Eliza Ballesteros

mail
@eglitza

NEWS

NAK Benefizauktion 2020

Benefizauktion ONLINE
at Neuer Aachener Kunstverein NAK

30. November 2020 - 20. Dezember 2020

more info tba

CURRENT EXHIBITION

THE TRICKSTER, 2020

THE TRICKSTER, 2020
goat leather, antique brass bells, linen cloth, wood display upholstered with office carpet, artist made aluminium frame, carpet cut

130 x 95 cm

Photo courtesy of ORBIT

ORBIT

16.10. - 29.11.2020
Messeturm, 36th floor
Frankfurt am Main

Please make an appointment via IG with
Arthur Löwen & Béla Feldberg



groupshow with:
Aline Bouvy, Leon Eisermann, Neven Allgeier, Inga Danysz, Martin Kozlowski, Yana Tsegay, Deniz Cemil, Jiwon Lee, Immanuel Birkert, Sami Schlichting, Martin Wenzel, Stefan Müller, Koen Delaere, Laura Schawelka, Felix Kultau, Dan Kwon, Rudi Ninov, Sichtbeton (Martin Kähler/Max Huckle), Miriam Schmitz

Read the story behind the show and see some installation shots at
SCHIRNMAG (german)
and the full documentation at
DAILY LAZY, KUBAPARIS and HUGO ZORN 💖

______________________________________________________________________

upcoming
MUR BRUT 18

D A R E, 2 0 2 1


in collaboration with Teresa Schönherr
curated by Katharina Bruns

february - march 2021 at
Kunsthalle Düsseldorf

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upcoming
DUOSHOW TBA

with JP Langer

july 2021 at
Nails Project Room
Düsseldorf

graphic © JP Langer, 2020

RECENT EXHIBITIONS

DOMESTIC_HECK_PARANOIA

PARANOIA, 2020
birch wood, pigment, oil

250 x 130 x 40 cm

As part of the soloshow DOMESTIC HECK, intsallation view at Offspace Moltkereiwerkstatt Cologne, 2020

Photo by Hans Diernberger

DOMESTIC_HECK_installation View

Installation View DOMESTIC HECK, 2020

Photo by Hans Diernberger

CLAMP_detail

Detail CLAMPS, 2020
wood, oak stain, oil, iron, shellac

116 x 23 x 7 cm

Photo by Hans Diernberger

Eliza Ballesteros
DOMESTIC HECK

Offspace Moltkerei Werkstatt Cologne
as part of DC Open

curated by Alexander Pütz

see the full documentation and text featured on
O FLUXO
and
Daily Lazy

In Order of Appearance

JESTER_X_Installation

THE JESTER X (2020) Installation view and Detail, Kunstsammlung NRW K21

In Order of Appearance.
Absolvent_innen der Kunstakademie Düsseldorf 2019
07. 02. - 08.03. 2020
Kunstsammlung NRW K21

FEAT TO BOOT

Installation view FEAT TO BOOT groupshow, Ortloff Leipzig

read the review by Julius Pristauz at
HUGO ZORN

see the full documentation featured on
PASSE AVANT

w/
JP Langer
Sunny Pudert
Valeria Schneider

text contribution by Kea Bolenz

14. - 17. 11. 2019
Ortloff Leipzig


I Caught A Glimpse Of You On The Escalator Stairs

THE JESTER X (fragmented), 2019

see full documentation featured on KubaParis

w/ Elisaveta Braslavskaja, Martin Maeller , Stephen Suckale, Alexander Tillegreen, Miriam Steinmacher
Invited by: Arthur Löwen & Béla Feldberg
11. - 13. 10. 2019
Basis Frankfurt


SELECTED WORKS

please click on the pictures below

DOMESTIC HECK, 2019

DOMESTIC_HECK_1
DOMESTIC_HECK_2

brass bells, leather and brocade collars, hand-forged iron hooks

epoxi resin, silicon coating

As part of the groupshow FEAT TO BOOT
read a review of the work by Julius Pristauz
at HUGO ZORN

see the full documentation of the show featured on
PASSE AVANT
with a text by Kea Bolenz


thejesterx01

THE JESTER X, 2019
Graduation Show
Kunstakademie Düsseldorf

In a scattered truth,
in a blinding blur,
the inversion happened.
Something silent that has been heralded;
Who has become the 𝘱𝘰𝘵𝘦𝘯𝘵𝘢𝘵𝘦 ?

THE JESTER X (2019) is a floor installation of 21 diamond shaped vinyl cuts, that form a black harlequin pattern coming out of the studio space spreading into the hallway of the building. There are three baby blue bells, ridiculously upscaled, sitting on three diamond shaped dollies, which corners are protected by a aluminium laser cut cowboy ornament. The bells have semi -glossy orange glazing that slimes down on them. Normally heralding something that will arrive, they remain silent announcing the inversion of the Jester; who became the superior in the post-factic age. They function like a rumor in the corridor, referring to the echo that buzzes in the most public space of the building: the long hallway and its endless symmetric architecture.

Floor installation of 21 diamond shaped vinyl cuts, semi- glazed ceramic bells, dollies with laser cut aluminium corner fittings, dimension variable

please click on the pictures below


young&raging.stitch

YOUNG AND RAGING, 2019
permanent installation at the campus area of
Heinrich-Heine Universität, Düsseldorf

as part of the CAMPUS BEAUTIFUL Project 25.04.2019 – 23.05.2019 accompanied by a publication

Young fortune of anger

Freedom is the key concept and the necessary condition for criticism and new ideas. Only those who can move independently - whether real or mental - have the ability to set creative process in motion. Thus, one can freely, in space and time, still fill emptiness with content and not think like others but give expression to one's own. A campus - like a utopia - can in this way be a protected space, free from external, work-determining structures. Students are offered a space in which they can learn, communicate, develop ideas and emancipate themselves. But what happens when this free space becomes smaller and smaller? Then one should be outraged!

