Luise Marchand

In her photography, Luise Marchand (born 1987, Saxony-Anhalt) draws on an aesthetics and a visual vocabulary that remind the viewer of the advertising industry. The collision of organic and artificial elements is central to her work. In her images she juxtaposes all kinds of accessories for self-optimization with the imperfectibility of transient things, including the human body. Luise Marchand lives and works in Berlin. In 2019 she received the Leipzig G2 Kunsthalle Art Prize. She was a recipient of the Kunstverein Hannover’s Atelier Scholarship Villa Minimo in 2020. In the same year she received the Wüstenrot Foundation’s award for documentary photography. Recently her film installation Liquid Company/Flüssige Gesellschaft was shown at Museum Folkwang, Essen as well as at the Leipzig Museum of Fine Arts.

Works

Muttererde
Liquid Company/Flüssige Gesellschaft
Zeit ist Geld – Eine Schnecke ist eine Schnecke
Die Zeichen stehen gut
POW - Power Of We

Alexandra Karg

On the occassion of the exhibition Muttererde at Kunstverein Hannover, 2022

The scent of the “eternal rose” emitted by the lifeless floristry elements in Luise Marchand’s Muttererde series has a dual effect: it symbolizes the preservation of natural beauty and stands for the abnormal distortion that takes place in the synthetic production of perfection. The “eternal rose” is of course an oxymoron, a contradiction that becomes quite palpable in this work. This kind of ambivalency is central to Muttererde, in which the collision between organic and artificial elements is especially meaningful.

The three-part installation references the broad-ranging and contemporary meaning of floristry under the influence of capitalism’s creation of added value, which always prefers topsoil, the most fertile horizon in natural resources. Yet it also exposes the failure that the floristry industry is obliged to take part in, to artificially imitate the rich, fertile soil. With photography as her instrument, Luise Marchand casts a light on the traditional craft of working with flowers as well as the cultural use of flower arrangements for birthdays, weddings, and memorial services. Both aspects are collaged with mateirals that point to the increasing synthetization in the processing of flowers and plants. The sheets applied to the exhibition space’s overhead lighting and their application in the UV prints on glass clearly allude to the artificial conditions for cultivating and conserving cut flowers. At the same time, the use of fencing elements from the cages of small animals references the domestication of other living beings in general.

With one foot firmly in the tradition of vanitas still lifes and the other engaged in playing with the visual vocabulary of the advertising industry, Muttererde recalls some of the earliest aesthetic questions while also provoking contemporary and moral reflection on life, consumption, and how we interact with living organisms.

Time is Money – A Snail is a Snail

Luise Marchand observed snails as they dragged their bodies across notes and coins, climbing up the folds and stacks – how they stretched out their feelers gingerly, yet also full of curiosity. With their flat planes of light colour, the images she captured of these scenes remind the viewer of stock photography. Grouped under the didactic title Time is Money, the photographs of the snails in their landscape made of money could indeed serve as effective illustrations for advertisements or news reports. And yet the combination of snails and money is not quite as frictionless as one might initially presume; it actually creates all kinds of problems. Because it seems that each of the two elements possesses a number of characteristics that only become apparent in their unlikely encounter. Perhaps it could be compared to that sensation in your mouth when you eat a soft-boiled egg with a silver spoon. Each in their own right, snails and money are acceptable. We are used to thinking of their origins in nature or civilization as separate. Luise Marchand’s snails drag themselves across notes and coins as they usually would across grass and fallen fruit. That this warm and slimy act of contact, ultimately a touch that devours, is being performed with agents of the market economy – of all things – makes it into something sexual, with an unsettling effect. Notes and coins are anal objects. The cultural practice from which they originate is based on the moral values of work ethic and frugality. People cling to notes and coins, they hoard them, even after the digital age has brought about the dissolution of their paper and metal forms. Notes and coins indeed do not belong to a snail’s natural environment, nor do they belong to the part of everyday human life in which snails are interested in. As the clearly most primary natural element in the images, the snails creep across the most mediated (or estranged) part of a culture.

Miriam Stoney
Die Zeichen stehen gut

Post-industrial society has lost its grip on notions of work, rest and leisure.The rise of immaterial labour has been met with a growing optimisation of the individual, a continuous variable with multiple presences and temporalities-The prevalence tide of mixed, private- professional engagement forces us to be always, all ways, switched on. What does this mean for our intimate lives, our privacy and our integrity? Our needs and desires are changing, as are our values. Well, the signs, the prospects, the indications are good. Good for what, for whom? Ask the objects that surround us, that serve us and distract us on a daily basis. Objects that perform so that we can too. They help us tend toour delicate, docile bodies so we can stay in the race, multi-tasking and mobile. Carefully compartmentalised, even our te- ars are ergonomic these days. Kinesio tape on the shoulder replaces a warm hand, a touch helping us keep it together. As technologies of self-regulation and -exploitation are condensed and dispersed through our mental, emotion and physical lives, we’d better stay on the good side of these gadgets and tools.

 

Power Of We

CV

Solo Exhibitions

2023
Liquid Company - Flüssige Gesellschaft. Dokumentarförderpreis 13 der Wüstenrot Stiftung (mit Sabrina Asche,Heiko Schäfer, Wenzel Stählin), Museum im Kleihues-Bau, Kornwestheim
(with Stefanie Seubert), Laura Mars Gallery, Berlin

2022
Grund und Boden, Galerie K', Bremen
Preis des Kunstvereins Hannover, Kunstverein Hannover
Liquid Company - Flüssige Gesellschaft. Dokumentarförderpreis 13 der Wüstenrot Stiftung (with Sabrina Asche, Heiko Schäfer, Wenzel Stählin), Museum Folkwang, Essen
Liquid Company - Flüssige Gesellschaft. Dokumentarförderpreis 13 der Wüstenrot Stiftung (with Sabrina Asche, Heiko Schäfer, Wenzel Stählin), Museum der bildenden Künste, Leipzig

2021
Zeit ist Geld. Eine Schnecke ist eine Schnecke, 1200 posters in the public space during Gallery Weekend Berlin

2020
POW – The Power of We, HGB Galerie, Leipzig

2017
ACTS OF RESPONSIVENESS, Torrance Shipman Gallery, New York, USA

2016
Bye Body, Bye, The Grass is Greener Gallery, Spinnerei, Leipzig

Group Exhibitions

2023
Touch. Politiken der Berührung, EMOP Special c/o Amtssalon

​​​​​​​2022
Der neue Mensch, Worpswede Museen
I DON'T WORK ON WEEKENDS, Kunstverein Göttingen
THE ALIEN EVERYDAY, Spoiler, Berlin

2020
Verletzbare Subjekte, Zentrum für aktuelle Kunst, Zitadelle, Berlin
Junge Kunst aus Düsseldorf, Stadtgalerie Kaarst, Düsseldorf

2019
Tender Buttons, Künstlerhaus Bremen

2018
Touch, nGbK, Berlin

2017
Object Lessons, Leipzig Kunstverein, Leipzig
Kombi 5, Bethanien Art Center, Berlin
Situationists/Flesh, Fotomuseum Winterthur, Winterthur, Schweiz