{"id":1840,"date":"2020-06-16T10:15:47","date_gmt":"2020-06-16T08:15:47","guid":{"rendered":"https:\/\/www.reclaim-award.org\/?page_id=1840"},"modified":"2021-08-20T10:50:02","modified_gmt":"2021-08-20T08:50:02","slug":"winners","status":"publish","type":"page","link":"https:\/\/www.reclaim-award.org\/en\/winners\/","title":{"rendered":"Winners 2020"},"content":{"rendered":"

\r\nThese are the winners of the R<\/span>eclaim<\/nobr> Award 2020:\r\n<\/p><\/div><\/div><\/div>\r\n\r\n

\r\n
\r\n
\r\n\r\n
\r\n
Nadine Aber<\/a>

Camouflage<\/p>

\u201cLife doesn\u2019t frighten me\u201d is the life concept of designer Michelle Elie, who frequently positions herself against societal norms in her works. However, in unusual times with threats like Covid-19 a …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Sophie Aigner<\/a>

Socke<\/p>

Sock, sign of the times. In Sophie Aigner\u2019s work, its leg becomes a plaster cast. Form and content appear literally \u201cworn\u201d. This lends the work its sculptural character. Her choice of object seems to …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Johanna Baschke<\/a>

absence I<\/p>

In Johanna Baschke\u2019s work, people are photographed in isolation and arranged with other people to form a digital structure. Populating the image space together, the void hanging between the protagoni …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Julie Batteux<\/a>

Blindes Vertrauen<\/p>

Julia Batteux\u2019s photographic work \u201cBlindes Vertrauen\u201d depicts a pair of lovers in an intimate embrace. The tender and heartfelt moment resonates with abundant trust, devotion and humanity. A moving i …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Andr\u00e9 Britz<\/a>

People in Boxes, Uprising<\/p>

In Andr\u00e9 Britz\u2019s analogue paper collage \u201cPeople in Boxes, Uprising\u201d,man is limited. The quadrature becomes his identity from which he strives to flee. He twists and writhes, revolts, resists. In this …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Bouwe Brouwer<\/a>

Untitled<\/p>

Man keeps a lookout. Bouwe Brouwer\u2019s subject \u201cPeeking Man\u201d could be a film still from an Alfred Hitchcock classic. Prototype or otherwise, Brouwer knows his craft too. By denying the beholder of his …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Fabio Cavallari<\/a>

Kolonya wasser<\/p>

One work unites many narratives. Fabio Cavallari\u2019s image is an abstract portrayal of the percent distribution of alcohol in relation to perfume essences in the formula for \u201cEau de Cologne\u201d, that city …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Tom Crump<\/a>

Amorphophallus titanum #2<\/p>

Tom Crump\u2019s digital photograph is part of his series \u201cAmorphophallus titanum\u201d The title-giving flower, which is part of the arum family and also described as the corpse flower, is an allegory of the …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Tielin Ding<\/a>

City of Camera-Xray<\/p>

Total X-ray. Four heads in a suitcase. Tielen Ding\u2019s photograph of the security scan of her suitcase packed with head mannequins is a critical and at the same time ironic examination of the total and …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Brigitte Dunkel<\/a>

Metal Me<\/p>

Brigitte Dunkel\u2019s work \u201cMetal Me\u201d is part of the serial project THIS IS NOT. The visual material for this work was shot using an iPhone CE 0682 and pre-edited using layout software available as an ap …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Tamara Eckhardt<\/a>

The Children of Carrowbrowne<\/p>

Tamara Eckhardt\u2019s documentary series \u201cThe Children of Carrowbrown\u201d examines the adolescence of childern of Traveller families. Travellers are the largest ethnic minority in Ireland. On account of the …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Michelle Elie<\/a>

Life3<\/p>

\u201cLife doesn\u2019t frighten me\u201d is the life concept of designer Michelle Elie, who frequently positions herself against societal norms in her works. However, in unusual times with threats like Covid-19 a …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

kollektiv federfrei<\/a>

mit einander<\/p>

Two bodies move in the space. Touch each other, to their own rhythm. A third paints with hands on their bodies. The colours blur on moving bodies to make new pictures. In their project \u201cEinander\u201d, Jo …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Carole F\u00e9k\u00e9t\u00e9<\/a>

