Photography by Chaemus Macmillan
The SLEEK office space in the heart of Berlin has been transformed once again into SLEEK Art Space, a dynamic art gallery which showcases all facets of contemporary creativity. This endeavour underscores SLEEK’s commitment to being at the vanguard of the art world by offering an international platform for innovative artistic expression.
Artist Simone Haack has developed an unmistakable visual language that uses the techniques of realism without depicting reality. Her pictures raise questions about identity. They are not interested in depicting outward appearances but aim to imprint what is internal onto an external surface. This makes Haack an important figure in New Magical Realism. At SLEEK Art Space, Karin Kneffel’s Meisterschülerin (literally ‘master student’ – a title sometimes awarded to outstanding students in the arts) showcases her ‘hair’ series, and offers exclusive insights into her photographic work which she has been pursuing alongside painting throughout her artistic career.
"The Bauhaus vision was to improve and rethink people's lives through the objects around them, whereas 100 years ago, Magical Realism was about creating new realities through the fusion of ‘real’ and ‘magical’ reality."
SEBASTIAN C. STRENGER You have just opened your exhibition New Magical Realism in the Kunsthalle as a celebration of the 100th anniversary of the Bauhaus in Dessau. What do you find intriguing about Bauhaus?
SIMONE HAACK It is not so much the design pieces themselves but rather the idea, the spirit, the utopia behind it. It was a radically new concept of life, far removed from convention, as a reaction to the prevailing norms and forms at the time; a life-reforming synthesis of the arts, with people at the centre. It made room for experimentation to explore the connection between art and life and to further develop theories of design.
Photography by Chaemus Macmillan
SCS What kind of change were you drawn to, and what has influenced you?
SH Material, form, and design were rethought and used to produce everyday objects. More specifically, Johannes Itten and Paul Klee were important to me – as artists, philosophers, and teachers, but above all in the context of colour theory.
SCS You are regarded as an important pioneer of a New Magical Realism. How is that connected to Bauhaus?
SH Both movements had common roots; they wanted to question the status quo and create new forms of expression. Of course, the goals and purpose were completely different in each case, but both movements were about breaking with what was considered conventional, familiar, and traditional. The Bauhaus vision was to improve and rethink people’s lives through the objects around them, whereas 100 years ago, Magical Realism was about creating new realities through the fusion of ‘real’ and ‘magical’ reality.
"The visual language of my photographic work is very similar to that of my figurative paintings, which are sometimes based on my photographic models."
SCS You are exhibiting your photographic work for the first time at SLEEK Art Space. What can visitors expect?
SH The title of the exhibition is Arena. The characters featured in it might be familiar from my figurative paintings. The series Alter Ego shows acrobats in the twilight; Moon Dog depicts a dog in a skeleton costume, and Trophy portrays a woman with animal headgear. There are also paintings such as Fields of Gold.
SCS Is there a connection between your paintings and your photographic work?
SH For me, they belong together, and photography has always been an integral part of my work. The visual language of my photographic work is very similar to that of my figurative paintings, which are sometimes based on my photographic models. Some of my photographs were originally created as models for paintings; others are standalone works. I am exhibiting a few of them here.
Photography by Chaemus Macmillan
SCS ‘Painting is the continuation of dreaming by different means,’ according to Neo Rauch. Do you relate to that statement?
SH When I was about 17, I started writing down my dreams and drawing them. It was a ritual for my mental hygiene but also fed into my interest in the language and logic of the unconscious. I was less interested in the exact representation of dream images than in exploring the logic of dreams and the irrational, the disturbing and strong feelings and moods you can have during a dream. Inner psychological processes become visible in dreams. And like my fellow painter, my aim is to decipher the inner world through my visual language in my paintings.
Photography by Chaemus Macmillan
SCS In what kind of direction would you like to take with your work?
SH My focus is clearly on painting. I will continue to diversify my work and show other aspects that have not been featured yet, like the dream diaries, texts, or photographs. I will continue to follow the logic of my work.
SCS What future projects can we look forward to?
SH I am currently taking part in the anniversary exhibition Berliner Realistinnen at Haus am Lützowplatz until 9 June. I will soon be exhibiting at TEFAF in Maastricht, and I will feature in the exhibition The Magnificent Seven at my main gallery BASTIAN.