Miriam Berloth draws inspiration from movements such as Zero, Land Art and Arte Povera, movements that show how an artist can be both autonomous and socially engaged; how abstract images can represent social ideas. Taking a less strict and more playful approach, Mirjam Berloth creates her own contemporary works - always with a keen eye for the legacy of modern art.
For a few years now, I no longer buy materials to make installations and sculptures, but use what I still have or find on the street. It started with a curtain strung from screws, bolts and other small metal objects that were gathering dust. Later I added moving boxes, pipes, paint rollers and cable ducts.
To connect with like-minded people, I, along with Lisbeth Parisius, started the platform POUBELLE - the beauty of waste material started: an initiative for artists who work with discarded materials and use them in an abstract and minimal way.
We organized several exhibitions, each time with a changing group of artists - people we often found through Instagram. Each participant has their own, innovative take on using leftover materials and found objects, approaching the material as ready-made or combining it with other objects to create a contemporary sculpture.
Augustiana in southern Jutland
To our great fortune, we were invited to come with fifteen artists to Augustiana in Denmark: an estate with a museum and sculpture garden. We put together a group of Danish, German and Dutch artists. Often we did not yet know them personally but their work appealed to us. Five of us stayed the full two weeks, the others as long as possible. We worked towards it for almost a year.
Seeking funding
The preparation consisted of writing a plan in which we elaborated our ideas about reusing discarded items, and thought about how to involve villagers in collecting materials. At the same time, we wanted to make it clear that we were concerned with the artistic process - it was not to be a neighborhood project.
We feel it is important to emphasize that we are professional artists who are aware of earlier cultural movements in which utensils and leftover materials served as a starting point for abstract art. Think of movements such as Zero and Arte Povera. At the same time, we want to share our knowledge and view of materials with the people who donate their old stuff to us, and hear their stories.
A plan in which we worked out our ideas on reusing discarded items
We found a European fund that was a good fit for our project, but required an incredible amount of texts and supporting documents - so much so that our spirits regularly sank. The application was an awful lot of work, but fortunately it was granted! The municipality in Denmark also contributed generously with a grant.
Living and working in a wooden palace and its gardens
Art Hall and Art Park Augustiana is located on the edge of the village of Augustenborg, in a park-like setting and is housed in a palace with surrounding gardens. It was built in the 18th century for a princess - an illegitimate child - a story that inspired several artists to create Alice-in-Wonderland-like works.
We were offered living quarters in one of the attached buildings and could also use a smaller palace and a large barn as workspaces. In the village was a large, inexpensive supermarket with more organic products than conventional ones - which were also cheaper. From our house it was a fifteen-minute walk through a beech forest to a swimming dock, where I often went for a late afternoon swim in the wonderful seawater of the fjord.
Gammele Skrammel
A week before our arrival, an article appeared in the local newspaper: 'A group of artists are descending on Augustiana and want your old junk (rickety skramble).' We knew it! Upon arrival, the barn was already full of stuff, and in the days that followed, villagers kept bringing trailers full of used furniture, garden tools, stones and old clothes.
The great thing was that everyone who came to bring something came back later to see what we had done with it. The museum had never been so busy and the director was happy with us. We got all the support from her.
A workspace under a large oak tree
It was inspiring to work with artists who each brought their own approach and vision of discarded materials. There was plenty of time to assist each other and view each other's work. The studios were located on the first floor of what was called the Red Palace, but there actually wasn't enough space there for everyone.
My outdoor studio
I set up - somewhat grumblingly at first - a workspace under a large oak tree outside. This automatically made me do other things than in my studio at home. My work became more unlimited, more playful. I stacked things that fell over again in the wind, giving them a new shape. I used the rough bark of the tree to hold up chair legs and broom handles, and also made several stacks in the sculpture garden.
Presentations to the public
On two Saturdays we organized open afternoons with workshops and performances. The workshops began with a brief explanation of the concept of ready-made, after which visitors themselves were allowed to go into the barn to choose an object. Together they made it into a sculpture - an activity that excited young and old alike and made them look at the material itself: can it bend, spring, support, lean? One of our artists gave a lecture on the history of performance art. Inspired by the Dadaist Cabaret Voltaire, on the last day we dressed each other with collected items.
Museum rooms
As curators, Lisbeth and I curated an exhibition in the beautiful classic museum rooms with shiny parquet floors and tall windows. We selected works from each artist that reinforced each other and together formed an adventurous whole. The result: three rooms full of impressive, abstract art made from discarded materials.
Connection
I found this part of Denmark - South Jutland, with its rolling countryside and fjords - incredibly more beautiful than expected. Working together with Danes and Germans was enriching. Because we were all working with leftover materials, the connection felt strong. And although everyone's approach was different, we could easily skip three steps in our conversations about art. Talking about methods, techniques and content was a breath of fresh air - because we all see beauty in traces of use, and love materials that tell a story.
We have since been invited - through other participants - to new residencies: one in southern Germany and one in northern Denmark.
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