Pension Anatoli Vassiliev<\/p>

Carole F\u00e9k\u00e9t\u00e9\u2019s photograph from 2001 shows us the common room of a Moscow guest house. Curtains and chairs match one another perfectly. Too perfectly? The transitions between the objects are impercep …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Lisa Gro\u00dfkopf<\/a>

Concerns of the 21st century<\/p>

HOW TO CONVINCE YOURSELF THAT YOU CAN DO SOMETHING? In Lisa Gro\u00dfkopf\u2019s work the billboard becomes the bearer of questions of our present day. Her basis for this is the online portal wikiHow. There on …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Joscha Janto\u00df & Olga Preiss<\/a>

Coronasupermarkt<\/p>

Corona consumerism. Joscha Jansto\u00df and Olga Preiss\u2019s poster, on which an oversized, twisting shopping list can be seen, recounts the consequences and effects of the Covid-19 pandemic based on real an …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Liza Dieckwisch Julia Gruner<\/a>

Eishits<\/p>

Coming from painting, Liza Dieckwisch and Julia Gruner have been occupied with the boundary between art and everyday food in joint projects since 2015. In this context parallels are drawn between pai …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Kim Haedeun<\/a>

Outside the tram. 2019<\/p>

Movement as pause. Haeduen Kim\u2019s street photograph \u201cOutside the tram\u201d resembles a wimmelpicture of standstill. Travellers melancholically persevere on the inside of the tram. The forced shared break …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Debbie Kleijn<\/a>

childhood II<\/p>

In the slough of despond. Debbie Kleijn\u2019s photograph of sinking shopping carts stands as an allegory to the absurd excesses of our consumerism. No salvation in sight. …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Andreas Lauermann<\/a>

Kinderspielplatz<\/p>

The paranoid dictator Enver Hodscha covered Albania with concrete bunkers from 1972 until 1984. He was trying to protect his population against enemies who he felt were closing in. 700,000 bunkers we …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Thea Mantwill<\/a>

S\u00e4tze, die ich stehen lassen kann<\/p>

The full stop is the round thing at the sentence\u2019s end. In Thea Mantwill\u2019s work \u201cS\u00e4tze die ich stehen lassen kann\u201d (\u201cPhrases I can ditch\u201d), the title says it all. Her word-chains omit nothing, take n …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

B\u00e4rbel M\u00f6llmann<\/a>

Camera obscura Wien (Schlafzimmer)<\/p>

For her shots B\u00e4rbel M\u00f6llmann darkens the rooms of an apartment in Vienna. She uses a curtain, in which a lens projects the image of the outside world onto the walls behind. Total darkness force the …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Matthias Moravek<\/a>

L\u2019Eph\u00e9m\u00e8re disparu<\/p>

Graphic design in the public space. During an artist\u2019s residency in Saint-Louis\/Senegal, Matthias Moravek decided to work directly on walls and structures at locations in the public space. The result …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Sali Muller<\/a>

Das Zeitfenster<\/p>

As though light were being disassembled into its component parts. Sali Muller\u2019s Venetian blinds reflect light, and yet look like surfaces through which light pierces in order to fan out rainbow-like …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Daniel Nehring<\/a>

Stage (Ausschnitt), 2020<\/p>

The medium of pastel \u2013 a hybrid of painting and drawing \u2013 is used by Daniel Nehring in order, in his work \u201cStage\u201d, to arrange a stage situation, a set, which itself functions as a hybrid: As an imagi …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Martin Paletar<\/a>

Vivas Nos Queremos (We Want Us Alive), Argentina<\/p>

Reclaim the street. The public space becomes a stage for protest. Martin Paletar\u2019s documentary photograph depicts a young Argentinian girl at a demonstration on International Women\u2019s Day, also known …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Laura Pirgie<\/a>

Spezialexperte, 2020<\/p>

An abstract part of the whole. Originally shot using an analogue large-format camera, then scanned, then one part enlarged. The digital blow-up of the scanned negative in Laura Pirigie\u2019s work \u201cSpezia …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Sanna Reitz<\/a>

hybris<\/p>

The series hybris by Sanna Reiz thematizes the aesthetic conquering of Nature in the form of structured geometric cutting of plants to form a hedge. The essence of human dominance is anchored in the …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Maximilian R\u00f6del<\/a>

FORTUNATOR IV, 2019, 180x160cm, oil on canvas<\/p>

Maximilian R\u00f6del\u2019s work \u201cFortunator\u201d is green, is blue, is yellow, or at least close to that. And it is almost quadratic. Colour surfaces running into one another hamper its explanation. Thus, unexpl …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Nina R\u00f6der<\/a>

