Britta Lumer

Der Moment

2023, Ink and charcoal on paper, 114 x 82,5 cm

angry bird

2022, Ceramic sculpture, 36,5 x 26 x 16,5 cm

Untitled

2023, Charcoal on paper, 29,7 x 21 cm

Untitled (06.11.20)

Collage, charcoal on paper, 42 x 29,7 cm

Lumer_06.11.20_Collage_carcoal on paper_42x29,7cm_102 — Untitled (06.11.20),
Collage, charcoal on paper, 42 x 29,7 cm

Umdenken

2022, Ceramic sculpture, 48 x 12,5 x 18 cm

Hatch

2023, Ink and charcoal on paper, 103 x 86,5 cm

Untitled (30.10.20)

Collage, charcoal on paper, 42 x 29,7 cm

Lumer_30.10.20_collage_kohleaufpapier_42x29,7cm_023 — Untitled (30.10.20),
Collage, charcoal on paper, 42 x 29,7 cm

Untitled

2019, Charcoal, paper, mounted on canvas, 95 x 70 cm

20211030_140734 — Untitled,
2019, Charcoal, paper, mounted on canvas, 95 x 70 cm

Untitled

2015, Bleach and acrylic on canvas, 70 x 55 cm

Untitled

2019, Charcoal, paper, mounted on canvas, 95 x 70 cm

Lumer, O.T., 2019, Kohle, Papier montiert auf Leinwand, 95 x 70 cm — Untitled,
2019, Charcoal, paper, mounted on canvas, 95 x 70 cm

Biography

Born 1965 in Frankfurt a.M. /Germany
1992-1996 Städelschule, State University of Fine Arts, Frankfurt am Main with Georg Herold and Per Kirkeby
1996 Master student in the class of Per Kirkeby
1996 Statens Kunstakademi, Bergen, Norway a.o. with Luc Tuymans and Lawrence Weiner
2001-2002 Studio grant of the Cultural Foundation of Hesse (hessische Kulturstiftung)
for a one year stay in New York City
2007 Catalog grant from Berlin's Senate Department for Culture and Europe
2008 Working grant of the Kunstfonds Bonn
2019 Research grant from Berlin's Senate Department for Culture and Europe
2020-21 “Crossing Borders. Sammeln für die Zukunft”/ Kupferstich-Kabinett der Staatlichen Kunstsammlungen/ Dresden
2022 Nomination Marianne-Werefkin-Award
Lives and works in Berlin

Over the past decades, Britta Lumer has developed a consistent body of work, most of which takes place on paper and yet cannot easily be understood as a drawing. For nothing concrete is grasped, or captured and preserved in artistic representation. Instead, her works on paper - not infrequently monumental views of bodies, portraits, architecture, and cityscapes - which play into the figurative, seem to drive their subjects to the edge of dissolution, of liquification.
This intentional leap into the imprecise is matched by her use of artistic tools. For her large-format ink drawings, she has constructed a fully movable worktable in order to be able to direct the flowing ink in all directions. For years she has been working on innovative techniques in order to be able to fathom a coherent balance between the plannable and the accidental. Thus, in her paintings nothing appears in its fixed place, everything in contour could also move in different directions.
Doubles, linear shifts, accumulations of pigment, gradients of light-dark contrasts reveal a degree of contingency that makes, what is depicted, strange to us and yet lends itself to contemplative observation. Instead of delivering ready-made projections, Lumer works out projection surfaces to whose vagueness and delicacy we as viewers can never relate as if what is to be seen could be interpreted as a formulation of something already known. Text: Daniel Marzona

Exhibitions

Publications

This Moment, 2023, Booklet, published by the artist in collaboration with Galerie Georg Nothelfer on the occasion of the exhibition Der Moment in the gallery's showroom. Includes an essay by Kristian Vistrup Madsen in German and English. Colour illustrations of the latest group of works, 21 pages., EUR 5

Order
Where Hapiness Lives, 2008, Catalogue, editet by the Institut für moderne Kunst Nürnberg with texts by Hans-Jürgen Hafner and Dominic Eichler, numerous illustrations, german and english, 95 pages, hardcover, ISBN 978-3-93978-923, EUR 24

Order