Victoria Ahrens

Photo etching, free standing sculptural book piece

45 cm x 60 cm

Lleva y Trae (2019) Acetate transfer prints on fabriano paper, analogue photographs (180 cm x 160 cm)

Los Orígenes (2019) reversed looped video, digitalised 16 mil, waterfall

No lo contradigas, es la verdad (2019) Photo etchings, acetate prints (90 cm x 70 cm)

Another Land

Another Land is an exhibition and events programme showcasing experimental visualisations of place in art and design research. Bringing together practitioners from across Kingston University, the Royal College of Art and University of the Arts London, contemporary works and events have been integrated into Kingston Museum, engaging with themes of past and present, real and imagined, identity and community.

The exhibition and programme draw links between creative practice and anthropology, archaeology, architecture and geography, encompassing video, drawing, sculpture, installation, performance, photography and print. This is extended with a series of screenings of moving image works presented at the Stanley Picker Gallery, exploring concepts of human movement, environmental narratives and emerging worlds.

Another Land is generously supported by the London Doctoral Design Centre, the Arts and Humanities Research Council, Kingston Museum and the Stanley Picker Gallery

https://www.eventbrite.co.uk/e/another-land-exhibition-opening-and-private-view-tickets-57523184393

bit20.paris

Biennale de L’image tangible 17 November-8 December

http://www.lecorridordelart.com/2018/11/laure-tiberghien-et-victoria-ahrens-la-photographie-comme-image-tangible.html

http://spaceinprogress.com/works/save-the-date-samedi-13-octobre-2018-17h-2/

Pasos (2018) Digital Transfer prints, screenprint, wooden frames (250 cm  x 180 cm)

VIA ARTS PRIZE (Pasos, 2018)

The vastness of the Andes is one of South America’s most iconic and enduring panoramas. Photographing the Altiplano, I was drawn to it as a place where myth, memory and history collide. It was here that in 1818, San Martin set out to liberate the southern cone from Royalist rule, pitting his troops not only against colonial armies, but also against the sheer scale of the mountain itself. Franz Van Riel ‘s two metre oil painting ‘Paso de los Andes’ (1948) draws on this history, while his moutainscapes stretch out into white snowy peaks overwhelming the figures depicted. In my installation I create multiple views of the Andes as fragmented scenes that recall a sublime encounter with the immeasurable, and in so doing, create a dialogue through time with the past. Made up of printed film stills that abstract and pixelate the surface, and wooden supports that frame the view, they look to question the colonial gaze, the tourist encounter and our constant need to ‘take in the view’ from a single perspective. In this way I look to give them more human proportions, providing a multitude of possible encounters with the Andes in the space of the gallery.

Two person show in the circular gallery under the Observatory in Santander.  Encounters of print in space between Altea Grau Vidal and Victoria Ahrens, as part of Impact 10, University of Cantabria, UWE and local partners.

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Resistant Grounds (2019)- Collaborative printed book: Victoria Ahrens, Altea Grau, Victoria Arney, Jo Love, Sumi Perera (60 cm x 30 cm)

including lithography, photo etching, relief and embossed print, etching and screen printed pages

Designed and crafted by Victoria Ahrens and Altea Grau

Tierras Aridas// Arid Lands

Collective publication project

Curator: Antonio Damian/ Antonio Alcaraz Mira

Project

An international Print project that reflects on new systems of production, diffusion and commercialization of book art editions.

Tierras Aridas takes the landscape as its concept, juxtaposing land with that of deserted spaces, abandoned or marginal spaces that conform to a dystopian imaginary. These spaces offer distances that are impossible to bridge or in the case of Mexico and the United States, opens up a different interpretation depending on which side of the border the artist inhabits.

The project proposal adopts, as a methodological model, assembled and collective publications designed to facilitate a collaboration by artists who live in different cities or countries. This project aims to promote the exchange of information and introduce us to different printmaking studios, associations, Schools of Art and Universities in Spain, Mexico (Oaxaca) the US (Phoenix, Arizona) and the UK (London).

El Lugar Perfecto (River Dialogues) C-type Photographic Print 260 cm x 108 cm (h), Projection (looped video piece 7 mins), sound piece (after Haroldo)

Publication of Ar(t)chaeology as presented at CAA in New York

PUBLICATION_V_AHRENS

Sound piece

Catalogue, A New Vision of Printmaking (2018), written in English, Spanish and Chinese

Ice Ice baby (2018) Projected video, reversed ice crack (Perito Moreno)

Installation shot: Altiplano (2018) Digital print of collaged transfer prints, folds and projection

Wonderer aims to establish connections between the U.K and Greece and considers how different cultural, philosophical and historical interpretations of our solar system can be re-imagined from a contemporary art platform.

Wonderer will also house 30 works that were successful in our Stars open call. These works, each of stars, have been selected by Fronteer and, as well as being beautiful pieces of work in their own right, will also help establish a cohesive and immersive exhibition.

Wonderer will be held at Athens School of Fine Arts from 17th – 20th May. The exhibition will form part of Platforms Project 18 – a renowned independent art fair that takes place yearly in Athens.

https://www.artchaeologyproject.com/

Self Portrait (archaeologist) 2017,  Negative of analogue positive, blue tone C-Type Print, 110 cm x 250 cm- work in progress

This piece, Allá, is a press transferred photographic print of a double exposure on Japanese paper that explores the nature of landscapes as an artificial construct. It forms part of Victoria’s continued research into the experience of place as a fictional and narrative encounter. Using historic and contemporary alternative photographic processes she looks to hand made surfaces to explore and observe latent and haptic traces of the world around us. Notions of instability and uncertainty are translated into photographic pieces as an allegory for the passage of time and the failings of memory.’ from the catalogue at the Alison Richard Building exhibition, Artificial Things, curated by Shutter Hub. Open from the 3rd of November to the 19th of January.

Selected from the RA Summer Show by Norman Ackroyd who has invited me to participate in this show at the Zillah Bell Gallery in Thirsk, Yorkshire from the 9 September to the 14th October 2017.

C-type print of Larsen ice shelf crack, 90 gsm paper

Part of the exhibition Le Coq Artiste, at Q Park, 38-42 Whitcomb street, London

Weather Vain (2017) Film still, video projection 5 mins looped, car park wall

THE WEATHER VAIN PROJECT

Climate change denial is on the rise and with Donald Trump’s administration made up of a group of people who are ALL sceptical of the science behind global warming, and his withdrawal from the Paris Climate Deal, we need to push the message of the anthropocene in a post-truth world.

CLIMATE CHANGE IS REAL. GO ROGUE. RESIST. REPEAT. REWIND

Halley VI research centre in Antarctica is closing for Winter because of crack in the Brunt Ice Shelf (2017)

Massive rift in the Larsen ice shelf has gained extra 10 km since January 1. If it breaks off it will create the biggest drifting iceberg in recorded history

2016 was the hottest year on record.

London air pollution at highest levels since records began.

climate.nasa.gov/evidence

Badlands national Park tweets

#climatechangeisreal