SOCIÉTÉ

Conny Maier


Wendung mit Tier, 2022, Oil, oil stick, pigments on canvas, 180 x 140 cm

Wendung mit Tier, 2022, Oil, oil stick, pigments on canvas, 180 × 140 cm

Conny Maier explores fundamental questions about human nature, ecology, dominance, and control. The off-kilter figuration in Maier’s paintings, coupled with the inter-species entanglements that her work depicts, articulate precarity and vulnerability as elemental states of being. Her painterly reflections on polarities like dominance and submission, equilibrium and instability, the human and the non-human take an unflinching look at the final throes of the Anthropocene, asking not only what should come to an end but what kind of new day might dawn.

Conny Maier was selected as one of the three recipients of Deutsche Bank’s prestigious Artists of the Year Prize in 2020. She lives and works in Berlin and Baleal, Portugal.


Installation view, Where have all the flowers gone?, De 11 Lijnen, Belgium, 2022

Installation view, Where have all the flowers gone?, De 11 Lijnen, Belgium, 2022

Installation view, Where have all the flowers gone?, De 11 Lijnen, Belgium, 2022

Installation view, Where have all the flowers gone?, De 11 Lijnen, Belgium, 2022

Installation view, Where have all the flowers gone?, De 11 Lijnen, Belgium, 2022

Installation view, Where have all the flowers gone?, De 11 Lijnen, Belgium, 2022

Installation view, Where have all the flowers gone?, De 11 Lijnen, Belgium, 2022

Installation view, Where have all the flowers gone?, De 11 Lijnen, Belgium, 2022

 

Feels like rabies

Société, Berlin 2022

In Conny Maier’s work we see the outcome of a struggle between creative and destructive impulses; the wants of individuals and those of the collective; the beautiful and the downright cruel. We see a desire to make great big paintings of very painterly subjects.

Kristian Vistrup Madsen, 2022
Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

In Feels like rabies, Maier presents a series of new paintings that explore fundamental questions about human nature, ecology, dominance, and control. The works are populated by figures who seem out of sync with their environment, as if they might topple over at any moment in their cruel struggle for ascendancy over nature and other beings. Anna Lowenhaupt Tsing writes of the “ambivalence of salvage,” how damaged worlds nonetheless contain an abundance of life, beauty, resilience, and the potential for dynamic new alliances between different life forms—and Maier’s paintings unflinchingly delve into this space between destruction and renewal.

Conny Maier narrative paintings portray extreme psychological states through a style of contorted figuration that verges on caricature. In Dynamik, nine figures come together to form a pulsating mass: a jumble of bodies, hands pulling fabric, and long rivers of tears. The figures who inhabit the work convey an ambiguous bundle of emotions—they could be experiencing paroxysms of extreme grief, struggling to inflict pain upon one another, or both. The term dynamic indicates a form of continuous and productive activity or change and Maier nods towards the delicate balance between anguish and brutality in many of her paintings. There is a peculiar timeless to Maier’s work and the scenes that she depicts are almost impossible to place: they could just as easily exist in some not-so-distant past as a brave new world future. Their pastoral settings lend them a folkloric quality that is unsettled by the figures who inhabit these landscapes—and threaten to tear this world asunder. And yet, their deformed bodies can also be read as a testament to the perpetual struggle of finding beauty and balance in a constantly changing world. Umstände depicts a highly cropped view of a crouching figure with two snakes biting their bottom. Her strangely elongated buttocks seem to indicate that she is in a state of vegetal transformation, blossoming like inverted tulips. In Rabies, a woman stands in a golden field with a rabbit dangling from her hand. A small puncture wound glistens on her thumb, indicating the inflamed delirium and collapse to follow. The off-kilter figuration in Maier’s works, coupled with the inter-species entanglements that they depict, articulate precarity and vulnerability as elemental states of being. As Lowenhaupt Tsing writes of living and attempting to thrive in a contaminated world, “Precarity is the condition of being vulnerable to others. Unpredictable encounters transform us; we are not in control, even of ourselves. Unable to rely on a stable structure of community, we are thrown into shifting assemblages, which remake us as well as our others.“

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Installation view, Feels like rabies, Société, Berlin, 2022

Connie Maier, Rabies, 2022, oil, oil stick, pigments on canvas, 152.5 x 112.5 x 4.6 cm, 60 1/2 x 44 1/2 x 2 in

Connie Maier, Rabies, 2022, oil, oil stick, pigments on canvas, 152.5 × 112.5 × 4.6 cm, 60 1/2 × 44 1/2 × 2 in

Conny Maier, Umstände, 2022, oil, oil stick, pigments on canvas, 152.5 x 112.5 x 4.7 cm, 60 1/2 x 44 1/2 x 2 in

Conny Maier, Umstände, 2022, oil, oil stick, pigments on canvas, 152.5 × 112.5 × 4.7 cm, 60 1/2 × 44 1/2 × 2 in

Artist of the Year 2021

Palais Populaire, Berlin, 2021

Installation view, Deutsche Bank Artist of the Year 2021, Palais Populaire, Berlin, 2021

Installation view, Deutsche Bank Artist of the Year 2021, Palais Populaire, Berlin, 2021

