#Stefanieleinhos

[stefanie-leinhos]

Anna Haifisch and me have feelings for pasta and now is the time to finally share them with you 🧀 join us for the launch of »Gnocchi Gnocchi, who’s there?« — a new Picture Book Hommage to the world of pasta! presented by yours truly cellentanti Colorama and hosted by the wonderful hopscotchreadingroom! 💛👀💛 hope to see you there! 🍝👅🍝don’t forget your mask!

[themillionairesclub]

Stefanie Leinhos Interview

Stefanie Leinhos is an artist from Leipzig known for her formal approach towards drawing. Her work can be found in groundbreaking anthologies such as “Gouffre” and “Volcan”.  I am so lucky to share a studio space, the excitement for the Instagram account onlylongdoggos and the love for the Peanuts and Donald Duck with her! Stefanies work is eclectic but yet uncopromised. She truly is a visionary. Stefanie is releasing her new book “Read It Out Loud” ( printed by Berlin-based Riso studio “We Make It”) at The Millionaires Club. And we are so happy to show Stefanies work in an exhibition!

Repetition and reproduction seem to be the big themes throughout your artwork. Can you tell us a bit about the thoughts behind your art?

I’m interested in the imagery of comics – in the serial, repetitive structure they are based on as well as in the schematic construction of their characters. By using methods such as repetition, variation and several ways of reproduction, I’m exploring the limits of story telling and am constantly shifting the relations of copy and original. I love to jump between various media as for instance drawing, publication, papercut and installation.

You are using a lot of comic elements but you’re not exactly a cartoonist. What is your relationship with the medium comic?

Comic is also referred to as sequential art and I think that’s what I am doing. I like to have a certain structure in which I can operate and I’m really interested in repetition, variation and combinatorics. That’s practically what every cartoon is based on.

I am seeing a lot of dismembered Disney characters in your work. How do you feel about Donald and Mickey? To be honest, my interest in Donald and Mickey is very much objectified. I read »Lustiges Taschenbuch« as a kid but I only remember that Donald was annoying and Mickey was kind of a boring good guy. The only thing I really care about is the folds of Donald’s collar or the delicate outlines of Mickey’s gloves when he is pointing at something.   

Making artwork for an exhibition is always a tough task but you seem to deal very well with the transformation from drawings on paper to drawings in a room. Can you tell us a bit about your process when you are doing an art show? I really like the idea of intervening with a place and not only filling it with my work. So, when I am asked to exhibit at a space, I’m looking for it’s characteristics: tiles, a low ceiling or strange bars for example. That’s where I start from. I try to find a way to react to that and give it a new context. Usually I try to produce something new because I want to use the possibility to work on a larger scale. That’s why I did a lot of wall drawings recently. For the show at TMC I am currently working on an object in collaboration with the carpenter Sarah Meinert.

What annoys you the most about being a female artist in 2018? Well, for the record, I refer to myself as an artist, not a female artist. But as a woman working in the field of art in 2018, I really can’t stand lame excuses like »next time we try to have more women around« anymore. Just do it! There is no such thing as a lack of women in any field – may it be art, design, music, politics, science or whatever. And if you really think to not know where and how to find them, just ask people.

If you had an animal to pick as a pet, what would it be? A dog.

Douglas Coupland once asked: ‚When Donald traded his wings for arms, was he trading up or trading down?‘ Oh, a tough one! Hard to say but I think Donald is trapped anyway. He has arms and he has a sailor suit – ok. But he doesn’t have pants. That’s humiliating. As if to always remind him where he’s coming from. Plus, he’s having duck for dinner with his nephews on a Thanksgiving. That’s cynical. And as he’s able to speak and think: he’s probably well aware of all this. Uprising is the only way to turn this into something good, I think. Thank you, Stefanie!! We can’t wait to have you at The Millionaires Club! More from Stefanie: http://stefanie-leinhos.de https://www.instagram.com/stefanie.leinhos/?hl=de

[wemakeit-berlin]

#Spread of @stefanie.leinhos #artzine »Is there something I should know« we #riso #printed in #2013. #artistsbook #minimalcomic #selfpublished #stefanieleinhos #wemakeitberlin #art #edition (hier: We make it)

[stefanie-leinhos]

How About First Dates in Second Lifes?« set of 4 postcards, offset, A5, edition of 100, 2019 🎶🎵available at https://stefanieleinhos.bigcartel.com/

[stefanie-leinhos]

Added this silkscreen to the shop. It’s an ms paint drawing, printed with my own sweaty hands in a small edition of 15.

https://stefanieleinhos.bigcartel.com/product/untitled

///////////////////////////////////////////// Only ships to most of Europe due to tremendous shipping costs (it’s a big one). I’m sorry for this! If you can’t find your country in the list and still want to order, just contact me!

[stefanie-leinhos]

publications 2012–2019 📚 offset, 594×841 mm, poster fold, two-sided, 250 copies, 2019 〰️📂〰️ #catalogue of all my works that have been (self-)published between 2012 and 2019 with a front side scale of 62% and a back side scale of 95%. back side features a b/w reproduction of the original »The Long Goodbye« lithography — for those of you who missed the edition and are still in desperate need of it 💛 get it via https://stefanieleinhos.bigcartel.com/❗️

[stefanie-leinhos]

4 illustrations for an article on #inspiration, commissioned by @itsnicethat thank you Joey & Ali for having me on board! 👉🍯

[stefanie-leinhos]

LOOK 👀 risoprint, 8 pages, 170×260 mm, glue binding, 100 copies, 2019. printed by @wemakeitberlin and first published by @lagon_revue in Gouffre, 2017 ✖️—> order online via https://stefanieleinhos.bigcartel.com/

[stefanie-leinhos]

»Untitled (portal)« and »Untitled (book, open)« — 3-color risoprint, A3, edition of 50, printed by @coloramaprint and available via https://stefanieleinhos.bigcartel.com/

[stefanie-leinhos]

The Ghent Art Book Fair is coming up! May 11—12 at Kunsthal Gent. Along with an international collection of small scale printed objects and Zine Happening V by Les VoiZines. It’s going to be my first time there and I can’t wait! Hope to see you around. 👀 image credits: Ghent Art Book Fair and 019.

[stefanie-leinhos]

#tbt working on »Curtain« back in 2013

[stefanie-leinhos]

my first legit still life 🤔 spread illustration for »Bespoke Catalogue 3« by Colophon Foundry 🍑 285mm × 390mm, 40 page stapled catalogue, sheet fed lithography.

[stefanie-leinhos]

Backcover illustration for Migrant Journal 5: Micro Odysseys. Thanks to Isabel Seiffert and Christoph Miler from Offshore Studio — very much enjoyed this collaboration! Photo credits: Migrant Journal.

[stefanie-leinhos]

»Movement in Squares«. 4-color riso, 24 pages, staple bound. edition of 146. published by Gloria Glitzer in 2018. printed at We make it. http://stefanie-leinhos.de/#movement-in-squares

[stefanie-leinhos]

»Movement in Squares«. 4-color riso, 24 pages, staple bound. edition of 146. published by Gloria Glitzer in 2018. printed at We make it. http://stefanie-leinhos.de/#movement-in-squares

[stefanie-leinhos]

2 out of 7 illustrations for »Bespoke Catalogue 3«, commissioned by Colophon Foundry. Sheet fed lithography on light green paper, 285x390mm, edition of 500. 📁Get it on colophon-foundry.org📂 Thanks to Anthony and everyone on the team! 🍈 photo credits: Colophon Foundry