My text today on Stella Matko's exhibition is about the phenomenon of the artist group itself. And that's because it simply interests me personally, and also because this is already the third exhibition by an artist group here in the rooms of my gallery.
So I asked myself, and still do, the simple but critically intended question: Who or what is an artist group? Who or what is Stella Matko? From the outside, I first see an association of six individual female artists who unite under a group name. This immediately sparks a gossipy fascination in me. Why did these six particular women come together? Do they know each other that well? Do they like each other? Why isn't that other artist part of this group? Why am I not part of this group?
The question of "what" doesn't initially occur to me, even though it would certainly be the more interesting question. I'm more interested in "who" is involved. And then I notice: it's six individual personalities, each of whom has already come a long way in the art world. In Halle, I think many who are interested in contemporary art know them, be it through numerous exhibitions, through awards and scholarships received, or through their respective cultural engagements. In this respect, I can understand the selection. Six established and successful female artists from one city are joining forces to form a new entity to start something together. But what?
Together we are stronger. This saying is well known and is certainly given to many art students. But I wonder if that's really good advice? At least a few practical advantages come to mind. Teaming up in an artist group is helpful because it simplifies many things, public relations or exhibition setup, for example. From my gallery's perspective, a group exhibition usually attracts much more attention compared to solo exhibitions. And I readily admit that I pay more attention to an exhibition request from a group than from an individual, at least if I don't know the group or the person. Why? Because in this often boundless art world, in which I myself hardly find my way, it carries less risk. I think similar practical considerations certainly played a role for Stella Matko, but that alone is certainly not it.
An artist group is not a purely functional association, I think. Then it would probably have become an association, the purpose of which is more outward-looking. It's different with an artist group. Here, the commitment seems to be inward-looking, and Stella Matko, as I find, aptly writes about "resonance work between individually working artists." Thus, the artist group perhaps bears much more resemblance to the principle of a lodge, where it traditionally revolves around mutual personal development, philosophical exchange, and intellectual growth. But I don't think they want to adorn themselves with this somewhat loaded term, especially since it still doesn't quite fit. The members of a lodge are interchangeable, the members of Stella Matko probably are not. It's probably more like a band. With the Beatles, I can't just replace Paul McCartney and John Lennon; then it would be a new band.
An artist group is perhaps simply an artist group. There are already several role models for this, even in Eastern Germany, if I think of the artist group "Exterra XX" for example. But another question arises for me: Does Stella Matko also have a unifying political or socially critical element, as was the case with this Erfurt artist group from the 80s? Groups and collectives are often driven by this. Or is it unnecessary to ask, because some things are simply obvious?
And what about the tension between individual artistic production and the collective? Isn't the modern artist subject the antithesis of any collective appropriation, and doesn't the value of art since modernity precisely lie in the focus on the individual human being and the gaze through art deep into their soul? What role does belonging to a group then play?
Perhaps my fixation on the modern artist subject is too short-sighted?
Perhaps the collective or the group is precisely what forms the basis for the truly individual artistic position to emerge. After all, we are social beings, shaped by others. The melodious artistic activities of the Stella Matko group, such as dyeing, folding, stretching, weaving, and layering, are not coincidental. All of this was learned in relationship or in community, and in that sense, it is understandable to me that people also connect after their studies to continue to help each other and grow with each other.
In any case, I wish the newly founded artist group great success. I wish you that this exhibition is the beginning of a lively journey that takes you through many more exhibition spaces, galleries, and museums. But also, that as a group, as you yourselves stated, you can reflect, deepen, and further develop your respective positions and, so to speak, find yourselves in togetherness.