Installation view, Deutsche Bank Artist of the Year 2021, Palais Populaire, Berlin, 2021

Installation view, Deutsche Bank Artist of the Year 2021, Palais Populaire, Berlin, 2021

 

Die Zähmung

Kunstverein Heppenheim, 2020, curated by Cornelius Tittel

Installation view, Die Zähmung, Kunstverein Heppenheim, 2020

Installation view, Die Zähmung, Kunstverein Heppenheim, 2020

Installation view, Die Zähmung, Kunstverein Heppenheim, 2020

Installation view, Die Zähmung, Kunstverein Heppenheim, 2020

Installation view, Die Zähmung, Kunstverein Heppenheim, 2020

Installation view, Die Zähmung, Kunstverein Heppenheim, 2020

Installation view, Die Zähmung, Kunstverein Heppenheim, 2020

Installation view, Die Zähmung, Kunstverein Heppenheim, 2020

Installation view, Die Zähmung, Kunstverein Heppenheim, 2020

Installation view, Die Zähmung, Kunstverein Heppenheim, 2020

Solo exhibitions

  • 2022

    Feels like rabies, Société, Berlin

    Where Have All The Flowers Gone, De 11 Lijnen, Oudenburg

  • 2021

    Grenzgänge 2, König Galerie, Seoul

    Grenzgänge, Ruttkowski;68, Cologne

  • 2020

    Art Cologne, König Galerie, Köln

    Die Zähmung, Curated by Cornelius Tittel, Kunstverein Heppenheim, Heppenheim

    Domestic, König Galerie, Berlin, Germany

    002, Conny Maier & Andreas Schmitten, Ruttkowski;68, Paris

  • 2019

    I didn’t mean to burn the woods, Curated by Office Impart, S.M.A.C., Berlin

    Chronik der laufenden Ereignisse 2, Art Berlin Fair, Ruttkowski;68, Berlin

    Im Trüben, Ruttkowski;68, Cologne, Germany

    Chronik der laufenden Ereignisse, Christian Rosa Residency, California

  • 2018

    Am Rothenbaum, Ruttkowski;68, Paris, France

  • 2017

    a.Tennis, Parallel Vienna – Studio 22, Vienna

    Alles very good./- Nothing matters, ung-5, Cologne

  • 2016

    The cosy fire. / Alles GUT. – Nothing Matters, Beinghunted, Berlin

    COKE FIRST PT.II, BOLD Room, Los Angeles, USA

  • 2015

    COKE FIRST, Beinghunted./net.work, Berlin, Germany

  • 2014

    Amerikanische Situation & Zigaretten, Volume Galerie, Berlin, Germany

Group exhibitions

  • 2022

    Deutsche Bank Artist of the year 2022, MUDEC, Milan

    HOW TO & KNOW-HOW, Neue Galerie Gladbeck, Gladbeck

  • 2021

    Deutsche Bank Artists of the year 2021, Palais Populaire, Berlin

  • 2020

    This must be the Place, Villa Schöningen, Potsdam

    Dorf 4 – The last one, Kunstverein Ulm, Ulm

    Mixed Pickles 8, Wilhelm Hallen, Berlin

    You Can Do Better – Bad Painting, Recommended by Laura Helena Wurth, Elektrohalle Rhomberg, Salzburg

    Mixed Pickles 7, Ruttkowski;68, Cologne

    Art Brussels, Ruttkowski68; Brussels

    Nine to know, Curated by Jenny Brosinski, Ruttkowski;68, Paris

  • 2019

    Mixed Pickles 6, Michael Horbachstiftung, Köln

    04, PM/AM, London

    DORF 3, Im Gerinne 2, Wullenstetten

    Mixed Pickles 5, Funkhaus, Ruttkowski;68, Berlin

    Disorder, Los Angeles

    Atlantis 3000’ 1, Atelier Concorde, Lisbon

    Atlantis 3000, PM Gallery, Lisbon

  • 2018

    Dorf 2, Im Gerinne 2, Wullenstetten
    Mixed Pickles 4, Michael Horbach Stiftung, Köln
    Grand Opening, Ruttkowski;68, Paris
    Tangerian dreams, Curated by Johann König, RBMA Funkhaus
    My body doesn’t like summer, Curated by Stephen Kent, Haverkampf Galerie, Berlin

    Mixed Pickles 3, Ruttkowski;68, Gallery Weekend, Berlin
    PROVINCETOWN, MEWO Kunsthalle, Memmingen
    GRAND OPENING, Ruttkowski;68, Köln
    WAISTING – TIME VOL. 1 – THE NATURE EDITION., Objekt unserer Tage, Berlin

  • 2017

    Mixed Pickles 2, Ruttkowski;68, Michael Horbach Stiftung, Köln

    DORF, Im Gerinne 2, Wullenstetten
    HYPER HYPER, Michael Reid Gallery, Berlin

  • 2016

    Woman in disguise, Volume Gallery, Berlin

    Hideout FM, Hideout FM Gallery, Los Angeles

  • 2015

    EXTENDEN VISIONS, Blockbuster ExhibitionGallery, Berlin

  • 2013

    RESEEN, MADE, Berlin

  • 2005

    Berliner Liste, Galerie Hermann & Wagner, Berlin