Judith Hopf

Judith Hopfs video films, performances, drawings and installations configurate a visual context that can be read in different ways. Her work has something intervention-like, at the same time it appears with a dependable paradox Panopticon of self-dramatization and is committed to a colourful and glamorous pop-poetry. Especially, her passionate interest for the force field between politics, art and theory can be seen in her work and therefore, functions as a reference framework.

Judith Hopfs work is not easygoing or modest. She prefers using themes that have been pushed into the off-areas of society und politics but still need to be regarded.

In her video production "Hey Produktion" (2001) she picks out a chain of power-relationships as her central theme. These connections can only have their productivity within certain substantial objectives. "Being productive " is determined by the ability to transform skills into objects, values or money. The counterpart- a state of contemplation that is fixed on direct awareness-accretion and is not dedicated to the production logic defines an area on its own. The film is a plea for the execrated park visitors in the sense of a romantic view of life.

Her work has a critical-productive conscience compared to the propagated social collapse of the artwork and its value. This shows in the sceptical view concerning the superficial self-confidence and self-assurance in the current art production field because these are in doubt of reducing the independent potential of the arts into nothing more than the essence of market value. Therefore she doesn't develop a room-filling identity for her installations. Instead she operates with an intervention that acknowledges the existing and turns it into something readable. This element is part of the narrative coherence, which she re-socializes and uses as a symbolic vacancy that purifies the White Cube anew.


Judith Hopf, Adieu Vorhölle, 2001, Ausstellungsansicht Kunstverein Braunschweig, Studiogalerie.


Curriculum vitae

1969 born in Karlsruhe
seit 2003 Gastprofessorin für Skulptur und Video an der Kunsthochschule Berlin Weissensee
2001-03 Gastdozentin an der Merz Akademie, Stuttgart
1992-96 Studium der Freien Kunst an der Universität der Kunst Berlin, Mitorganisation und Studium innerhalb der Freien Klasse, Berlin und bei Prof. Katharina Sieverding, Meisterschülerin
1990-92 Studium der Freien Kunst an der Hochschule der Freien Kunst, Bremen
 

Lives and works in Berlin

 

Judith Hopf, Hey Produktion, 2001, DVD 7min., Videostill.


Exhibitions, festivals (selection)

2005 "Universal Expirience: Art, Life and the Tourist´s Eye", Museum of Contemporary Art Chicago
2004 6. Werkleitz Biennale, Halle
  "Shizorama", Institute of Contemporary Art Moskau
  Atelier Europa, Kunstverein München
2003 "Hey Production", Cubitt Gallery, London
  "Temporary no Good Universe", Kunstiftung Baden Württemberg, Stuttgart
  "Windstösse", Haus der Kunst, Dresden
  "Ort des Gegen", Künstlerhaus Stuttgart
  "Haupt und Nebenwege", Galerie Christian Nagel, Köln

 

Performance Festivals: Public Affairs, Museum für Moderne Kunst, Wien, Austria
  8.Biennale of Fine Arts, Havanna, Kuba
2002 "Gewalt ist der Rand aller Dinge", Generali Foundation, Wien
  "Bei mir zu Dir", Galerie WBD, Berlin
2001 "Adieu Vorhölle", Studiogalrie, Kunstverein Braunschweig
2000

"Outmonster the Monster 1", Kunstbank, Berlin

 

Awards and grants

2004 Stipendiatin der Villa Aurora, Los Angeles (mit Natascha Sadre Haghighian)
  Projektförderung durch das Künstlerinnenprogramm Senat für Forschung, Kultur und Wissenschaft, Berlin für den Videofilm "The Uninvited"
2003 Preisträgerin des Gasag Kunstpreis 2003, Berlin
2002 Stipendium der Kunststiftung Baden-Württemberg
  Projektförderung durch das Künstlerinnenprogramm Senat für Forschung, Kultur und Wissenschaft, Berlin für den Videofilm "Bei mir zu Dir"
2001 Stipedium der Deutsch-Französischen Kulturrates, Aufenthalt für drei Monate in Paris
2000 Projektförderung durch den Senat für Kultur und Wissenschaft für den Videofilm: "Hey Produktion"
1999

Stipendium des Senates für Forschung Kultur und Wissenschaft, Berlin