Works

Paintings, Objects, Installations etc. 

Amenaza, 2015, óleo y acrílico sobre manta y tela sintética, 45 x 70 cm

Historia en la piel:  Tehuana sin Resplandor, 2018/2019, Óleo y acrílico sobre tela, 200 x 160 cm 

Treat me like a fool. Treat me like I´m evil. 2017. 
Oil an acrylic on canvas and synthetic fiber, 190 cm x 300 cm 

Foto: Carlos Sintermann

 Who am I and how much?, 2019, oil and acrylic on canvas and synthetic fibers, 194x304 cm
Foto: Carlo Sintermann 


What will the neighbours think, 2019, Oil and acrylic on canvas and synthetic fiber, 194 x 304 cm
Foto: Carlo Sintermann 

Giants I, 2020, Oil on canvas and transparent synthetic fiber, 150 x 150 cm 
Foto: Carlo Sintermann 


The loss of the other, 2020, Oil on transparent synthetic fibers above mirror, 5 pieces, 
each 54,5 x 44,5 cm (incl. frame), foto: Chroma

 The offering, 2019, oil on canvas and transparent synthetic fiber, 200 x 160cm 


 Los decididores, 2016, óleo y acrílico sobre tela y mallas transparentes, 150 x 150 cm 


 

Tollschocken . Triptychon III/III, 2018, Öl auf LW und transparenter Synthetikfaser,  144 x 174 cm, 
Foto: Carlo Sintermann 

Tollschocken . Triptychon II/III, 2018, Öl auf LW und transparenter Synthetikfaser,  144 x 174 cm, 
Foto: Carlo Sintermann 


 Tollschocken . Triptychon I/III, 2018, Öl auf LW und transparenter Synthetikfaser,  144 x 174 cm, 
Foto: Carlo Sintermann 

Golgatha, 2017, oil on cavas and transparent synthetik fibers, 75 x 140 cm, Foto: Carlo Sintermann 

History on skin: The dream of the huntress, 2019, 

oil on canvas and transparent synthetic fiber, 160 x 200 cm, foto: Jorge Vértiz 

Die Regenmacher vom Weißen Haus , 2017, Oil on canvas and transparent synthetic fiber,  
150 x 150 cm, Foto: Carlo Sintermann 

 Doll to Love. 2016, oil on cavas and transparent synthetik fibers, 25 x 46 cm 

 Manos ajenas. 2016. Óleo  sobre tela y malla transparente, 90 x 70 cm 

 Study for Treat me like a fool, 2017, oil on canvas and synthetic fiber, 33,5 x 33,5 x 5 cm 
Foto: Carlo Sintermann 

 Historia en la piel: Adelita I, 2018, óleo sobre tela y malla transparente, 80 x 70 cm 

Discourse on power: Abu Ghraib IV, 2007, oil on canvas, 200 x 155 cm 


Goliath, 2020, oil on canvas and transparent synthetic fibers, 235 x 166 x 60 cm, 
Foto: Carlo Sintermann

La bandera es femenina, 2020, oil on transparent synthetic fibers, 235 x 200 x 50 cm 

Foto: Carlo Sintermann

 Nemo me impune lacessit, oil on canvas and synthetic fiber, 50 x 70 cm, foto: Carlo Sintermann 

If I think of Germany, 2018, golden chair, oil on synthetik fiber, 150  x 40 x 40 cm 
Foto: Carlo Sintermann 

 Almost a Butterfly, 2020, 
Oil on canvas and transparent synthetic fibers in a wooden cabinet, 200 x 150 cm 
Foto: Chroma

Nut-Case, 2020, 
Oil on canvas and transparent synthetic fiber in a wooden showcase,  27 x 27 x 20,5 cm
Foto: Chroma 


Intimacy of Judgment, 2020

Project:  Our Future was Yesterday (2021)

 

As Winston Smith, the protagonist of Orwells novel 1984, had to rewrite old newspaper articles of The Times, in this project, original wood, steel an copper engravings from the 17th to the early 20th centuries have been modified. 
They represented the splendor of the German monarchy, the cozy romanticism of the landed gentry or a pastor who raises his forefinger in warning. Other artworks recalled the sermon of St. John for spiritual and religious edification, the fishing life of the 18th century, the accident of a sailing boat or men shipping hay. 
Every single one of these topics has become "obsolete" for our present, and so I paint over and overdraw the engravings with contemporary ciphers, symbols and elements, thus demonstratively exercising the power of interpretation and at the same time questioning their legitimacy: In contrast to Winston Smith's invisible alterations of the past, my interventions remain visible as such, even if a “reconstruction” of the original state is not possible. 

