Berlin artist Katharina Grosse takes over an entire gallery to drive her mother up the wall

For her first institutional solo exhibition in London, Berlin
artist Katharina
Grosse
presents a new work, This Drove my Mother up the
Wall
, painted in situ at the South London Gallery.
Grosse’s large-scale and site-specific works engulf both
interior and exterior spaces, unhindered by the traditional
boundaries of the pictorial field.

In the South London Gallery’s main exhibition space, Grosse has
made the void the dramatic centre of her project, masking the
floor with a large foam stencil, then painting over it and the
surrounding walls. Once she removes the stencil, a bright,
white area of the floor is revealed, untouched by the veils of
colour and broad, propulsive marks spreading to all sides. This
filtering technique is also evident in Grosse’s recent canvas
works, where stencils are placed over areas of the canvas at
various stages of the painting process, resulting in chromatic
layers that record her thoughts and actions.

To accompany the painted installation, Grosse has selected two
documentary films to be screened in the first floor galleries,
intended to frame her creative practice and research interests.
In the short documentary from the series Women Artists
(2016)
by Claudia Müller, Grosse curates a fantasy
exhibition by eight other female artists and discusses her
selection of artists and artworks, the relationship between
their practices, and guides the viewer through a virtual
realisation of her ideal group exhibition.

The second documentary film is The Gleaners and I
(2000)
, by Belgian director Agnès Varda, a source of
inspiration for Grosse’s South London Gallery installation that
deals with the marginal, the residual, and the invisible.
Filming with a hand-held camera and narrating the film herself,
Varda travelled around France, profiling gleaners, from those
who follow the country harvests, through to urban scavengers,
such as the bricoleur artist who finds objects and transforms
them into sculpture, and Varda herself, who ponders the
gleaning nature of digital filmmaking.

Katharina Grosse’s This Drove My Mother Up The Wall
kicks off from 28 September and runs until 3 December 2017 at
the South London Gallery.

Image: Katharina Grosse, Rockaway!, 2016. MoMA PS1’s
Rockaway! series, New York, USA. © Katharina Grosse and VG
Bild-Kunst, Bonn 2017 / Courtesy of MoMA PS1. Photo: Pablo
Enriquez

Katharina Grosse, Asphalt Air and Hair, 2017. ARoS Triennial THE GARDEN – End of Times; Beginning of Time. The Garden – The Future, Aarhus, Denmark. © Katharina Grosse and VG Bild-Kunst, Bonn 2017. Photo: René Dame

Katharina Grosse, Asphalt Air and Hair, 2017. ARoS Triennial
THE GARDEN – End of Times; Beginning of Time. The Garden – The
Future, Aarhus, Denmark. © Katharina Grosse and VG Bild-Kunst,
Bonn 2017. Photo: René Dame

Katharina Grosse, Asphalt Air and Hair, 2017. ARoS Triennial THE GARDEN – End of Times; Beginning of Time. The Garden – The Future, Aarhus, Denmark. © Katharina Grosse and VG Bild-Kunst, Bonn 2017. Photo: Nic Tenwiggenhorn. © DACS 2017

Katharina Grosse, Asphalt Air and Hair, 2017. ARoS Triennial
THE GARDEN – End of Times; Beginning of Time. The Garden – The
Future, Aarhus, Denmark. © Katharina Grosse and VG Bild-Kunst,
Bonn 2017. Photo: Nic Tenwiggenhorn. © DACS 2017

Katharina Grosse, Asphalt Air and Hair, 2017. ARoS Triennial THE GARDEN – End of Times; Beginning of Time. The Garden – The Future, Aarhus, Denmark. © Katharina Grosse and VG Bild-Kunst, Bonn 2017. Photo: Nic Tenwiggenhorn. © DACS 2017

Katharina Grosse, Asphalt Air and Hair, 2017. ARoS Triennial
THE GARDEN – End of Times; Beginning of Time. The Garden – The
Future, Aarhus, Denmark. © Katharina Grosse and VG Bild-Kunst,
Bonn 2017. Photo: Nic Tenwiggenhorn. © DACS 2017

Katharina Grosse, Asphalt Air and Hair, 2017 ARoS Triennial THE GARDEN – End of Times; Beginning of Time. The Garden – The Future, Aarhus, Denmark. © Katharina Grosse und VG Bild-Kunst, Bonn 2017. Photo: Studio Grosse

Katharina Grosse, Asphalt Air and Hair, 2017 ARoS Triennial THE
GARDEN – End of Times; Beginning of Time. The Garden – The
Future, Aarhus, Denmark. © Katharina Grosse und VG Bild-Kunst,
Bonn 2017. Photo: Studio Grosse

Katharina Grosse, Asphalt Air and Hair, 2017 ARoS Triennial THE GARDEN – End of Times; Beginning of Time. The Garden – The Future, Aarhus, Denmark. © Katharina Grosse und VG Bild-Kunst, Bonn 2017. Photo: Studio Grosse

Katharina Grosse, Asphalt Air and Hair, 2017 ARoS Triennial THE
GARDEN – End of Times; Beginning of Time. The Garden – The
Future, Aarhus, Denmark. © Katharina Grosse und VG Bild-Kunst,
Bonn 2017. Photo: Studio Grosse

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