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February 21 – March 30, 2013

 Tatjana Busch, “Fusion“ a synthesis of objects with light, sound, color and motion.

“It could be like this and it could also be like that…,” says Tatjana Busch. But not until we see her latest works in this exhibition, does her meaning become truly accessible. Conceptually, her earliest works appear even more tightly regulated by the obvious influences of the strict, geometric, coloured forms we know from the Bauhaus and Russian Suprematists. Their intuitive shapes continue to spring from Busch’s innermost world, just as they did years ago. Permeating her entire body, they are finally given material form in the outside world by her hands, seeming more carefully planned than they actually are. Her latest works, however, appear to break with any dependence whatsoever on art history. They free themselves even from the shackles of physics and burst forth into freedom and openness – a freedom and openness to which the observer must surrender himself if he is to appre- ciate the true dimensions of these works.

The light installation “Fusion” invites us to broaden our consciousness. It abducts us into a fully-fledged show that immerses the observer into a real-time synthesis of light, form, colour, sound and movement – a synthesis in which the observer loses himself, dissolving, then ultimately uniting with the artwork itself to create a common, new cos- mos.

Initially this bent, folded, silver-shining sculpture named “Fusion” consists merely of outer forms. But it also harbours an inner, hidden form, one that might be referred to as its “inner potential”. This reaches far beyond the visible. It is the energy, the attraction of this artwork, whose extended reach commands the space around it and seeks even to stretch beyond it. The extent of this becomes apparent through the movement of the rays of light that meet its sur- face and create dynamic light-paintings, light-clouds and light-worlds. As they do so, these rays consistently extend, modify and distort the sculpture’s external form. What had initially seemed so static and immutable is sounding out new frontiers all the time, revealing forms that flow and stream. The outer space suddenly consumes the observer, engulfing him to make him part of the artwork itself. The void is no longer a void. Everything hangs together, merges.

Although essentially two-dimensional, the “Goldbubble” and “Hushbubble” videos trick the observer into seeing three-dimensional, dancing, reflecting water worlds. Penetrated by magical clouds of energy, these are immersed in the meditative sound-worlds of composer and former Passport bass guitarist Wolfgang Schmid – worlds inhabited by light orbits and other light creati- ons before they sink into the depths of a planetary universe, worlds which at the same time echo the holistic notion to represent the depths of one’s own inner world.

And finally there are the Snapshots. Created from such kaleidoscopic movements, these still-life photographs of “Fu- sion”, “Goldbubble” and “Hushbubble” would have the observer believe that the ‘Now’ can be captured, that the eternal flow of time and spread of space can be halted.

But can they really? Could this be the way things are? Or could they equally well be different?

Our hopes for a conclusive answer to these questions will be in vain. With their claim to absolute freedom, these works categorically exclude any such possibility. After all, it is freedom that tells us things could be the way they are, but that they could equally well be different. The observer is left completely to his own devices.
Text: Kat Schütz, Sarasota
Translation: Melanie Gridlestone, Munich

Tatjana Busch

tatjana busch

Tatjana Busch creates unique metal sculptures that she crushes and re-forms to display facets and folds that emerge through “guided” accidents.  The works exude a flare for the fresh and unexpected that resonates with fresh cross-narrative relationships between surface geometric patterns and the overall biomorphic configurations


2010 Residence ISCP, International Studio and
2010 Curatorial Program, New York, USA
2010 Nominated: ZVAB Phoenix Art Award
2007 Hausderkunst Award, Munich
2008 Competition Award, Bavarian Garden Show, Neu Ulm


