Interview: Renée Rauchelles
Luca Curci talks with Renée Rauchelles during FUTURE LANDSCAPES, third appointment of BORDERS Art Fair 2020, at THE ROOM Contemporary Art Space.
Renée Rauchalles lives and works in her hometown of Munich (Germany). She studied at the Master-School-for-Graphics in Munich and graduated with a Master’s Degree. She also completed a singing and acting training. Since 1987, after a few years of active work in the theatre, she has devoted herself entirely to painting. In February 1998, she founded the ZEITfürKUNST-GALERIE, where she delivers an ongoing series of literary lectures. Newspaper, magazine, journal and anthology publications. In 2001, she created the book “The Art of Dying” (“Die Kunst des Sterbens”) in collaboration with Prof. Dr. Bernhard Sill, published by Pustet Verlag. In 2011 she published her book “I dreamed of my mother again” (“Mir träumte meine Mutter wieder”), publisher Konkursbuch Verlag. In this book with biographical texts by Renée Rauchalles both female and male authors give insight into their former and current ‘inner images‘ and pictures of their mothers in poetry and prose. Since 2012 editor of the cultural magazine “Literature in Bavaria” (Literatur in Bayern).
Luca Curci – What is art for you?
Renée Rauchelles – My whole life was and is shaped by art. For me, art is life.
LC – What are you currently working on?
RR – Actually, I wanted to work on more abstract motifs, but also create a few portraits. Unfortunately, I broke my right shoulder for the second time, so that I have not been able to paint for about a year because the necessary movement was not possible. It will probably remain restricted forever, but I hope to get better and to be able to paint again one day.
LC – Where do you find your inspiration?
RR – My abstract pictures, the titles of which are musical terms, symbolize the dynamic interplay between Adagio and Allegro, body spaces, body sounds, body currents and body worlds both in humans and in nature. The musical titles are carriers of emotions and states. In this respect, I draw my inspiration from music, from the body (I was an opera singer too, so it was important to control one’s own body, to release your physical blockages). Everything is in constant motion ( often partial images symbolize this constantly continuing movement), there is no standstill, just as there is no standstill in nature, a constant becoming and passing away. The abstract pictures are a cycle that is always continued. There is also an almost completed 20-part figurative cycle entitled “The Bleeding Planet” or “The Way of the Cross of Man” (the picture “Reconciliation” consists of 5 parts, 1 picture is still missing on the subject “Abuse of animals”). The inspiration for these pictures comes from world events, the environment and society. The last picture of this cycle leads to the abstract cycle as the opposite pole (external world vs inner world, from the confines of the earthly to other spheres that each individual can determine for himself). They are archetypal images that deal with power, violence, death and the environment. You symbolically connect past and present with the question: What has changed between then and now (see my pictures “The bleeding planet” (1993) and “AufBruch” (1994-1998).
LC – What is your creative process like?
RR – When I have chosen the theme in figurative works, the inner images emerge relatively quickly. I have to go to the last detail in my mind’s eye, the colors, too, are decided upon before I start painting. It is a little different with the abstract works. By and large, they arise before my inner eye, but while painting I let inspiration lead me to make desired changes. It is important for me that what I want to say on this abstract level becomes visible and noticeable for the viewer. The abstract works allow the viewer their own reactions anyway. Here he should be free in his associations, let himself be carried away by the shapes and colors. The images should set feelings in motion, freeing the viewer from having to think. It is all about feelings, about the dissolution of preconceived ideas.
LC – How is it being an artist nowadays?
RR – It has never been easy to be an artist, no matter what era. For example, I had to extricate myself, become independent from my parents who did not agree with my choice of profession. That meant that when I was 15 I went out into the world without any support. Today art is more widely accepted, but a lot of people still don’t understand what it means to be an independent artist and the difficulties of having to earn a living from their art. Artists who love their profession, usually work a lot more than “normal” employees and get a lot less money for it. No employee would work for this hourly wage. They visit exhibitions without being aware of this, hardly able to empathize with the work and time spent by the artist.
LC – What do you think about the concept of this festival? How did it inspire you?
RR – I think the concept is good. The subject is inspiring. The fact that ITSLIQUID Group dealt with it lyrically showed me that it will be a unique exhibition. Even if having a themed exhibition is sometimes constraining, and there are many of them, it is still a grand opportunity to take part! In this case, I was also inspired by Venice, which I – like many others – love very much. I think the concept with all the trimmings is good, also that the exhibition runs for about 6 weeks, despite Corona! I also think it’s great that there will be a catalogue and interviews etc. which will be presented in the press and social media, thus reaching a wider public. Despite closed exhibition venues today, digital media are a great opportunity to get noticed.
LC – We were attracted by your last artistic production, has the artwork presented been created for the festival or as a part of preexisting works?
RR – The two works you exhibited already existed because I have no new pictures due to my accident. I have only created specific works for an exhibition twice, as usually I participate with works that are already in existence and fit the thematic.
LC – What do you think about the organization of our event?
RR – So far I think the organization is good, but I can only really rate it when the exhibition is over and my pictures come back intact, that is, if they are not sold. I think communication is good, in this case Giulia Tassi’s. She reacts quickly, you get the feeling that she has a good overview, something one cannot always say about other organizations.
LC – Would you suggest a collaboration with us? What do you think about our services?
RR – Indeed I would. As for the services you offer, they are excellent if carried out as promised.
LC – Do you think ITSLIQUID GROUP can represent an opportunity for artists?
RR – Definitely. I have the distinct impression that ITSLIQUID GROUP is really interested in presenting artists and their work and that is worth a lot.