BENJAMIN BADOCK »STAPEL UND HAUFEN«

During a residency in Hanoi (Vietnam) in 2014, Benjamin Badock visited production facilities of international corporations. In the sweatshops, he was captivated by the stark juxtaposition of order and chaos: on one hand, the shiny products of the global economy, and on the other, the damage this form of production inflicts on people and the environment. His works are a direct visual engagement with themes of structures of order, accumulation, excess, and chaos.

Through his technique, Benjamin Badock also bridges the thematic exploration. For his current works, which include high-pressure prints, material prints, monotypes, and some woodcuts, he draws on both a comprehensive knowledge of his artistic practice and the "production remnants" from it. By freely engaging with his materials, he alleviates the heaviness typically associated with traditional high-pressure techniques like linocut and woodcut. While printing techniques traditionally rely heavily on careful planning and technical precision, chance and a painterly approach play a significant role in Badock's work.

In recent years, Benjamin Badock has received multiple awards for his work, particularly for his unconventional and exploratory approach to various printing techniques. In 2016, he was nominated for the prestigious Norwegian Queen Sonja Print Award and was selected by the Massimo jury for a federal scholarship at the Cité des Arts in Paris, which begins in May 2017. In 2014, he received the Sprengel Prize, which included a solo exhibition at the Sprengel Museum in Hannover.