Leda Bourgogne: Minor Assault at QBBQ’s (BQ’s Project Space), Berlin, Germany (Photo Story)

Installation view, Leda Bourgogne: Minor Assault at QBBQ’s (BQ’s Project Space), Berlin, Germany. Photo: Roman März
Leda Bourgogne, Mindtrain, 2021, Sewing thread, acrylic, mesh, 60 x 47 x 2 cm
Leda Bourgogne, Mindtrain, 2021, Sewing thread, acrylic, mesh, 60 x 47 x 2 cm
Installation view, Leda Bourgogne: Minor Assault at QBBQ’s (BQ’s Project Space), Berlin, Germany. Photo: Roman März
Installation view, Leda Bourgogne: Minor Assault at QBBQ’s (BQ’s Project Space), Berlin, Germany. Photo: Roman März
Installation view, Leda Bourgogne: Minor Assault at QBBQ’s (BQ’s Project Space), Berlin, Germany. Photo: Roman März
Installation view, Leda Bourgogne: Minor Assault at QBBQ’s (BQ’s Project Space), Berlin, Germany. Photo: Roman März
Leda Bourgogne, Moult, 2019, Latex, thread, silk scarf, 60 x 50 x 2,5 cm
Leda Bourgogne, Mindtrain, 2021, Sewing thread, acrylic, mesh, 60 x 47 x 2 cm

In times that are shaped by insecurities and constant adjustments, we look to the continuous work of our artists for direction. Such are the conditions under which Leda Bourgogne prepares her second show in Berlin. Inspired by a confident longing for social exchange and against her better judgement, she has planned a series of events which reflect her interest in music, film and literature.

Leda has furnished the project space accordingly: with a bar, a stage, technical equipment and wall texts. Until the event program launches (whenever Covid measures allow), the project space invites visitors to consume small doses of music, films, coffee and books, surrounded by an ensemble of drawings and images that give an impression of the artist’s psyche. The portraits / self-portraits which are presented on mirror frames become an allegory for contactless encounter.

Distance, togetherness and the fragility of identity constructs: these are themes which Leda Bourgogne also thinks about outside of the pandemic context. Her artworks pass through processual transformations, just like organisms which love and suffer. She tailors reflective skins made out of garment fabric for her paintings. She opens and closes membranes with box cutters, needle and thread. The scars remain visible. She infects the pictorial ground with spit out chewing gum. The impairment of the intact visual body is a repetitive activity in the artist’s methodology. Minor assault as an element of crime is surely a given in times when proximity represents a threat.

A large piece of black velvet is held together by metal teeth. When opening some of these zippers, a flat screen appears beneath. The image is an image and an amplifier for the exhibition’s film program. Her work switches between painting and object and supplies energy for the space.

Read, Listen & Watch
Recommendations by Leda Bourgogne

Books
Helene Cixous, “The Book of Promethea”
Violette Leduc, “The Bastard”
Samuel Beckett, “Texts for Nothing”
James Baldwin, “Giovanni´s Room”
Clarice Lispector, “A Breath of Life”

Music Albums
Nico, “Desertshore”
Judee Sill, “Heart Food”
Daniel Johnston, “1990”
Beverly Glenn-Copeland, “Transmissions”
ESG, “Step Off”

Movies
Lucrecia Martel, “The headless Woman”
Chantal Ackerman, “No Home Movie”
Sally Potter, “Orlando”
Hector Babenco, “Kiss of the Spiderwoman”
Cheryl Dunye, “The Watermelon Woman”

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The press release and the photographs are courtesy of the gallery and the artists.

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