Kalin Lindena.
Snoeck| N° d'inventaire | 33005 |
| Format | 24 x 32 |
| Détails | 95 p., numerous color photographs, paperback |
| Publication | Ghent, 2025 |
| Etat | Nine |
| ISBN | |
A gesture, this is how Kalin Lindena calls her artistic interventions. Lines of movement cut into space, curved into shape. Shapes, objects, works, which also bear witness to the unusual career path of this professor at the Academy of Fine Arts: Lindena's work is rooted in graffiti. "The artist who tags," according to the double-edged title of a 2015 article. For before her studies at the University of Fine Arts (HBK) in Braunschweig with Hartmut Neumann, Johannes Brus, and Walter Dahn, she tagged the streets of Hanover. And although she has been accompanying and leading a painting class in Karlsruhe since 2014, her past lives on in her work. As a technique and a subculture, graffiti marks her artistic practice and her vision of herself. A trace that does not appear in any outwardly suggestive aesthetic, especially recognizable when one tries to understand Lindena's paintings and sculptures, installations and performances as, precisely, gestures. The gesture here refers more to the birth of the works. For painting gesturally is painting in space like graffiti for which, unlike pencil or charcoal on paper, each line traced with a spray can inevitably becomes a movement of the whole body. And with it its trace. The gesture is not simply a means, not only the expression of an idea, of a reflection already completed. It is thought in full execution!
A gesture, this is how Kalin Lindena calls her artistic interventions. Lines of movement cut into space, curved into shape. Shapes, objects, works, which also bear witness to the unusual career path of this professor at the Academy of Fine Arts: Lindena's work is rooted in graffiti. "The artist who tags," according to the double-edged title of a 2015 article. For before her studies at the University of Fine Arts (HBK) in Braunschweig with Hartmut Neumann, Johannes Brus, and Walter Dahn, she tagged the streets of Hanover. And although she has been accompanying and leading a painting class in Karlsruhe since 2014, her past lives on in her work. As a technique and a subculture, graffiti marks her artistic practice and her vision of herself. A trace that does not appear in any outwardly suggestive aesthetic, especially recognizable when one tries to understand Lindena's paintings and sculptures, installations and performances as, precisely, gestures. The gesture here refers more to the birth of the works. For painting gesturally is painting in space like graffiti for which, unlike pencil or charcoal on paper, each line traced with a spray can inevitably becomes a movement of the whole body. And with it its trace. The gesture is not simply a means, not only the expression of an idea, of a reflection already completed. It is thought in full execution!