At Art Cologne 2023 Galerie Klemm’s Berlin showed new and recent work by German artist Jonas Roßmeißl in the framework of his presentation in the art fair’s New Position sector. In this video, Sebastian Klemm (Founder/Director, Klemm’s) provides with an introduction to the artist and the works on display.

Jonas Roßmeißl / Galerie Klemm’s at Art Cologne 2023. Cologne (Germany), November 19, 2023.

— Right-click (Mac: ctrl-click) this link to download Quicktime video file.

Jonas Roßmeißl was born in 1995 in Erlangen, Germany. The artist lives and works in Leipzig and Uttenreuth, Germany.
Jonas Roßmeißl studied media art at the Academy of Fine Arts Leipzig (Hochschule für Grafik und Buchkunst) with Peggy Buth and Clemens von Wedemeyer (2015-2021), and BSc of Economics at the University of Leipzig (2014-2015).

About Jonas Roßmeißl (Source: Galerie Klemm’s):
Jonas Roßmeißl is developing his work according to a critical-emphatic analysis of social conditions. He questions prevailing concepts of the public sphere, identity and intimacy as well as the associated possibilities, conditions and forms of their representation: What is the state of the utopia of collectivity and political spaces of action under repressive systems and the influence of technology and rationalised reproduction in the present? What is the situation regarding vulnerability and empathy? Is there still a will and potential to break out and change? What could this look like?

Jonas Roßmeißl approaches these comprehensive themes through intensive research and permeation of his subjects combined with the ability to make employed materials, technical know-how, and production processes literally his own. Roßmeißl creates sculptures and complex multi-part settings: sometimes hermetically contained, with a calculated fetishistic air, sometimes rather sprawling apparatuses of a dystopian future. Always appealing and appalling at the same time. Radically interdisciplinary and immensely precise, Roßmeißl’s work develops its own distinct aesthetics: historical motifs, information and material attributions of the collective (sub)consciousness are combined in his sculptures, preserved into another world – amalgamated with machines and technology.

At first glance, the works appear to be destructive in nature, modern ruins. But they quickly establish a different, more lasting impression: they manifest their idiosyncratic interpretation of a contemporary Luddism and radically open iconoclasm that already bears within it’s disruptive potential to reformulate its creative force.