Aylin Langreuter

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Aylin Langreuter is a contemporary concept and appropriation artist from Munich.

Life and work[]

Aylin Langreuter was born in Munich, Germany. She studied at the Academy of Fine Arts Munich, class of Gerd Winner, graduating in 2001, when she also cofounded Wahnsinn und Methode GmbH. With the support of "Stiftung Kulturfonds" government stipend she published her first catalog, "Erster Teil" (Eng. Part One") in 2005.^[2] Same year she applied the philosophy studies, which will later influence her art in the following years. Her work has appeared mostly, but not only, in the single exhibitions in the Galerie Wittenbrink, Munich.^[3] She has also cofounded Dante – Goods and Bads with her partner, industrial designer, Christophe de la Fontaine.^[4][5][6][7] Aylin Langreuter and Christophe de la Fontaine have been appointed professors of Industrial Design at State Academy of Fine Arts Stuttgart^[8]

Style and philosophy[]

In her works, Aylin Langreuter has a philosophical-aesthetic approach, playing with semantic shifts between form and content. She is not treating her objects in the usual self-made, rough, unwelcoming way – she has a relationship of the best possible care which defines the initial situation, unfolding a network of possible meanings.^[9]

She found herself always lingering between applied and fine arts, producing applied art which you can't apply and design with no practical function, but abstraction of function, making minimal invasive changes that render an object's reality into fiction: the transcendence of the inanimate into something that has psychological or moral conditions. Interested in shape and order, she has always looked for unlikely places. She experimented with the tension that results from tampering with order, reversing it, abstracting it to the point where the result loses all connection with its basis. This way the beauty, the absurdity, or even the humor of an objects gains a new kind of visibility that was lost before the profanity of its function. The observer’s challenge would be the translation: she considers that only the context of Art, the undemanding, unencumbered space of an exhibition, facilitates the chance of a change of perspective, where in the function-free environment, the gaze meets the object in a way that gives it another life – or even: a life.^[10] Each of her objects presentation is an integral part of the work itself. To achieve this she sometimes "borrows" from others. She sometimes uses quotations, text fragments, photographs, the peculiarity of a given space, light, graphic elements. It is sometimes this interdisciplinary interaction itself what creates the context that makes the piece work. In a world whose language you don't understand, you have to use whatever you have to make yourself understood.^[11]

Quotations[]

"For the longest time I had the naive notion that art had to be universally and intuitively understood. That any venture into explanation would destroy that effect. That a like mind would recognize the meaning – if such existed- and beauty of each piece and with that maybe be able to trace the process that led me to it. And even though I wizened up fast to the universal demand for explanation and clarification, I still hope that sometimes it will work that way."

Solo exhibitions[]

• "Rundgang" ("Circuit") public exhibition of several works in private apartments, Munich 1998
• "Rechne mit Deinen Defekten" ("Recon with your defects) light-installation, Akademiegalerie, Munich 1999
• "No 3", olfactoric installation, Maximiliansforum, Munich, 2002
• "Namenszug" ("Inscription"), "84-69-100" Galerie Wittenbrink, Munich 2003
• "Werkschau", Wittenbrink FünfHöfe, Munich 2003
• "Erster Teil" ("Part One")catalogue presentation and exhibition, Wiensowski & Harbord, Berlin 2004
• "Erster Teil" ("Part One") catalogue presentation and exhibition, Galerie Wittenbrink, Munich 2004
• "Lassolicht", Neoninstallation, Wittenbrink FünfHöfe, München 2005
• "nichtmehr/nochnicht", RSVP, München 2006
• "Sachbilder", Galerie Wittenbrink, München 2006
• "nichtmehr/nochnicht", Westwerk, Hamburg 2006
• "Förderkoje", Art Cologne, Köln 2007
• "Überblick", Sebastian Fath Contemporary, Mannheim
• "Wiedervorlage", Galerie Wittenbrink, Munich, 2008
• "Also ob", Wittenbrink Fünf Höfe, Munich, 2009
• "function follows fairytale", Spazio Rossana Orlandi, Milano, 2010
• "function follows fairytale", Michelle Nicole Fine Arts, Zurich, 2010
• "function follows fairytale", catalogue presentation, Villa Stuck, Munich, 2010
• "Blindlights and Neonetchings", catalogue presentation and exhibition, Galerie Wittenbrink, Munich 2012

Other projects[]

• "Access to Success" ( in cooperation with ) conceptual art project, Rieger City, Munich, 2000
• "Confession of Depression", conceptual art project, Zerwirkgewölbe, Munich 2004
• ""Davos", Installation for the presentation of Patricia Urquiola Rosenthal Service, International furniture fair, Milano, 2008
• "bead chain hoods", masked ball of the artist group Rothstauenberg, Zurich, 2008
• "Monsters", living gures for the art project "80/81" of Christopher Roth and Georg Diez edited by Patrik Frey, Berlin, Zurich and R /India

References[]

• Petra Shmidt, The Design Label Dante, Form Design Magazine, August 2014
• Chiara dal Canto, Modern fairytale, Belle, November 2014
• Luigina Bolis, Jump, Corriere della Sera Living, October 2014
• Petra Shmidt, The Design Label Dante, Form Design Magazine, August 2014
• Oliver Herwig, Du bist der Boss, Manual, February 2014
• Lecture on Belgrade Design Week 2013, Aylin Langreuter and Christophe de la Fontaine
• Christopher Roth and Georg Diez, Aylin Langreuter, Jovis Verlag, Berlin, 2011, ISBN 978-3-86859-186-6
• Heike Endter, Neonstiche, Galerie Wittenbrink, München, 2011
• artist info Aylin Langreuter, about Aylin Langreuter
• Andreas Neumeister, Function Follows Fairytale, Blumenbar Verlag, Munich, 2010, ISBN 978-3936738735
• Catalogue Erster Teil, Blumenbar Verlag, Munich, 2004, ISBN 9783936738063
• damit bin ich gemeint (www.damitbinichgemeint.de), published by Wahnsinn und Methode GmbH, München, 2002