ARTFORUM - https://www.artforum.com/artguide/ethan-cohen-kube-19624/shadowland-217830 Summer, 2023
COOL HUNTING: https://coolhunting.com/culture/upstate-art-weekend-2023-margaret-innerhofers-shadowland/ July, 2023
ASPIRE DESIGN: https://aspiremetro.com/margaret-innerhofers-shadowland/, Summer 2023
CHRONOGRAM MAGAZINE: https://www.chronogram.com/arts/blissed-out-art-overdose-upstate-art-weekend-2023-18638165 SUMMER 2023
ARTFORUM - Summer Issue 2023
CHRONOGRAM MAGAZINE - May, 2023, https://www.chronogram.com/hudsonvalley/margaret-innerhofer-shadowland/Event?oid=18041249
SHOUTOUT MIAMI - June 2023, https://shoutoutmiami.com/how-has-your-background-affected-your-future-17/
ETHAN COHEN GALLERY, @ Kube Art Center, Art & Sound https://www.youtube.com/shorts/tdXmdvIQsGY
BAU Gallery, Beacon, NY: https://www.youtube.com/watch?v=lh6-bNWgAZw
GRAND STREET GALLERY/BEEKMAN ARTS CLUB, Site Specific Art & Sound Installation: Newburgh, NY: https://www.youtube.com/watch?v=yCRzmYjAAMU
ETHAN COHEN GALLERY, @ Kube Art Center https://www.youtube.com/shorts/wSuyMw3qMwY
GRAND STREET GALLERY/BEEKMAN ARTS CLUB : Curator https://www.youtube.com/shorts/_hSjl95tnaA
ARCHITECTURE I CHA & INNERHOFER
50 of the World's Best Apartments "Lehman Penthouse Loft ", by Robyn Beaver, The Images Publishing Group Pty Ltd
Dream Apartments, Taschen GmbH, edited by Simone Schleifer,
Penthouse Living "Stingel Apartment" by Jonathan Bell, Wiley-Academy
International Architecture Design Yearbook, edited by Apple Deng,
Collection: U.S. Architecture, Braun Publishing AG, edited by Michelle Galindo,
Houses Design Source, Harper Collins Publishers, edited by Aitana Lleonart,
New Penthouse Design, DAAB, edited by Cristina Paredes,
SHANGHAI Architecture & Design, "Red Hippo", teNeues Publishers, by Christian Datz and Christof Kullman,
1000 x AMERCIAS ARCHITECTURE, Fusion-Publishing, edited by Antonia von Tschuetschenthaler,
HOME, Pace Publishing, edited by Diane Tsang,
City Lofts, LOFT publications, edited by Montse Borras,
LOFT2, , Motta Architettura, edited by P. Solomita
Minimalism DesignSource, "Renaud Residence", Harper Design International, by Encarna Castillo
New Apartment Design "Green Penthouse Loft ", daab gmbh
New Loftspace Design "Lehman Loft ", Daab Gmbh, by Alejandro Bahamon,
New York Apartments "Renaud Residence", by Cristina Montes, Neues Publishing
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Margaret Innerhofer’s Shadowland Exhibition Is A Visual Double Take
AUGUST 21, 2023 BY GWEN DONOWAN
Shadowland at Ethan Cohen Gallery in Beacon, New York is a compilation of dual-sided works by multi-media artist Margaret Innerhofer. She is an Italian-born, US-based artist and musician, with studios in New York City and the KuBe Art Center in Beacon. Shadowland’s reflective themes include the lure of shadows and negative space based on the artist’s studies of architecture; a passion for environmentalism which is displayed in her photographs of abandoned cars and buildings being reclaimed by nature; and a deep study into the subconscious which wholly inspires her art. This fascinating solo exhibition runs through October 1.
Gwen Donovan: Was the theme of Shadowland an idea you had suddenly, or something you’d been thinking about for a while?
Margaret Innerhofer: The emergence of the theme for Shadowland was a gradual evolution that unfolded over the years as I immersed myself in the realm of photography as my chosen artistic medium. Starting with black and white and color photos, I began juxtaposing them, layering black and white images beneath their color counterparts. However, as time progressed, I found myself drawn to the idea of juxtaposing these two photographic expressions within a single framework. This experimental approach naturally gave rise to the concept of Shadowland, where the convergence of these photographic dimensions creates a captivating visual narrative.
“In Sandmen, the juxtaposition of beachgoers above and their submerged reflections below serves as a visual representation of the duality of human existence, a concept rooted in Jungian philosophy. Drawing inspiration from Carl Jung’s Shadow persona concept and the realm of Quantum Physics, I delve into the profound influence these forces exert on human behavior.”
GD: How do the three different series in this show—Sandmen, Heavy Metal, and Deconstr-Activist—relate to each other?
MI: The three series unite under a single conceptual and visual umbrella, each contributing a unique facet to a cohesive narrative. Together, these series weave a cohesive visual tapestry that encourages reflection on aspects of consciousness, the environment, and the intricate structures we construct and abandon, to accommodate our fragmented psyche.