The Fair, 2021,
54.2 x 66 cm, Ink and gouache on:
Steel engraving by Paul Dröhmer "Zur Kirmes", engraved after Carl Böker, 1870.
 
In its original state, the steel engraving showed a priest who, with a warning finger raised, admonished the youth to behave virtuously despite the temptations of the fair. But now the pastor has disappeared. He has been replaced by an Anonymous who faces well-dressed citizens with a provocative gesture.


 Sandra del Pilar, Monuments,

2021, 18,7 x 26,3, ink an gouache on:  
print after engraving,   
„Festsaal im Kaiserpalast zu Straßburg“, um 1880 

Dr. Lotte Laub, 2021:

In her interventions, Sandra del Pilar turns to old etchings and woodcuts (dating from the 18th to the 20th century) that awaken present-day impressions in the viewer. By drawing contemporary elements into historical depictions, the artist brings unfamiliar aspects into the interpretation and affords the portrayals a future that was not foreseeable when the original works were produced. She has, for example, drawn the head of a statue of Lenin into the middle of an old etching of a ballroom in the former Imperial Palace of Strasbourg. This palace (today the Palace of the Rhine) was built for Kaiser Wilhelm I to celebrate the annexation of Alsace-Lorraine into the German Empire, a territory that was lost back to France after World War I. The Lenin monument erected in East Berlin in 1968, to celebrate the 51st anniversary of the October Revolution and as a symbol of German-Soviet friendship, was demolished following the collapse of the GDR in 1991, although the head was buried near Berlin-Köpenick, unearthed for exhibition purposes in 2015, and taken to Berlin-Spandau. By drawing the head of this Lenin statue, including the transport cables, into the ballroom, the artist is illustrating the comparability of changing historical evaluations: territories acquired and lost (Alsace-Lorraine for the German Empire, the GDR for the Soviet Union), the glorification and rejection of rulers (the German Kaisers Wilhelm I and II, and Lenin, the founder and head of government of the Soviet Union). In doing so, del Pilar is generating awareness of the constructed quality of historiography and of the conditioning of viewing habits. 




Prayer to Malverde, 2021,

39.6 x 29.6 cm, Indian ink on:
Wood print "Give us today our daily bread" by Max Pechstein, 
Edition Griffelkunst (?), unsigned, around 1920
 
The fish on the plate in the center of Max Pechstein's wood print became a machine gun 
and the words “give us today our daily bread” are now addressed to Malverde, the 
Mexican patron saint of drug cartels.

 

How Dare You (untimely portrait of Greta Thunberg), 2021,
13.3 x 11 cm, charcoal on:
Charcoal drawing on paper, signed: A. Menzel, 1894,

The original art work, signed “A. Menzel” was defined as a forgery by both the Kupferstichkabinett in Berlin and Kiel, drawn after a Menzel´s study for a portrait of Justice Minister von Maercker´s wife in 1849. The sheet became an original again with the new signature and the minor changes done to the nose, the cheek, the mouth, the hairstyle and the clothes of the woman, who now turned into an “untimely” portrait of Greta Thunberg. Since the changes were made with charcoal and pastel, they can only be traced back through the new signature and the knowledge we have about the circumstances. 

 


Preacher, 2021,
45.5 x 60.5 cm
Indian ink and gouache on:
Engraving by Jean Moyreau (1690-1762) after 
"Predicacion de St Jean Baptiste" by Philips Wouverman, 1738 (avec privilège du Roi)
 
The well-preserved copper-engraving after Philips Wouwerman, which represented the sermon of John the Baptist, has slipped – with the changes in his clothes and the helicopter transporting a monumental sculpture in the sky –  into a “space in between” in which the past and fiction merge. The sculpture hanging on the helicopter quotes a scene from the film Good Bye Lenin, which in turn is a quote from Fellini's La Dolce Vita, but at the same time refers to the actual removal of the Lenin monument in Berlin in 1991. However, this did not take place via the air, but via the road. In addition, another statue of Lenin had been chosen to be transported away in the film, which outstretched right arm was intended to make Lenin easier to recognize.


 


El Narco, 2021,
47.8 x 63.4 cm, Indian ink and gouache on:
Engraving by Jean Moyreau (1690-1762) after 
"Le Port au Foin" by Philips Wouverman, 1748 (avec privilège du Roi) 
 
Jean Moyreau made this copper engraving of the apparently lost or destroyed original painting by Philips Wouverman. It showed the loading of hay. Through the wall in the background, the US flag on the right and the "packaging" of the hay in small plastic-welded parcels, the contemplative rural work becomes a criminal-conspiratorial act, the legitimacy of which is just as questionable as the legitimacy of overpainting and reinterpreting of someone else's work of art. 

