ÉLODIE ANTOINE
ROSALÍA BANET
WIEBKE BARTSCH
BARBARA BERNSTEINER
TANIA CANDIANI
BARBARA CAVENG
LADA CERAR
ANDREJKA ČUFER
JOCHEN FLINZER
CLAUS FÖTTINGER
ZUZANNA JANIN
METKA KAVČIČ
JUSTYNA KOEKE
MICHAEL KOS
EDUARD LESJAK
MARTIN LÖFFKE
POLONA MAHER
ISA MELSHEIMER
JANET MORTON
ALEN OŽBOLT
SANDRINE PELLETIER
MARIJA MOJCA PUNGERČAR
IRIS SCHIEFERSTEIN
SAŠO SEDLAČEK
CHIHARU SHIOTA
KEI TAKEMURA
ANDRÉ TEMPEL
ANU TUOMINEN
JULIA VAN KOOLWIJK
MARJOLIJN VAN DER MEIJ
PETRA VARL
PATRICIA WALLER
SILKE WAWRO

Jochen Flinzer


Belonging to (Fan Scarf, Silver Tie), 2005 (stitch on cloth)
+
Belonging to (Fred Perry 1, Safety Jacket 1), 2005 (stitch on cloth),
Courtesy: DÖRRIE*PRIESS, Hamburg

Jochen Flinzer has been working with thread for a number of years already, using it as an autonomous painting and drawing stroke. His paintings are two-dimensional art objects,
although they also contain sculptural components. His artworks almost invariably function on
two planes, i.e. the front and the back side of the painting, which perfectly illustrates the plural character of contemporary visual production stemming from the history of the Western art system and reflecting the criteria used throughout history for the definition of what is and what
is not an artwork. If the Western art system in its progression from Renaissance to early avant-garde movements was defined by its proneness to the utmost realistic depiction of the real, i.e.
it was bound by the mimetic, in a certain moment it experienced a progressive turnabout in which mimesis was replaced by abstract expression – remember the philosopher A. C. Danto. And, the plural character of art in the past century has endorsed everything, even the combination of both approaches in a single work of art. If we apply these notions to the work
of Jochen Flinzer, we see that his paintings are marked by abstract and mimetic languages: the latter defines the forms and colours of the abstract side of the work. The iconography of the exhibited works – from the cycle Belonging to – reflects this fact through the phenomena of grouping and group identification on the basis of a dress code. All depicted garments bear
whole narrations about groups which identify themselves on the basis of garments or fashion accessories: for example, Fred Perry T-shirts, which have become synonymous for German homosexuals, or a fluorescent worker's jacket – during his residency in Ireland, the artist personally experienced integration into a group of workers on the basis of his garment. Further, Flinzer sees sewing as being somewhere between the absurd and the comical, emphasising
the triviality of the day.

Born in 1959. Between 1977 and 1982 he studied at the High School for Fine Arts in Hamburg (under Professor Mavignier and Professor Rühm). Between 1984 and 1986 he lived in Japan. In 1984 he won a working scholarship in Hamburg. He lives and works in Hamburg.

Solo exhibitions (selection):

2007 Ich sehe was, was Du nicht siehst, Dörrie * Priess Hamburg, Hamburg
2006 Ich sehe was, was Du nicht siehst, Dörrie * Priess Berlin, Berlin
2004 Kleine didaktische Schau, Galerie Karin Sachs, Munich
Als der HSV noch Meister war, Galerie Anita Beckers, Frankfurt am Main
2002 Die Zeit der lustigen Titel ist vorbei, Dörrie * Priess, Hamburg
2001 Sonntag ist der beste Tag im Tom's, Galerie Karin Sachs, Munich
Junge komm bald wieder, Galerie Thomas Rehbein, Cologne

Group exhibitions (selection):

2006 Das achte Feld, Museum Ludwig, Cologne
Das Souvenir, Museum für Angewandte Kunst, Frankfurt am Main
Geld schießt keine Tore, Opelvillen, Rüsselsheim
Die Schönheit der Chance, Kunsthalle und Kunstverein, Nürnberg
Artists at Glenfiddich 05, Dufftown
2005 Artists at Glenfiddich 05, Dufftown
Multiples für die Griffelkunst, Kunsthaus, Hamburg
2004 Gegen den Strich, Kunsthalle Baden Baden – catalogue
An der Nadel, Nassauischer Kunstverein, Wiesbaden
Die Rücken der Bilder, Hamburger Kunsthalle, Hamburg – catalogue
1998 Loose Threads, Serpentine Gallery, London – catalogue

www.doerrie-priess.de/flinzer/flinzer.htm