lives and works in London and Berlin

Education

2018 – 2020 Royal College of Art, London
2009 – 2017 Academy of Fine Arts (HGB), Leipzig
2003 – 2006 BTK University of Applied Sciences, Berlin

Solo Exhibitions

2017 Cc: scratch, record, liquidate, Galerie b2, Leipzig
2016 Rotary-Kunst-Preis, Museum Schloß Schramberg
2014 Terrain Vague, Wild Palms, Kühlhaus Berlin

Group Exhibitions

2023 Books & Others, ACRE Studios, Berlin
2021 Space Lapse, Royal Society of Sculptors, London
2020 Being pulled all over the place, SCAN, London
2020 London Grads Now, Saatchi Gallery, London
2020 RCA / Slade Graduate Show, Kristin Hjellegjerde Gallery, London
2020 Dirty Hands, Standpoint Gallery, London

2019 Re-Staging Marketing Suite, Assembly Point Gallery, London
2019 Critical Cartographies/ Marketing Suite, Filet, London
2019 New Additions of Contemporary Art to Kunstfonds 2018, Saxon State Representation, Berlin

2018 Break Time Collection, Athens
2018 WIN/WIN – Purchases of the Cultural Foundation of the Free State of Saxony, Leipzig

2017 Glue@Netzwerk freier Berliner Projekträume und Initiativen, with Philip Topolovac
2016 Struktion, Kühlaus Berlin
2014 And All It’s Layers, with Gritli Faulhaber, Leipzig
2013 COPY&REPEAT, Kunsthalle der Sparkasse Leipzig
2013 auf weiß – dreimal zeichnung, Kunstverein Jena
2013 7. Lithographie Symposium, Steinwerk Leipzig
2013 prints made in Leipzig, Hungarian University of Fine Arts, Budapest
2012 Brest <> Leipzig, Landscape in Transformation, HGB Leipzig
Brest <> Leipzig, Landscape in Transformation, Centre d’Art Passerelle Brest
2012 in lineares res, Westpol A.I.R. Space, Leipzig
2012 Salzburg in neuen Ansichten, Galerie Neuhauser Kunstmühle Salzburg
2012 Sixpack – 6 Positionen der Klasse Schröter, Galerie cCe Kulturhaus Leuna
2012 Studienpreis des Freundeskreises der HGB, Galerie HGB, Leipzig
2011 19 Shells, MZIN, Leipzig
2011 Hochdruck an der HGB, Galerie HGB, Leipzig

Scholarships | Residencies | Awards

2022 Neustart Kultur, Stiftung Kunstfonds
2020 Ceramic Residency, Standpoint Gallery London
2019 Scholarship by the German Academic Exchange Service, DAAD
2018 Scholarship by the Cultural Foundation of the Freestate of Saxony
2018 Self-organized Residency in Athens, possible through KdFS
2016 Rotary-Kunst-Preis 2016, Rotary Club Rottweil
2012 Grant Residency Neuhauser Künstmühle, Salzburg
2012 Studienpreis des Freundeskreises der HGB, Leipzig

Conferences

2019 Building Narrative, Cultural Interfaces and Spatial Meaning, Graduate Conference in Cultural Studies, Universidade Católica Portuguesa, Lisbon
2019 The Afterlife of the Object, European Summer School in Cultural Studies, Copenhagen

Bibliography

2021 What remains when the story ends, DAAD London
2019 Marketing Suite, Assembly Point, London

2013 Steinwerk Lithography Calendar 2013, Steinwerk Leipzig
2013 COPY&REPEAT, reproduction, reconstruction, reenactment, replication published by Kunsthalle der Sparkasse Leipzig
2013 auf weiß – dreimal zeichnung, Kunstverein Jena
2012 Studienpreis 2012, Academy of Visual Arts (HGB), Leipzig
2011 Hochdrucken, limited edition magazine, HGB Leipzig

Public Collection

SKD, Staatliche Kunstsammlungen Dresden
Sammlung – Kunsthalle der Sparkasse Leipzig
Städtische Sammlung Rottweil – Bildhauerzeichnungen

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Co-President 2019/20 of the Walkative Society, London
http://www.thewalkativeproject.org
Alumna at Clayground, ceramic co-working studio, Berlin
http://www.claygroundceramics.com

Text

Katharina Siegel is an artist based in London and Berlin, who gained a Diploma in Fine Art from the Academy of Fine Arts Leipzig (HGB) and a Master’s in Sculpture from the Royal College of Art London.

She operates between the disciplines of contemporary art practice and critical thinking, with interests in historiography, philosophy and in narrative and reflexive systems in contemporary fine art. Her multidisciplinary art practice is often research-based and explores concepts of experience, space, temporality and process.

Siegel works across sculpture, drawing and writing. Taking her own drawing practice as a starting point of investigation, she focuses on the question of how aesthetic experience can be (re-)presented, in order to become communicable. More specifically, Siegel explores whether there is an interrelationship between aesthetic perception and aesthetic production that manifests itself in the creative artistic process as a response to an aesthetic experience of one’s own presence. Every response makes references, references to what affects us, that is to say, to what attracts, moves or “hits” us. In philosophy, these references are described using terms such as meaning, intention, attention, and affection. What they all have in common is that they are something we cannot control but which guide and direct us.

Drawing in a notational manner is for her a way to translate experience into a medium, a graphic utterance as a trace, which is constantly shifting, condensing, dissolving and being re-understood.

Her interest in the critical role attributed to notational practices, in terms of how we think in the arts, has influenced her ideas of what images are or of what signs show. Notational practices take on a role that help to transform the idea of art itself, the way it is made, discussed and received. Interested in the concept of an archive and the possibility to create knowledge, a narrative or imagery out of its material by re-arranging, repetition or transformation, she started cataloguing the fragments of her research and work process. While working with her archival material the relationship between concept, recording, repetition and work is redefined, and the drafting processes themselves become autonomous works of art.

In the artistic process, the pluralistic aesthetic forms of perception and the way in which they find expression in observation, memory or description finally merge with the aesthetic enactment of the work processes itself. What role does the artistic process, as a practice of translation of experience, play in experimental spaces, in spaces of sensation and affect that cannot be measured, whose parameters shift and suddenly go in other directions? Can the artistic process make visible what we cannot yet see and thus make possible what we cannot yet think?¹

1Die Kunst der Notation, in: Notation, Kalkül und Form in den Künsten, Akademie der Künste, Berlin, ZKM, Zentrum für Kunst und Medientechnologie, Karlsruhe