 


Panic room, 2021,
17.3 x 23 cm, Indian ink and guache on:
Etching "Schloss Tiefurt", unsigned, 19th century 


Border line, 2021,
25.9 x 19 cm, Indian ink and gouache on:
Print after "Nordseebad Borkum, lighthouse with school road" by Welin (?) 


Loss, 2021,
12 x 18.2 Indian ink and gouache on:
Print after Landell's “Loss of the Yacht Vectis”

 


G5, 2021,
45 x 34.5 cm, gouache and Indian ink on:
Engraving by Jean Baptiste Michel (1758-1804), 
after “Le Chien interessé” by Carl du Jardin, 1760-1770

My mother, 2021, 
24 x 16.3 cm, Indian ink on:
Woodcut, “Mother with child”, 1900
 

Fracking, 2021, 
24 x 31.5 cm, Indian ink and gouache on:
Woodcut "Departure for the Hunt" by Walter Klemm-Weimar, 1920s
 
Minor changes made Walter Klemm-Weimar's landscape become the Mexican state of Guerrero, where 7 years ago 43 students were kidnapped by the military and handed over to a drug cartel to be murdered. One of the theories was that it was about the extraction of oil through fracking.


 

Twintowers, 2021,
32.6 x 45.6 cm, ink and pastel on:
Copper engraving by Elisabeth Cousinet Lempereur (*1726) after 
“Le Calme” by Joseph Vernet, 1738 (avec Privilège du Roi)
 
As part of the “Our Future Was Yesterday” project, the tower in the background became two twin towers, into which an airplane is about to fly, while the figures in the front have no inkling of the impending catastrophe that will change the world.

 

Love, 2021, 
39 x 26.4 cm, Indian ink on:
Wood print "Love" by H.D., 1929
 
The classic mother-child motif of this wood print from 1920, signed with H.D., has become a bearded skeleton that calls José Guadalupe Posada on the scene. This Mexican graphic artist, ridiculed by his academically trained colleagues, achieved not only posthumous fame with his skeletons in everyday situations. These are now considered to be important contributions to the formation of Mexican identity after the revolution of 1920. With a bearded – male – skeleton slipping into a classically female role, the implicit concept of revolution takes on a contemporary dimension against the background of current gender debates. 

Targets, 2021, 
14.3 x 20 cm, Indian ink on: 
Etching “Montmelian” by Merian, 1657

 

Gulf of Mexico, 2021,
37 x 22 cm, Indian ink and gouache on:
Copper engraving by Fridrich I.A. "Scorpius / Skorpion", from the Scheuzer Bible, 1740

Exhibitions

 Zilberman Gallery, Berlin, 2020
Foto: Chroma 


Zilberman Gallery, Berlin, 2020
Foto: Chroma

 Zilberman Gallery, Berlin, 2020

Foto: Chroma 


 Zilberman Gallery, Berlin, 2020

Foto: Chroma 

 Zilberman Gallery, Berlin, 2020
Foto: Chroma 


Zilberman Gallery, Istanbul, 2020
Foto: Kayhan Kaygusuz


Zilberman Gallery, Istanbul, 2020
Foto: Kayhan Kaygusuz

 




Zilberman Gallery, Istanbul, 2020

Foto: Kayhan Kaygusuz
 


Zilberman Gallery, Istanbul, 2020

Foto: Kayhan Kaygusuz
 


Kunstraum Hilden, 2020


Zsona Maco, Zilberman Gallery, Ciudad de México, 2020


Kunstmuseum Ahlen, 2019
Foto: Carlo Sintermann


 Kunstmuseum Ahlen, 2019

Foto: Carlo Sintermann 


 Kunstmuseum Ahlen, 2019

Foto: Th. Oyen 

 Gustav-Lübcke-Museum, Hamm
Hammer Kunstpreis 2018

Museo de Historia Mexicana, Monterrey, 2018 

Museo Morelense de Arte Contemporáneo Francisco Soriano, Cuernavaca, 2019

Foto: Th. Oyen 

Galería Aldama Fine Art, Ciudad de México, 2019

 