GD: How does Shadowland invite the viewer into an alternate psychological and temporal dimension?
MI: In this exhibition, I delve into the intricate realms of the subconscious, guided by profound philosophical and scientific readings. Carl Jung’s exploration of collective consciousness has deeply fascinated me, leading me to explore how our subconscious influences our waking decisions and movements. Through my artwork, I seek to unravel the enigma of our subconscious control, drawing inspiration from scientific research, which reveals that a significant 80% of human behavior is governed by our subconscious, heavily influenced by experiences from our formative years, particularly ages 0 to 10. This revelation sheds light on why logical arguments may often be overshadowed by emotional reactions rooted in the gut.
“The genesis of the Heavy series finds its roots in my upbringing amidst the unspoiled beauty of the Italian Alps. It channels my innate connection to environmental activism, a passion ignited by the pristine landscapes that nurtured my formative years.”
GD: The works in Shadowland can be hung either horizontally or vertically, was that the way you imagined them from the outset?
MI: No, it wasn’t the initial plan. The idea developed gradually because viewers frequently inquired if the images could be reversed. As I present my art to viewers, I now give them the unique opportunity to evoke different visual and emotional responses by allowing them to choose how to hang each piece. They can opt for the color side up, revealing a figurative and realistic view of the artwork. Alternatively, they can explore the more conceptual, surreal, abstract, and volumetric perspective of the black-and-white ‘Shadow image’ when it faces upward. This art goes beyond mere aesthetics; it prompts introspection and contemplation, creating a multi-layered experience that challenges us to consider the complexities of human perception.
“Deconstr-Activist merges architectural schooling and practice with environmental advocacy, exploring the interplay between human creation and natural habitat.”
GD: What inspires you in everyday life?
MI: My identity as an artist thrives within a dynamic interplay of influences, profoundly shaping my creations. The impetus of political and environmental concerns, driven by a deep understanding of the human and social condition, drives me to capture thought-provoking moments that spark contemplation. Additionally, the emotional resonance of nature, meditation, and my music serve as a backdrop, harmonizing with my visual narratives.
A behind the scene look of the conceptual artist’s solo show SHADOWLAND, Ethan Cohen Gallery, 2023
It is the first Saturday of Upstate Art Weekend and I am standing in a chemistry classroom of a former public school looking at inverted works, listening to Gregorian chants meets Jimmy Hendrix inspired music, and feeling that I am falling into a trance. In reality, I am meeting the artist Margaret Innerhofer for the first time at her solo show SHADOWLAND, at Ethan Cohen Gallery at The Kube Art Center in Beacon, NY. The renowned gallery describes her exhibition as:
“Photo-based prints and framed canvases that explore the transitional spaces between spiritual and psychological borderlands. Each of the large-scale meditative compositions printed in color has a jarring and surreal black and white reflection that invites the viewer into an alternate psychological and temporal dimension.”
So, what is behind these works laden with heavy and deep symbolism of awake versus sleep? I sat down with the elegant and stylish Margaret to understand how a dreamy child from the Tyrolean mountains became a philosophical artist in Beacon, NY. It turns out that we are all in a trance.
Let’s begin with your upbringing. Where were you born and raised?
I was born, and raised in the Tyrolean Alps, Italy, immersed in the idyllic beauty of its nature and harmonious sounds. My childhood was filled with long mountain climbs, horseback riding, yodeling, playing the guitar and drums, and singing Gregorian chants in a strict convent boarding school. I found fascination in Western movies and the Apache Indian lifestyle, particularly their deep connection with nature and the imagery of wild horses roaming freely in vast deserts, accompanied by their rhythmic chants and drum circles.
These early experiences forged a profound bond with the natural world, which continues to be a driving force behind my visual and sonic artistic expression.
What was your first introduction to art, and how did you start evolving as an artist?
During my Architectural and Fine Art studies, I relocated to Milan, a city that would leave a lasting impact on my artistic path. Dating an artist during that time exposed me to a bohemian lifestyle and immersed me in Milan’s dynamic art, architecture, and design scene. The conceptual and minimalist concepts of the Arte Povera Movement captivated me, drawing me deeper into the contemporary art world.
Socially engaging with fellow artists and actively attending art shows in galleries and museums across Italy and Europe, I was inspired by the diverse expressions of creativity. My early fascination with photography, particularly the works of conceptual artists from the Dada and Surrealist Movements, like Man Ray and Andre Breton, further fueled my artistic interests.
This multifaceted exposure played a pivotal role in shaping me as an artist. It broadened my horizons, offered fresh perspectives, and allowed me to find my own artistic voice.
You now have a solo show called SHADOWLAND at Ethan Cohen Gallery at The Kube Art Center in Beacon, NY. What is the main inspiration for the three different series: Sandmen, Heavy Metal, and Deconstr-Activist?
In my latest exhibition, I delve into the intricate realms of the subconscious, guided by profound philosophical and scientific readings. Carl Jung’s exploration of collective consciousness has deeply fascinated me, leading me to explore how our subconscious influences our waking decisions and movements.
