image text special shop

'Head Over Heels' by Jakob Kolb at Parallel Vienna

article image; primary-color: #C1C1C1;
article image; primary-color: #87827F;
article image; primary-color: #8A857F;
article image; primary-color: #868581;
article image; primary-color: #807C73;
article image; primary-color: #808476;
article image; primary-color: #918A82;
article image; primary-color: #918E85;
article image; primary-color: #919187;
article image; primary-color: #D3D3D3;
article image; primary-color: #BDBCB8;
article image; primary-color: #8E8D8B;
article image; primary-color: #BBBBBB;
article image; primary-color: #99999B;
article image; primary-color: #9A9695;
article image; primary-color: #747474;
article image; primary-color: #979392;
article image; primary-color: #A7A9A8;
article image; primary-color: #8C6E32;
article image; primary-color: #979797;
article image; primary-color: #B3AFAE;

Memories of Cadaqués, August 21. 2016

With Head Over Heels Jakob Kolb reflects on personal memories of 2016 that influenced his working method and gave perspective to a love relationship and the loss of someone.

He composes sculptures and paintings that are distributed throughout the room having these memories always in mind. These memories set the tone, color pattern, influence the choice of materials and narrate with little hints and symbols to what has happened.

The title refers to a love song by the band Tears for Fears and gives an explanation to the working method of Jakob Kolb. While creating these works the process for Kolb is similar to songwriting. As he would take different instruments and begin writing harmonies and then layering melodies and various sounds to compose a song, the same method is applied to construct objects and collages with different materials. Furthermore there is a dialog between two major materials used.

The synthetic and the organic, symbolizing transience and infinity.

Here Kolb refers to themes as love and loss. Exploring relationships between differently shaped bodies in either a vital or dead status.

A still life is being nourished with honey encompassing a variety of objects that leaves one thinking about deep sea diving and the land of Cockaigne. Transparecy and reflections let details appear from different perspectives and other sculptural elements intent to give an experience of tension and playfulness at the same time. A memorial scene is created where flowers are donated paying tribute to the story.

25.9.18 — 30.9.18

Artist Statement, Room 2.67

'Sour Well', Group Show at Nir Altman, Munich

'Force Majeure' by Aaron McLaughlin at Loods-6, Amsterdam

'Crowd Control', Group Project by Arcadia Missa x High Art, Arles

'Rain Calling' by Lito Kattou at Tranen, Gentofte

'And Darkness the Right Hand of Light', Group Show at MELK

'Don’t Say I Didn’t Say So', Group Project at Kunstverein Bielefeld, Bielefeld

'Memorial Universe!' by Ella Rose Flood at Jargon Projects, Chicago

'Полынь' by Zukhra Salakhova at Plague Space, Krasnodar

'Hamra' by Monia Ben Hamouda at Ariel – Feminisms in the Aesthetics, Copenhagen

'Nature Angst' by Valerie Keane at High Art, Paris

'Die Blume Unterirdisch Denken' by Hans-Henning Korb at Fragile, Berlin

'BELIEVING IN SUCCESS' by Bastien Cosson at Palette Terre, Saint-Martin-de-Seigna

'Sole con le code' by Valerio Nicolai at Clima, Milan

'SHOOTING STAR' by Julian-Jakob Kneer at Blue Velvet Projects, Zurich

'Pretty Pictures' by Olga Paramonova at Spas Setun, Moscow

'Süchtig nach Modeschmuck' by Nico Ihlein at Schiefe Zähne, Berlin

'Swallow' by Sami Schlichting at Lucas Hirsch, Dusseldorf

'FERA', Off-Site Group Project by Sans Souci at Dyrehavsbakken, Klampenborg

Next Page