Lilian Kreutzberger (1984) is interested in the ‘physical shadow’ of what Rosalind Krauss calls ‘the Grid’ (that ‘turns its back on nature’). Her work … 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.