Mum in bed<\/p>

Nina R\u00f6der\u2019s image is part of her series WENN DU GEHEN MUSST WILLST DU DOCH AUCH BLEIBEN. It depicts her mother in a nightdress of her mother\u2019s, in a yoga pose. The photograph is part of a process of …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Timo Seber<\/a>

IDA<\/p>

This high-res scan of an analogue negative deals with expression, attitude and relationship of the two illustrated persons. Time and place cannot really be identified in the image. In and as a result …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Iyla Shah<\/a>

Smile<\/p>

Iyla Shah\u2019s mixed media work on paper examines the colours and shapes that she encounters daily. In what combinations and to what end are they presented to us? What function do they have on different …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Jun Eui Song<\/a>

Rococorean Post-Reality<\/p>

Jun Eui Song produces works that concentrate on the aesthetics of the digital and its machine logic. His religious space shown here conflates elements of Bavarian Rococo churches with traditional Kor …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Nathalie Stirnimann Stefan Stojanovic \/ Foto: Srdjan Djuric<\/a>

What if the walls were more flexible?<\/p>

Frequently, walls function as bolt, as boundary. They are firmly impenetrable and one needs to walk around them. Nathalie Stirnimann and Stafan Stojanovic comprehend walls more as nets. In their perf …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Katja Stuke<\/a>

o.T.3<\/p>

In their work \u201cJapanese Lesson\u201d, artistic photographers Katja Stuke and Oliver Sieber deal with the issues concerning political and social landscape in Japan. Hopefully trees get pictured there too? …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Sebastian Thewes<\/a>

ce_071<\/p>

Sebastian Thewes\u2019s digital 3D graphic looks like a post-futuristic rhizome. The wickerwork of his rhizome-like construct has combined to form a floundering carpet floating through the cosmos. Should …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Inge Trienekens<\/a>

Face\u00a0not found #2<\/p>

The surface as monitor. Inge Trieneken\u2019s photograph \u201cFace Not Found\u201d does, and doesn\u2019t, depict. Inge Trieneken\u2019s choice of surface for depiction means that the visibility of what is depicted becomes …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Andrea van Reimersdahl<\/a>

Identity sucks 03<\/p>

Andrea van Reimersdahl operates painting multi-dimensionally. The work \u201cIdentity sucks\u201d visualizes the notion of moving images interacting above and beyond the exhibition space. In the photograph ill …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

Arne Wastyn<\/a>

Inside Out (2)<\/p>

Arne Wastyn\u2019s found footage work \u201cInside Out\u201d combines two aesthetics: Nature photography and first aid manual illustrations. The obvious lack of cohesion between these two different visual vocabular …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n

TILO&TONI<\/a>

Summer Collection<\/p>

All image archives available in the world are a type of spare-parts warehouse for images. Tilo&Toni appropriate images, rhetoric, gestures and poses. Hierarchy-free in relation to origin, technique, …<\/p><\/div><\/div><\/a><\/div>\r\n\r\n<\/div>\r\n<\/div>","protected":false},"excerpt":{"rendered":"

