The artistic universe of the artist and qualified haute couture embroiderer Emmanuelle Rapin (* 1974 in Épinal, Berlin) combines fashion and archaic art and cultural techniques into a multi-layered and surprising assemblage. For her virtuoso works of art, she uses motifs such as hunting or traditional crafts such as embroidery. Made from organic materials such as bones, feathers, precious stones, or prepared animals, narrative-charged objects emerge that can inspire our imagination and lead to disquieting areas.
I see my art objects as visualized poems that you can touch. (Emmanuelle Rapin)
The exhibition title SAUVAGE (French “wild”) refers to the untamed nature of the forest as well as the untamed power of art. In Greek mythology and fairy tales, the forest is often the place of uncertainty, danger and disaster – but also of metamorphoses: the history of Narcissus, the figure of the goddess of hunting Artemis, Dionysian rituals but also the fairy tales of Hansel and Gretel, the Däumling, the six wombs, Sleeping Beauty, Beauty and the Beast are located there. The forest metaphor is immanent in almost all of Emmanuelle Rapin's works, in the form of fairy tales that underlie their work or the material of which they are made.
For Emmanuelle Rapin, embroidery is not a peaceful matter. Her gilded thimble “The sleeping beauty” (2010) symbolizes the combination of protection and aggression. The title in turn refers to a very own interpretation of the well-known fairy tale: Sleeping Beauty is not only a victim, but also perpetrator. With its ritualized, repetitive activity, embroidery also signals the passage of time, a single stitch marks the temporality.
An interpretation of Baroque still life is her series of objects that could be worn like fashion accessories. It illustrates the coming and going, but also the fragile beauty of being. For this she chooses such diverse and unusual materials as the fur of mammals, corals, pearls, bird feet or sexual organs of plants. Objects such as Plaie d'épaule, Les muselées amoureuses or Roccoco bellette illustrate the ambivalence of a craft activity that can be maintained with needle and thread, repaired and recreated, but must also be brutal in order to create it. In the MUSEUM Jagdschloss Kranichstein Emmanuelle Rapins Stillleben is juxtaposed with the historical still life of a Zacharias Sonntag, who as court painter of the landgraves of Hessen Darmstadt in the 18th century also uses the forest as a metaphor for wildness and unpredictability, but through the choice of his motives like dead birds, Hares, deer and hunting equipment interpreted as man-manageable. He also recalls the transience of life and appearance – albeit with painterly means.
The poetic exhibits Emmanuelle Rapins condense multi-layered stories and memories. In the Kunstforum of the TU Darmstadt they will meet the photographic series On the Hand of the Viennese artist Angelika Krinzinger (* 1969 in Innsbruck) as well as on selected exhibits of the MUSEUM Jagdschloss Kranichstein.
The photo series “An Hand” by Angelika Krinzinger is also full of associations: Krinzinger photographed the historical portrait gallery of the Habsburgs in Schloss Ambras near Innsbruck, but focused exclusively on the hands. The rest of the body is missing. The serial arrangement of these different “hand portraits” with their different gestures creates a semiotics of gestures, a kind of secret language. What had meant the respective hand attitude, hints at virtue, moral behavior or virginity, could be deciphered in the time, Today, this is no longer the case. “On hand” provocatively raises the question of the whole and meaning of detail, earlier and today. In addition, “An Hand” invites you to discuss contemporary communication and the current use of language and gestures.