Hanna Mattes (b.1980, Munich, Germany), studied Fine Arts at Gerrit Rietveld Academy in Amsterdam and Linguistics at Freie Universität zu Berlin.
Hanna’s practice is one of innate multiplicity. Across her photographic works—and more recently, through her performative intervention, paintings and poetic collaborations—Hanna pieces together multiple points of view as well as moments of action to create dramatic multiverses. Surpassing static photography, Hanna has always been drawn to the fluidity enabled through process; be this the process of photographic collage, or analogue after effects. Indeed, as her practice has developed through this fluidity, Hanna has more and more leant into process-based working, in particular leaning into the process of collaboration, to create books, performances and sound-based works.
Select exhibitions include: Women of the ’20s, Belmacz, London, UK (2023); Finally, SP2 Contemporary, Berlin (2023); Take Me To That Landscape, Heimathafen Neukölln, Berlin (2023); Vier mal Vier, Berlin Offgrid, Vienna (2023); State of Cling, Omstand, Arnhem, The Neatherlands (2022); WHO IS NOT A STRANGER, Casa Lü, Mexico (2021); Mom, I am a rich man, Kommunale Galerie Rathaus Johannisthal, Berlin (2021) Take Me To That Landscape, live online performance with David Rothenberg for K. Verlag at Printed Matter New York Art Book Fair (2021); 20×20, WEB, Berlin (2020); Cooking for the Apocalypse, curated by Jack Faber, Exhibition Laboratory, Helsinki (2020); Three Pieces, Gallery Lauwer, The Hague (2020); The Lunar System, Earth Based Art Space, Zutphen (2020); Macrodoser, with Anna Steinert, Salon Gallery, Berlin (2019); B, Belmacz, London (2019); The Cosmic Sublime, curated by Lumen Studios, Pie Factory Margate, London (2019); Astronomia, Arte e Religione, with Lumen Residency in Atina, Italy (2018); Wild Encounters, curated by La Wayaka Current, Guest Projects, London (2018); If I Was Your Girlfriend – A Jam, Belmacz, London (2018); Searching for the Cold Spot, Belmacz, London (2017); Collectivism – Collectives and their quest for value, Foam, Amsterdam (2017); On the Distant Horizon, curated Joe Wolek, BLAM, Los Angeles (2016); InterKontinental, Belmacz, London (2016); Carbon Content, curated by Marc Philip van Kempen, Kreuzbergpavillion, Berlin (2015); The Nutcracker, Belmacz, London (2014); Circus TM, Belmacz, London (2014); Encounter, with Pim Leenen, ACF – Amsterdam Centre for Photography (2013); Light / Colours, Huis Marseille – Museum for Photography, Amsterdam (2013); Kleider machen Leute, Galerie im Saalbau, Berlin (2013); She Views Herself – Emerging Women Artists and the Self-Portrait, Bank Oddo, Paris (2012); When The Night Falls…, KiK – Kunsthuis Kolderveen (2012) Day for Night, LMCC, New York (2011); To The Netherlands, Diplomat Gallery, Philadelphia (2011); Digitaal? Analoog!, Huis Marseille – Museum voor Photography, Amsterdam (2010); Theater & Fotografie, Galerie Kampl, Munich (2010); Mapping My Hollywood, Amsterdam Centre for Photography (2010); Fleetstreet – Tagebuch eines Theaters, Fleetinsel, Hamburg (2009); True Lies, Kunsthaus Essen (2009).
Alongside her solo practice, Hanna is an active member of two collectives: Dead Darlings, an anonymous art auction founded in Amsterdam in 2005 which explores the complex love triangle between artist, artwork, and collector; and femxphotographers.org, a platform dedicated to the promotion of fine art photographers to expose and deconstruct the dominance of a male gaze.
Hanna lives and works in Berlin and Amsterdam.
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