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Evelina Cajacob

exhibitions
alles nichts besonders, June 29, 2018 till November 24, 2018
Evelina Cajacob | Carla Guagliardi, Galerie m Bochum, August 30, 2013 till January 11, 2014
uaul selvadi , Galerie m Bochum, February 20 until April 22, 2015
StoffTraum, Galerie m Bochum, September 23 till November 25, 2015
 
Il paun da Mintgadi (das tägliche Brot), 2011/12
video installation, Loop 7'53''
handmade bowl, plaster

video installations
The video installations by Evelina Cajacob combine the fleetingsness of light projections with concrete actions: folding, wrapping and kneading. The hands fulfill the repetitions of their work with patience, while the fingers are producing decent sounds, touching the wool or fabric.
Evelina Cajacob's videos seem to be direct - especially because of the way they are presented on specific projected area, which is integrating the virtual action into the field of observation.

StoffTraum, 2015
Incrèsciar-LangeZeit?, 2013
HandArbeit II, 2012
Il paun da mintgadi (das tägliche Brot), 2011/12
Drawings on paper, 2013
Pencil
39 x 47''
drawings on paper
The drawings by Evelina Cajacob consist of lines, often only a few millimeters long. Delicate hatchings define plant structures or curling loops.

more information
alles nichts besonders, 2018
series of 434 drawings, exhibition view,
colored pencil on paper
each 29,7 x 21 cm
alles nichts besonders
more information
untitled, 2014
installation
paper, wax>128 x 222''
room installations
Evelina Cajacob's room installations have the same discreet ease as her videoinstallations and drawings. The attention is to the chosen materials, which the observer experiences in a fascinating way through the installations: delicate fabrics, finest fibers or paper saturated by wax.

more information: Untitled, 2000 and 2014
drawings on the wall
Perception and time are playing a very important role in the artwork of Evelina Cajacob. Lines are curling in biomorphic forms or figures like knots or braids on walls or oversized papers. The time is also integrated in the formation phase because this always is an intensive process. The drawings on the walls often refer to the environment of their origins. Their directness is unpretentious and their ease lets the viewer start thinking.

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more information on the series 1-52