Art on a Postcard International Women’s Day Auction - Curated by Alexandra Steinaker

About 

Tamara Malcher (*1995, Recklinghausen) is a German artist living in Münster. In addition to a recent solo show at Weserhalle (Berlin, 2023), Malcher’s work has also been included in group shows around the world, including Albertz Benda (Los Angeles, New York, and Miami), The Hole NYC, Galerie Droste (Paris and Seoul), and Gallery Daniel Raphael (London). She is currently Meisterstudentin of Professor Cornelius Völker at the Kunstakademie Münster. 

Education 

2015 –2024 
Kunstakademie Münster, Fine Art, Akademiebrief 

Solo Shows 
2023  
one part sweet & two parts bitter, Weserhalle, Berlin  

2022  
THE LIVING PROOF, Galerie Droste, Düsseldorf 

Group Shows 
2023 
CHRONICLES 6, Galerie Droste, Berlin, GER  

DALLAS ART FAIR, Galerie Droste, Dallas, US  

2022 
CITY LIGHTS, Albertz Benda, Los Angeles, US  

UNIVERSES 5, Curated by Sasha Bogojev, The Hole, NYC, US 

KIAF ART, Galerie Droste, Seoul, KOR  

GRAND OPENING, Galerie Droste, Paris, FR  

HYPERIMAGE, Kunstverein Ahlen, Ahlen, GER  

2021  
MIAMI UNTITLED, albertz benda, Miami, US  

FRAGMENTED BODIES 2, albertz benda, New York, NY, US  

GET A LOAD OF THIS!, Daniel Raphael X She Curates, London, GB  

DRAME SURRÉALISTE, Elektrohalle Rhomberg, Salzburg, AUT  

2020 
FUTURE FAIR, Galerie Droste, New York, US  

POP UP, Volksbank Münsterland Nord, Münster, GER  

2019 
Käse der so reif ist, dass es innen zu krabbeln anfängt, Künstlerverein Malkasten, Düsseldorf, GER  

2018 
DOUBLE HAPPINESS, Kunstverein Duisburg, GER  

2017 
Das Fenster zum Code, Künstlerhaus Dortmund, GER 

Gallery Representation 

Galerie Droste, Düsseldorf and Paris 

Statement about AOAP Submitted Artwork 

My drawings show excerpts from the world of my paintings. This world is strange and sensual, a colourful range of liminal spaces through which flushed, full-bodied nude women dance, play, and run. Women pulling women out of sea by holding on to their wave-like hair. A shell swallowing an ibuprofen. A woman looking at herself in the mirror. I often play with with supposedly feminine symbols and traditions through the history of painting. The artistic expression in round, radiant female nudes supposedly contradict the world of artificially perfected media appearances. But perhaps for this very reason fits so well into this, our time of redefining what it means to be a woman, to be a human. The corpus is naturally naked, not undressed or unclothed. Whole in itself and in this way makes the classification into common ideals of beauty obsolete. 

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