Eliza Ballestero's inscription young and raging covers the brick wall of the Georg Penker area at Heinrich Heine University. Using a high-pressure cleaner, the artist uses the cleaning process to engrave the weather-darkened outdoor area by revealing its original colours once more. Formally – in the sense of simple, handwritten graffiti such as ''sous le pavés, la plage“ of the Situationist International – and content wise – as a call to break out of everyday structures – the exhibition brings back the memory of student revolts and updates current political commitment. On the one hand, through the artistic process of purification, which removes the grass which has grown there over time, symbolically bringing back the political awakening of the late 1960s in Europe into context. On the other hand, the use of simple, quickly hand-written lettering is to be understood as an awakening statement of protest and anger. For some time, until the weather and the environment have regained control of the wall, the lettering can be read. Afterwards someone else will have to speak up again.

Reemergence and disappearance, a cycle that reminds society of the need to renew and update ideas: Time, as an essential part of Eliza Ballesteros's slowly fading work reminds us not to devote ourselves passively to the spectacle but to break out of it actively and critically and to not take constructs of society for granted: "The thought of eternity is the coarsest thing a human being can make of his actions. [...] The situationist challenge to the passing of emotions and time would be the wager to win again and again with change [...]. Young and ragin is likewise as temporary, a reference to how little one can rely on the revolution of those who came before us. More so, it is about utilising the moment of youth and its rage in order to rethink the given anew.

Text by Hannah Rhein
Translation by Simon Pinney

1 Vgl. Biene Baumeister, Zwi Negator: Situationistsiche Revolutionstheorie. Eine Aneignung Stuttgart 2007
2 Vgl. Guy Debord: Die Gesellschaft des Spektakels, Berlin 1996 [La Société du Spectacle, 1967].
3 Guy Debord: Rapport zur Konstruktion von Situationen, Edition Nautilus Flugschrift No. 23, Hamburg, 1980

please click on the pictures below

Photos by Ludwig Kuffer


Reckon_full

please click on the pictures below

ceramic objects, hand-forged oxidized steel nails, felt cowboy hat, old Berlin plinth

RECKON, 2018

ung5, Cologne

RECKON

Transformationen.
glauben, meinen, denken, berechnen – von der Idee zum Wissen; aus der Fiktion in die Realität; vom Material zum Objekt: RECKON.
Material hat Eigenschaften, die Formen bestimmen, Objekte definieren; ihnen Struktur und Ausdruck verleihen. Erst durch den Einsatz von Hand und Maschine kann aus dem Ersten etwas Zweites werden, das die Betrachterin als solches zu erkennen weiß.
Doch irritiert die Relation: Groß ist, was doch klein sein sollte; still ist, was ankündigt. Die Fenster ermöglichen nur eine Perspektive auf Zimmer, die betreten werden wollen, aber Vorbeilaufende müssen draußen bleiben und können sich nur in der Fiktion im Kunstraum bewegen und seine Dimension aus anderen Winkeln prüfen. So muss der Gedanke die Schwelle übertreten, die Tür zum nächsten Raum öffnen und so das eine zum anderen bringen. Das Verbindende wird zentral – auch wenn die Kette aus einzelnen Gliedern besteht, ist sie erst in der Zusammenkunft der Einzelteile vollständig und als solche zu definieren. Doch was liegt dazwischen? Was muss so dringlich überwunden werden?
Eliza Ballesteros setzt ihre bildnerischen Objekte ins Bild; sie nutzt die Fenster des ≈5 als Rahmen und macht ihre Arbeiten zueinander erfahrbar. Dieses wundersame Hinterzimmer in der fließenden U-Bahn-Station irritiert und hält auf; doch bloß so kann sich ein Gedanke ins Abseitige der Gewohnheit verlaufen. Wir stoppen unsere Bewegung und ruhen, nutzen die Möglichkeit des Aufgehaltenwordenseins und setzen uns mit dem, was vor uns steht, auseinander. Und was sehen wir? Einen abgelegten Cowboyhut, der in seiner Materialität seinem patriarchalen Träger zu wiedersprechen scheint; Glöckchen, deren Klang verstummt und nicht mehr zu seinem ursprünglichen Besitzer gehören können, zu groß sind sie für den Narren geworden; der Harlekin muss nun ein Anderer sein. Aber wer ist der Übermächtige?

Geht es denn darum, das Ungeklärte zu lösen und das Trennende zu entfernen? So zeigt uns doch erst die Brücke zwischen dem Uneinen, wie eine Distanz negiert werden kann;
denn „jede Trennung ist eine Verbindung“¹. Eliza Ballesteros findet ein Bild für Simone Weils Metapher der durch Wände getrennten und doch über sie kommunizierenden Gefangenen und macht so auf das Dazwischen aufmerksam, indem hier eine Kette in ungewöhnlicher Größe und Stärke inszeniert wird.

Text von Hannah Rhein


THE GATE, 2018

steel, swinging hinges

THE GATE replaces the door to 'Classroom 001', located next to the main entrance of the academy building, with a solid, steel welded double-wing swinging door.
With this sculptural sublimation of the classicist representative architecture of the Art Academy Düsseldorf, THE GATE emphasizes the porous boundaries between inside and outside,
between private and public, and between work and exhibition space. At the same time, the work explicitly refers to the debates on access and security associated with the use of public institutions.
The unlockable GATE, however, serves solely as a visual shield and can be pushed open at any time by self-empowered bodies.


© Eliza Ballesteros 2020 All Rights Reserved