The Trees Weep Upon Us, We’ll Be Fossils by Then – 2017 Venice Biennale

The Trees Weep upon Us, We’ll be Fossils by Then is a baroque installation in the form of a Venetian chandelier, specifically created for Personal Structures in Palazzo Mora. The work refers to our complex relationship with nature. According to Caroline, we are constantly changing and influencing nature. Our impact on the ecosystem is far greater than we realize: eventually the system will turn against us and we will succumb to it.

The Trees Will Weep Upon Us, We'll Be Fossiles by Then - sculptor Caroline Kampfraath

The Trees Weep upon Us is made of tree resin, referring to Venetian glass. Large blocks of resin lie on the bottom. Positioned between these are old bottles cast in resin, resembling a town in its surroundings. The bottles symbolise transience; they are the remnants of human existence. The resin blocks depict the built environment, but at the same time they represent nature. Hanging in the middle of the chandelier itself is a human fossil in resin: an object with human features. Above it hangs a resin copy of the last dog from Pompeii, which was trapped and could not escape. Suspended around these figures are resin tears, which originate from the trees that have turned out to be stronger than the futile Man.

The Trees Will Weep Upon Us, We'll Be Fossiles by Then - sculptor Caroline Kampfraath

December 23rd, 2017|

The Seamstress – supported by Amsterdam municipality

The Seamstress

The Seamstress is the outcome of a civilian initiative by Amsterdam inhabitants to commemorate the radical transition of the Amsterdam street Bergstraat.

Side streets in the canal zone, such as the Bergstraat, were often neglected and disconnected from the rich canal dwellings themselves. In addition, The Bergstraat knew overt window prostitution for hundreds of years, rendering it a “rotten tooth” in the area. County council intervention revolutionised the street to a carefully designed residential micro-environment where playing children and tourists taking pictures still surprise the longstanding street inhabitants.

The Seamstress’ theme reminds of the once blossoming textile industry in the neighbourhood; due to the translation in Dutch the red thread refers to the prostitution; the 17th century clothing dates of the time of origin of the street, the roughness of the material represents the neglect in contrast with the otherwise fine canal zone and finally, the base material for the model, today’s building foam, stands for our current times.

For more information please write to carolinekampfaath@gmail.com

December 23rd, 2017|

Contemporary Art Ruhr (C.A.R.) Essen – October 2016

Caroline Kampfraath participated at the Contemporary Art Ruhr in October 2016 for the Marziart International Art Gallery Hamburg (Marziart website).

For more details about the C.A.R.: http://contemporaryartruhr.de/en/innovative-art-fair/

The Bird - sculptor Caroline Kampfraath
Kees - sculptor Caroline Kampfraath

April 10th, 2016|

‘Female Orgasm’ Miet Air – September 6th to September 27th 2016

HYSTERIA

173 x 60 x 110 cm

Unbaked clay, synthetic resin, examination table

Hysteria refers to the way people would view the female orgasm in the past. Ultimate excitement was only accepted as ultimate devotion to the divine, like shown by Bernini. In later periods it became a medicale disease that required treatment. The female orgasm had to be treated, denied and avoided. Like the sound of the glass harmonia – the sound Mozart used in his compositions – was banned because it would provoke lust.

THE MUSIC

The sound of the glass harmonica, on its own or as accompaniment. After a popular start in the 18th century, the instrument was banned for 200 years because it was suspected to provoke lust. The four fragments represent the four stereotypes of women: mysterious, innocent, sensitive, sereen and emotional.

Mysterious: Glare (2012). By Camille Norment (1970).

Innocent: Dance of the Sugar Plum Fairy (1892), Tchaikovsky (1840-1893). By William Zeitler (1954).

Sensible, sereen: Adagio für Glasharmonica (1791), W.A. Mozart (1756-1791). By Christa Schönfeldinger (1965).

September 9th, 2015|

Exhibition Miet Air – September 2015

From 6 to 27 september I present new work at Miet Air near the village of Beers.


September 8th, 2015|

Exhibition ‘Examples’ Dutch Society of Sculptors – June 2015

Caroline Kampfraath. “It’s All Hearsay Said The Tree”. Polyester with tree resin. 45 x 25 x 25 cm.

Caroline Kampfraath. “Soldiers and Lovers”. Gietsteen. 5 stuks van 45 x 25 cm

June 6th, 2015|

Contemporary Art Ruhr (C.A.R.) Essen – October 2014

October 10th, 2014|

Gallery Artlantis Frankfurt – October 2013

IMG_0764

October 10th, 2013|