Selected Solo Exhibitions

Dorothee Kreutzfeldt
2004 - 2007

the virgins are all trimming their wicks
7 - 28 March 2020

‘The show is framed by this well known Johnny Cash song –‘The Man Comes Around’ - which starts and ends with an extract from Revelations (and I saw and behold a white horse…”). It came to my mind when flying between Kinshasa and Johannesburg, while watching the news. From the air the continent seemed so vast. Between geographies of apocalypse and paradise the news were so specific. I thought of (Mohammed) Ali and Mad Max in the Namibian desert, Rwanda Hotel, Nontetha and Blood River and I thought I knew nothing. I was reading about South Africa in the Sawobona inflight mag and the images of wildlife seemed odd. I mean I live in an African city with two polar bears.

In Kinshasa someone showed me the hanging of Saddam Hussein on a cellphone screen. Then I read of Mbeki congratulating the Congolese masses who ”did not lose confidence in the capacity of their nation to pull itself out of the abyss”. Our abyss, our home truths. Home public service announcements that profess things will change… the show if you like is a one month diary – or the attempt of an insomniac to memorise some song lines and some of today’s images."

Dorothee Kreutzfeldt


To view Dorothee Kreutzfeldt's available works from her exhibition the virgins are all trimming their wicks, please click here
















































No Condition is Permanent
17 October - 3 December 2005

Painting installation at the Premises, Johannesburg (2005)

Worked for 2 months at the Premises, painting the walls. The public had access on a daily basis. For the painting I used public advertising and signs from Johannesburg and SA media. Layered them to a sort of pop-effect ­ screen. All in domestic pva. In the last three weeks I slowly erased the paintings, using white pva. All those statements and icons disappeared slowly, it was good to paint in negative on that scale.

impermanence is so much part of how the city presents itself, how it communicates. We associate it with instabilities, catastrophes, and ultimately conflict - less so perhaps with possibilities or an 'opening' of memory, encounters and desires. Will the city be the same tomorrow? Will I be the same tomorrow?

http://onair.co.za/thepremises/





































































Like Nine Pin
21 September - 29 October 2005

‘I think every game is a universe in a way, or every game is an expression of how the universe works, for different cultures.’ Gabriel Orozco

I have never played nine pin(1). It is the forerunner of 10 pin bowling. Like any game, it has a set of rules and conditions, a landscape or space. It implies tradition, skill and competition. And entertainment. The emotional and political dimension of games and sports are complex. What is played out has its own aesthetics and erotics. These are often bound to the capacities and limits of the body- impact, speed, strength, etc. The amount of capital and personal investment in sports is incomparable to the arts. In post-apartheid South Africa soccer, cricket, boxing and rugby, all former colonial 'imports', enjoy national popularity. So here then, our identity, our pride and joy, our embarrassment...

The paintings in the show are based on stock photography taken from the net, national sport magazines and newspapers. Its all style. Think of trophies.

1.Nine Pins or Skittles ‘has long been played in the Inns of England. In general, players take turns to throw wooden balls down a lane at the end of which are several wooden skittles in an attempt to knock them all over. The centre pin of the diamond is called the “kingpin”, which is now used metaphorically to mean the main character in an organisation.’ There are a number of variations across England and the United States. ‘In Germany, in the 3rd or 4th century monks played a game with a skittle or kegel which was a club carried for self defence. In the game, the kegel represented a sin or temptation and the monks would throw stones at it until they knocked it over.’ From : The Online Guide to Tradtional Games and Handbook of Texas Online- NINEPIN BOWLING

To view Dorothee Kreutzfeldt's available works from her exhibition Like Nine Pin, please click here















Tigers Don't Cry
30 January - 28 February 2004

‘Tigers Don’t Cry’ is a body of paintings that started with a drawing of a snake that I found on a wall in Hillbrow, one of Johannesburg’s notorious no-go zones. The work references both hand-painted signs and writings from the streets of the city and national ‘proudly South African’ products like ‘Farmgirl’.

To view Dorothee Kreutzfeldt's available works from her exhibition Tigers Don't Cry, please click here

ARTIST

Selected Projects
2001-2007

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