 Galería Nuun, El Pariso perdido, 2017 


 Museo de la Revolución, Ciudad de México, 2017 


Galería Myl, México, 2016


 Galería Myl, México, 2016


Museo de Arte Contemporáneo, Querétaro, Galería Aldama Fine Art, 2016 


 Museo del Carmen, Ciudad de México, 2015 


Museo del Pueblo, Guanajuato, Galería Aldama Fine Art, 2016


 Museum Siegburg, Hexen, 2014 


Museum Siegburg, Anderwelt I, 2014


Museum Siegburg, Anderwelt I, 2014


 Museo de la Ciudad, Otra cara de Pintura,  Cuernavaca, 2014 


 Museum Kloster Bentlage, Rheine, Anderwelt II, 2015


 Museum Kloster Bentlage, Rheine, Anderwelt II, 2015 


 Museo Pedro Coronel, Zacatecas, 2013


 Museo Pedro Coronel, Zacatecas, 2013


 Museo Pedro Coronel, Zacatecas, Premio Bienal Pedro Coronel, 2012


 Biennal SIART, La Paz, Bolivia, Mujeres Castigadas II, 2012 


 Museo de la Ciudad, Cuernavaca, "Mujeres Castigadas I", 2011 


 Museo de la Ciudad, Cuernavaca, "Mujeres Castigadas I", 2011


 Museo de la Ciudad, Cuernavaca, "Mujeres Castigadas I", 2011 


 Museo del Chopo, Ciudad de México, Premio José María Covarrubias, 2011 


 Museo del Chopo, México, 2010 


 Museo del Chopo, México, 2010 


 Kunstmuseum Wilhelm Morgner, Vaterlandsallegorien, 2009 


  Kunstmuseum Wilhelm Morgner, Vaterlandsallegorien, 2009 


Kunstmuseum Wilhelm Morgner, Vaterlandsallegorien, 2009 


 Kunstmuseum Wilhelm Morgner, Vaterlandsallegorien, 2009 


 Kunstmuseum Wilhelm Morgner, Vaterlandsallegorien, 2009 


Collections

Kunstmuseum Wilhelm Morgner
Boschs Kinder, 2018, Öl auf Leinwand und transparenter Synthetikfaser, 154 x 154 cm, 

Foto: C.  Sintermann

Private Collection Turkey
History on skin: The dream of the huntress,
2019, Oil on canvas transparent synthetic fiber, 160 x 200 cm 

 Foto: Jorge Vértiz


Sammlung Museum Siegburg
Paintbag Bunny, Öl auf LW, 2014. ca. 32 x 27 cm

Kunstmuseum Ahlen. 

Das Mal, 2018, Öl auf LW und transparenter Synthetikfaser

Kunstmuseum Wilhelm Morgner, Soest 

Der Bildhauer Paolo Martinuzzi, 2014, Öl auf LW, 200 x 300 cm

Museo Laberinto del Quinto Sol, Cd. Juárez, Chihuahua, México:
Historia en la piel: Adelita II. 2019. 
Óleo  y acrílico sobre tela y malla transparente, 90 x 70 cm

Foto: Jorge Vértiz

 

Muerte, Amor y Poder, óleo sobre tela, políptico, 200 x 300 cm, 2012

Museo Pedro Coronel, Zacatecas
Ex Voto: Te agradezco el placer de ser mujer, 2012, óleo sobre tela, 200 x 300 cm. 




Colección Milenio, México
Los Distraídos I, 2014, óleo sobre tela, 150 x 210 cm


Museum Kloster Bentlage
Anderwelt SK_23, 2014, Öl auf Holz, 89 x 43 cm

Museum Siegburg
Anderwelt SK_22, 2014, Öl auf Holz,  48 x 39 cm

Museo Pedro Coronel, Zacatecas
Las Putas no nacen, políptico de 4 piezas, 2011, óleo sobre tela, 160 x 200 cm

Colección Alarte A. C.
Préstame tu corbata, 2011,  tríptico, óleo sobre tela, 150 x 450 cm. 

 

Instructivo para oponerse al poder, 2013, 150 x 180 cm, óleo sobre tela. 


Colección Milenio, México
Los Distraidos II, 2014, óleo sobre tela, 150 x 150 cm





Museo del Chopo, Patrimonio de la UNAM, México
La etnografía o Vincente Riva Palacio, 2010, óleo sobre tela, 155 x 230 cm

Tras bambalinas, 2015, óleo sobre tela y mallas transparentes, 100 x 80 cm

Der Zopf, 2018, Öl auf Leinwand und transparenter Synthetikfaser, 144,5 x 64,5 cm, 

Foto: C. Sintermann

Ojos aún miran, 2016/2017, óleo sobre lino y malla transparente, 150 x 150 cm, 
Col. de Arte de la SHCP

Réquiem, 2016, óleo y acrlico sobre tela y malla transparente, 150 x 150 cm, 
Foto: Jorge Vértiz

Gustav-Lübcke-Museum, Hamm
 Treat me like a fool. Treat me like I´m evil, 2017, Öl auf LW u. transparenter Synthetikfaser, 
190 cm x 300 cm, Foto: C. Sintermann

Volando bajo, 2016, óleo sobre tela y malla transparente, 150 x 200 cm