Nadine AberCamouflage \u201cLife doesn\u2019t frighten me\u201d is the life concept of designer Michelle Elie, who frequently positions herself against societal norms in her works. However, in unusual times with threats like Covid-19 a … Sophie AignerSockeSock, sign of the times. In Sophie Aigner\u2019s work, its leg becomes a plaster cast. Form and content appear literally […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\nWinners 2020 — Reclaim Award<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.reclaim-award.org\/en\/winners\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Winners 2020 — Reclaim Award\" \/>\n<meta property=\"og:description\" content=\"Nadine AberCamouflage \u201cLife doesn\u2019t frighten me\u201d is the life concept of designer Michelle Elie, who frequently positions herself against societal norms in her works. However, in unusual times with threats like Covid-19 a … Sophie AignerSockeSock, sign of the times. In Sophie Aigner\u2019s work, its leg becomes a plaster cast. Form and content appear literally […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.reclaim-award.org\/en\/winners\/\" \/>\n<meta property=\"og:site_name\" content=\"Reclaim Award\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/reclaimaward\/\" \/>\n<meta property=\"article:modified_time\" content=\"2021-08-20T08:50:02+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.reclaim-award.org\/wp-content\/uploads\/2020\/06\/Reclaim-Award-2020_Nadine_Aber-0437.jpg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.reclaim-award.org\/en\/#website\",\"url\":\"https:\/\/www.reclaim-award.org\/en\/\",\"name\":\"Reclaim Award\",\"description\":\"Eine weitere WordPress-Website\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.reclaim-award.org\/en\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/www.reclaim-award.org\/en\/winners\/#primaryimage\",\"inLanguage\":\"en-US\",\"url\":\"\/wp-content\/uploads\/2020\/06\/Reclaim-Award-2020_Nadine_Aber-0437.jpg\",\"contentUrl\":\"\/wp-content\/uploads\/2020\/06\/Reclaim-Award-2020_Nadine_Aber-0437.jpg\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.reclaim-award.org\/en\/winners\/#webpage\",\"url\":\"https:\/\/www.reclaim-award.org\/en\/winners\/\",\"name\":\"Winners 2020 — Reclaim Award\",\"isPartOf\":{\"@id\":\"https:\/\/www.reclaim-award.org\/en\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.reclaim-award.org\/en\/winners\/#primaryimage\"},\"datePublished\":\"2020-06-16T08:15:47+00:00\",\"dateModified\":\"2021-08-20T08:50:02+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.reclaim-award.org\/en\/winners\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.reclaim-award.org\/en\/winners\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.reclaim-award.org\/en\/winners\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Startseite\",\"item\":\"https:\/\/www.reclaim-award.org\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Winners 2020\"}]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Winners 2020 — Reclaim Award","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.reclaim-award.org\/en\/winners\/","og_locale":"en_US","og_type":"article","og_title":"Winners 2020 — Reclaim Award","og_description":"Nadine AberCamouflage \u201cLife doesn\u2019t frighten me\u201d is the life concept of designer Michelle Elie, who frequently positions herself against societal norms in her works. However, in unusual times with threats like Covid-19 a … Sophie AignerSockeSock, sign of the times. In Sophie Aigner\u2019s work, its leg becomes a plaster cast. Form and content appear literally […]","og_url":"https:\/\/www.reclaim-award.org\/en\/winners\/","og_site_name":"Reclaim Award","article_publisher":"https:\/\/www.facebook.com\/reclaimaward\/","article_modified_time":"2021-08-20T08:50:02+00:00","og_image":[{"url":"https:\/\/www.reclaim-award.org\/wp-content\/uploads\/2020\/06\/Reclaim-Award-2020_Nadine_Aber-0437.jpg"}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"7 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebSite","@id":"https:\/\/www.reclaim-award.org\/en\/#website","url":"https:\/\/www.reclaim-award.org\/en\/","name":"Reclaim Award","description":"Eine weitere WordPress-Website","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.reclaim-award.org\/en\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"ImageObject","@id":"https:\/\/www.reclaim-award.org\/en\/winners\/#primaryimage","inLanguage":"en-US","url":"\/wp-content\/uploads\/2020\/06\/Reclaim-Award-2020_Nadine_Aber-0437.jpg","contentUrl":"\/wp-content\/uploads\/2020\/06\/Reclaim-Award-2020_Nadine_Aber-0437.jpg"},{"@type":"WebPage","@id":"https:\/\/www.reclaim-award.org\/en\/winners\/#webpage","url":"https:\/\/www.reclaim-award.org\/en\/winners\/","name":"Winners 2020 — Reclaim Award","isPartOf":{"@id":"https:\/\/www.reclaim-award.org\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.reclaim-award.org\/en\/winners\/#primaryimage"},"datePublished":"2020-06-16T08:15:47+00:00","dateModified":"2021-08-20T08:50:02+00:00","breadcrumb":{"@id":"https:\/\/www.reclaim-award.org\/en\/winners\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.reclaim-award.org\/en\/winners\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.reclaim-award.org\/en\/winners\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Startseite","item":"https:\/\/www.reclaim-award.org\/en\/"},{"@type":"ListItem","position":2,"name":"Winners 2020"}]}]}},"_links":{"self":[{"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/pages\/1840\/"}],"collection":[{"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/pages\/"}],"about":[{"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/types\/page\/"}],"author":[{"embeddable":true,"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/users\/2\/"}],"replies":[{"embeddable":true,"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/comments\/?post=1840"}],"version-history":[{"count":15,"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/pages\/1840\/revisions\/"}],"predecessor-version":[{"id":2379,"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/pages\/1840\/revisions\/2379\/"}],"wp:attachment":[{"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/media\/?parent=1840"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}