Through my artwork, I seek to unravel the enigma of our subconscious control, drawing inspiration from scientific research, which reveals that a significant 80% of human behavior is governed by our subconscious, heavily influenced by experiences from our formative years, particularly ages 0 to 10. This revelation sheds light on why logical arguments may often be overshadowed by emotional reactions rooted in the gut.
Another crucial thread in my exhibition revolves around the environment. I have been an environmental activist well before it became a trend, and I’ve actively co-produced environmental films and fought against practices like fracking. In SHADOWLAND, the subjects in my works interact with nature, and, in many instances, nature appears to reclaim them. This theme highlights the fragile bond between humanity and the natural world, provoking contemplation on our relationship with the environment.
Is it this exploration into the subconscious why the artworks are designed to be inverted? That they can be hung in either vertical orientation?
As I present my art to viewers, I give them the unique opportunity to evoke different visual and emotional responses by allowing them to choose how to hang each piece. They can opt for the color side up, revealing a figurative and realistic view of the artwork. Alternatively, they can explore the more conceptual, surreal, abstract, and volumetric perspective of the black-and-white ‘Shadow image’ when it faces upward.
What’s intriguing is that showing the ‘Shadow image’ facing up, actually, represents a more realistic worldview, one that most people might be unaware of. It’s a perspective that delves into the subconscious, which I believe rules humanity and ‘runs the show.’ It’s a fascinating paradox: while the color side portrays the conscious perception of the world—what’s readily visible—the ‘Shadow image’ uncovers the hidden depths and complexities that shape our lives.
By offering this choice of orientation, I invite viewers to question their own understanding of reality and delve into the intricacies of their subconscious minds. This art goes beyond mere aesthetics; it prompts introspection and contemplation, creating a multi-layered experience that challenges us to consider the complexities of human perception.
Looking specifically at the three different subjects, can you first tell us more about Deconstr-Activist?
My Deconstr-Activist series draws inspiration from the ‘Deconstructivism’ architectural movement, challenging the rationality of modernism and embracing and revealing chaos and complexity. I delve into the intriguing world of shadows, volumes, negative versus positive space, and the interplay between light and darkness. This exploration stems from my background in architecture, which ignited my fascination with these artistic elements.
Throughout the series, I endeavor to capture neglected structures that are gradually being reclaimed by nature. By doing so, I aim to shed light on the physical structures we create to accommodate our fragmented psyches. The juxtaposition of abandoned structures being overtaken by nature serves as a compelling visual metaphor for the inherent fragility and impermanence of human constructs.
What about Heavy Metal?
In my “Heavy Metal” series, the transition from the pristine mountain range to the Hudson Valley exposed me to a striking contrast—defunct cars replacing the beauty of flowers in many backyards. This encounter sparked an obsession, leading me to spend years capturing these scenes with vintage analog Leica cameras, which I acquired from flea markets, embracing the slight imperfections in their lenses as a welcomed artistic element.
In this body of work, I explore my fascination with American vintage cars left abandoned and outdated, captured within the passage of time and the encroachment of nature. Each photograph alludes to the poignant collision between the past and the future, symbolizing our own embodiment within these vehicles that are increasingly outdated, yet perpetually trapped in the present.
In “Heavy Metal,” I seek to evoke a sense of nostalgia while urging reflection on the transient nature of our material possessions and the fleeting nature of human creations. The juxtaposition of these forgotten vehicles with the ever-encroaching embrace of nature serves as a poignant reminder of the impermanence of all things, urging us to ponder our place in the grand tapestry of time and the inescapable passage into the unknown future.
And finally, what can you tell us about Sandmen?
Within each frame, beachgoers blissfully inhabit the horizon, seemingly unaware of their inverted doppelgängers lurking just below the surface. This juxtaposition of colors and reflections becomes a visual metaphor for the duality of human existence—the conscious experience of the moment above the surface and the hidden depths of the subconscious below.
Drawing inspiration from Carl Jung’s concept of the Shadow persona and Quantum Physics, I explore how these profound elements influence human actions and behaviors. The dreamy beachscapes serve as a canvas for contemplating the interplay between our conscious and unconscious selves, the tangible and the intangible aspects of our existence.
In this series, I invite viewers to immerse themselves in the enigmatic world of “Sandmen,” where time seems to stand still, and the boundaries between reality and imagination blur. The photographs become a gateway to introspection, inviting you to reflect on the transient nature of human experiences and the profound complexities that shape our perceptions and actions.
What is your favorite piece in the show and why?
As an artist, it’s challenging for me to pick a favorite, each image represents a moment of inspiration, creativity, and a reflection of my inner world. Each image carries a distinct essence, resonating with different viewers in various ways.
Together with the sound piece ‘Shadowland’ that I have composed, performed, and recorded specifically for this show, the fusion and synergy between my visual art and sound adds a multi-dimensional layer to the overall experience.
The fusion of visual and auditory expressions allows each piece to resonate on a deeper level, connecting with viewers in unique and profound ways.
What is next on the horizon?
A beach vacation in Italy, is on the immediate horizon!