konkrete frauen,
neue rÄume

Round 100 years ago, Theo van Doesburg (1883-1931) called for a new art form: reduced colors, geometric forms and the renunciation of an artistic signature were the guidelines of “Concrete Art”, which he officially brought to life with a manifesto. But what does Concrete Art mean today? What means do contemporary artists associated with this art movement use? And would they describe themselves as 'concrete'?

Female positions are still underrepresented in museums and galleries compared to their male colleagues. As part of the Hellweg Konkret III joint project, the Kunstmuseum Ahlen is therefore showing 20 outstanding international female artists with a connection to Concrete Art. The group exhibition thus opens up new spaces in several respects: firstly, by expanding the concept of Concrete Art; secondly, by exploring specific space-creating qualities in painting, drawing, sculpture, installations and textile art; and thirdly, by giving female artists a space for representation. The broad spectrum of artistic expression and the great wealth of colors, forms and materials make you want to discover more.

Amalia Valdés (*1981) designed an installation and a wall work about five meters long. Triangular shapes hang from the ceiling, made up of several prefabricated wooden grids painted by the artist. The triangles are staggered, creating an almost impossible net structure to penetrate. The thicket of jagged lines can be seen more precisely through movement. The wallwork combines collage and painting.

It is made up of several canvases of different sizes, which are hung closely together but not at the same height. Their respective positions are determined by a pattern and a strong line that covers all the pictures equally.

The Chilean-born artist connects her artwork to her own origins by integrating paper scraps from a Chilean factory into her artworks.

The brown paper is semi-transparent and has a delicate, industrially produced

pattern of dots arranged in series. The artist cuts the paper and sticks it on the wall in the form of a central line that runs through all the canvases and connects them to each other.

Amalia Valdés’ work process alternates between action and reaction. She exposes her idea, which can develop its own dynamic as the work progresses. This creates moments of reflection and rethinking. Working with patterns and grids acts as a catalyst in this artistic path. The line is a decisive source of inspiration, as it can provide direction in the process or enable a change of direction.

Dr. Anna Luise von Campe