Lilian Kreutzberger (1984) is interested in the ‘physical shadow’ of what Rosalind Krauss calls ‘the Grid’ (that ‘turns its back on nature’). Her work revolves around the seductive qualities of the architectural model, and the limits of the model as a tool (i.e. as an instrument of rationalization and control).
Kreutzberger’s recent works are derived from computer-generated blueprints for a faux-modernist architectural model of her own design (her previous project entitled ’Engineering Hope’). Executed in laser-cut wood, plaster, pigments, and photographic transfers, there is a grittiness and low-tech quality to the work. These deliberate imperfections are all the more essential since Kreutzberger juxtaposes the residues of 20th century utopianism with the reality of the information age: the question whether reality does/does not match the previously-imagined gains new meaning in a world in which digitalization promises endless opportunities.
Kreutzberger studied at the Royal Academy of Fine Arts (the Hague). Parsons (NY) and van Eyck in Maastricht (post-academic). She held a residency at ISCP (NY) and exhibited at Gemeentemuseum the Hague; Kunsthal Charlottenborg, Copenhagen; Royal Palace Amsterdam; Sydney College of the Arts, Sydney.