2013 Fusion, 532 Gallery Thomas Jaeckel, New York, USA
2012 Art Miami Context, 532 Gallery Thomas Jaeckel, NY, USA
2012 Intuitive Form, Municipal Art Gallery Lahr, Germany
2012 Collection Sal. Oppenheim, curated by Christine Kreuzberg, Germany
2012 Art at the Cortina, curated by 
Kat Schuetz and Stephanie Staby, Munich, Germany
2012 Gallery of Modern, Stefan Vogdt, Galleries Artists, Munic, Germany
2011 Aqua 11, Miami with 532 Gallery Thomas Jaeckel, New York, USA
2011 “How ´Thinks´ Work”  Simons Foundation
 Center at Stony Brook, New York, USA
2011 Art Association, Ebersberg Intermezzo, curated by Brigitte Henninger, Munich, Germany
2011 Galerie Tanit: Form meets Minimal, curated by 
Kat Schuetz and Stephanie Staby, Munich
, Germany
2011 Monument Gallery, Objects, Jettingen, Germany
2011 Art Fair, Cologne, Gallery Pro Arte
, Germany
2011 961 Gallery, Beirut, Lebanon
2010 Intuitive Forms, 532 Gallery Thomas Jaeckel, New York, USA
2010 Open Studios, ISCP, International Studio and Curatorial Program, New York, USA
2009 Art Karlsruhe, Gallery Pro Arte, Germany
2009 New Art Salon, Haus der Kunst, Munich, Germany
2009 Gallery pro arte, Objects, Freiburg
, Germany
2009 Art Fair 21, Koeln,  Gallery Pro Arte
2009 Art Association Freiburg, “das soll Kunst sein”
2009 Art Miami, Aqua Art by 532 Gallery Thomas Jaeckel
2009 Pop Art Pirat Gallery, Geometric Moments, Hamburg
2009 Art Karlsruhe, “One Artist Show”, Abt-Art Gallery, Stuttgart
, Germany
2009 Art meets Fashion, Schütz and Staby, nurjungekunst.de,
Praterinsel, Munich
2009 Pop Art Pirat Gallery, Hamburg
, Germany
2009 Brigitte Henninger Art, Seefeld, Germany
2008 Collectors’ Exhibition with Keith Sonnier and 
Mathias Köster, Cannes, France
2007 New Art Salon, Haus der Kunst, Munich, Germany
2007 Bayern LB Gallery, Objects, Munich, Germany
2007 Gallery Leidel, Munich, Germany
2006 “Charging and Discharging”, 3rd Ellwang 
art exhibition, Ellwang Castle
2006 FMDK annual exhibition, Haus der Kunst, Munich, 
, Germany
2006 Technology Centre, Jennersdorf Burgenland, Austria
2005 Annual FMDK exhibition, Haus der Kunst, Munich, 
2004 Producer Gallery, Munich, 




Intuitive Forms

Intuitive Forms

Tatjana Busch, Floating Pieces

Tatjana Busch

“Once upon a time there was square, a circle, a triangle and a rectangle and the passion for color and form”.

Tatjana Busch’s words remind us of the Bauhaus. Indeed, the artist has close connections to the German Bauhaus way of thinking as well as to Russian Suprematism and the Dutch De Stijl movement, or neoplasticism. Most of all, her works echo Josef Albers’ famous squares and his studies of the interplay between colors, and they also recall Malevich’s Black Square. But what does Tatjana Busch actually do with these icons of classic modern art? She crumples them, turning their clear, precise, geometric forms into something mobile, playful and baroque. Had these works been created in the 1980s, they might have been categorized as “anything goes” post-modernism. She would have been said to be rebelling against the rational forms of dogmatic, rigid modernism by quoting history and approaching it with irony, appropriating and treating it subjectively. And yet, in the case of Tatjana Busch, none of this is true. Tatjana does not feel the need to liberate herself from anything by giving her art a theoretical underpinning. Instead, she says: “It could be like this and it could also be like that…”. There is no contradiction – and no contradiction with ironic intent – between the geometric and the distorted, the minimalist and the baroque, or the solid and the light. In Tatjana’s work the coincidental is one important factor; the search for shapes and colors is an intuitive process.