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Metabolic Drawings – Or: Drawing metabolic
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Hilma af Klint (1862-1944) is considered a pioneer of abstract painting. However, she herself hardly saw her artistic works as products or opus, but rather as a coherent system. Accordingly, the contribution presents and unfolds af Klint's paintings as an alternative version of modernism, an ecosystem or digestive system. This also takes up the mediumistic origin of the paintings: af Klint visualises transcendental messages. Looking forward and seeking out new possibilities (Bashkoff, 2018), she paints for a future that she perceives clairvoyantly.
In text and images, the piece "Metabolic Drawings – Or: Drawing metabolic" develops a speculative landscape that follows the images and convictions of Hilma af Klint: Historical facts are interwoven with pictorial descriptions and culminate in a utopian or dystopian future. Theoretical approaches from Queer Studies and Speculative Feminism are adopted to critically question the reception of af Klint's paintings and of herself. In a way, the essay can be seen as a digestion of digestion.
Title: Metabolic Drawings – Or: Drawing metabolic
Description:
Hilma af Klint (1862-1944) is considered a pioneer of abstract painting.
However, she herself hardly saw her artistic works as products or opus, but rather as a coherent system.
Accordingly, the contribution presents and unfolds af Klint's paintings as an alternative version of modernism, an ecosystem or digestive system.
This also takes up the mediumistic origin of the paintings: af Klint visualises transcendental messages.
Looking forward and seeking out new possibilities (Bashkoff, 2018), she paints for a future that she perceives clairvoyantly.
In text and images, the piece "Metabolic Drawings – Or: Drawing metabolic" develops a speculative landscape that follows the images and convictions of Hilma af Klint: Historical facts are interwoven with pictorial descriptions and culminate in a utopian or dystopian future.
Theoretical approaches from Queer Studies and Speculative Feminism are adopted to critically question the reception of af Klint's paintings and of herself.
In a way, the essay can be seen as a digestion of digestion.
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