attachment":[{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2658"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2660"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2657"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2656"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2654"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2653"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2651"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2652"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2648"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2655"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2649"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2661"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2659"},{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2650"}],"acf:term":[{"embeddable":true,"taxonomy":"pro_mitwirkende","href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/pro_mitwirkende\/247"},{"embeddable":true,"taxonomy":"pro_kun","href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/pro_kun\/246"},{"embeddable":true,"taxonomy":"pro_type","href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/pro_type\/62"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media\/2638"}],"wp:attachment":[{"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/media?parent=1658"}],"wp:term":[{"taxonomy":"pro_forder","embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/pro_forder?post=1658"},{"taxonomy":"pro_mitwirkende","embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/pro_mitwirkende?post=1658"},{"taxonomy":"pro_kun","embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/pro_kun?post=1658"},{"taxonomy":"pro_tag","embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/pro_tag?post=1658"},{"taxonomy":"pro_type","embeddable":true,"href":"https:\/\/softpower.world\/en\/wp-json\/wp\/v2\/pro_type?post=1658"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}