© Simona Brinkmann

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Simona Brinkmann, Fancy Goods, leather strap bridle and steel wall sculpture, contemporary art, post-minimalism
Fancy Goods (2012)
Leather, burnished steel, metal fittings.
300cm x 130cm x 25cm.
Photography by Ekphrasis
Simona Brinkmann, Bridges Become Doors - steel, graphite, burnished aluminium. Floor sculpture, contemporary art, infrastructures of control, post-minimalism.
Bridges Become Doors (2012)
Steel, graphite, burnished aluminium.
Dimensions variable.
Photography by Ekphrasis
Simona Brinkmann, Function Creep - Sanded steel.  Metal sculpture, contemporary art, post-minimalism, infrastructures of control.
Function Creep (2012) - detail
Sanded steel.  90cm x 80cm x 300cm.
Photography by Ekphrasis
Simona Brinkmann, Fort Worth #6 - Leather, sand. Zabludowicz Collection, Testing Ground, Contested Ground, Leather Sandbag floor sculpture, installation, contemporary art, modular sculpture, post-minimalism, defensive structures, luxury fortification, disaster art.
Fort Worth #6 (2009)
Leather, sand.
Simona Brinkmann, Canyon - foam-padded leather, board, steel, magnets. Relief Wall sculpture, soft modular sculpture, contempoary art, post-minimalism, padded brick, luxury padded cell, automotive interiors.
Canyon (2010-2011) - detail
Foam-padded leather, board, steel.
30cm x 137cm.
Simona Brinkmann, Salto Mortale at Regard Matrixiels, Treignac Projet. Sound sculpture installation. Speakers, glass, CD playing the interemittent sound of breaking glass. Contemporary art, art and destruction. Broken glass. Paradox.
Salto Mortale (2011)
Speakers, glass, audio CD playing the intermittent sound
of breaking glass. 
Photography by Ekphrasis
Simona Brinkmann, Wagonmater (detail), Through A Glass Darkly at Maria Stenfors. Sculptural installation, antlers, rope, rosewod cable reel, rope, plastic pipes, ponyskin. Taught rope, tension, Contemporary art, post-minimalism.
Wagonmaster (2008) - detail
Plastic pipes, ponyskin, rope, wood, metal hook, antlers.  Dimensions variable.
Simona Brinkmann, Life Sized, giant three dimensional mirrored zero sculpture, body height, mirrored perspex, subverted minimalism, post-minimalism, contemporary art. Reflective Nothingness.
Life Sized (2005)
MDF, mirored acrylic. 163cm x 113cm x 40cm.
Simona Brinkmann, Safety Measures, mirrored modular crash barrier segment, mirror floor sculpture, road barrier, contemporary art, post-minimalism, car crash minimalism.
Safety Measures (2009)
Mirror, timber.   57cm x 57cm x 540cm.
Simona Brinkmann, Thrill Seeker - aluminium frame, paper. Wall sculpture, post-minimalism, contemporary art. Volta Show, Basel.
Thrill Seeker (2008)
Aluminium, paper.   24cm x 30cm
Simona Brinkmann, Training Camp - steel and graphite, metal sculpture, floor sculpture, collapsed gate doors, post-minimalism, contemporary art, infrastructures of control, crushed barrier, metal bars
Training Camp (2016)
Steel, graphite.
Simona Brinkmann, Ghost Herd - multichannel sound installation, surround sound bison stampede, spatial sound, low frequency hooves rumble, sound as sculpture, contemporary art, Netwerk centrum voor hedendaagse kunst, Aalst, Belgium, New Reform
Ghost Herd (2004-2010) - installation detail
A surround sound installation in which a herd of bison stampedes the gallery space from one end to the other. At irregular intervals, the space resounds with the deep rumble of animal hooves. The sound swells up, moves through the building and dies away, making the herd of bison a spatial - albeit invisible - reality.
Simona Brinkmann, Gymkhana - black ponyskin and painted concrete pipes tubes, metal steel stand, plumb bob, rope, sculpture, contemporary art
Gymkhana (2008)
Pony skin, concrete, plastic, powder-coated steel, leather, chromed cast brass plum bob, rope.
200cm x 190 cm x 175cm.
Simona Brinkmann, Fort Worth #3 - Leather, sand. Leather Sandbag sculptural intervention, sculpture, obstrauction, installation, blocked entrance, contemporary art, post-minimalism, defensive structures, luxury fortification, disaster art, negation.
Fort Worth #3 (2007)
Leather, sand.
Simona Brinkmann, Fort Worth #4 - Leather, sand. The Aesthetics of Anxiety, Leather Sandbag floor sculpture, installation, contemporary art, modular sculpture, post-minimalism, defensive structures, luxury fortification, disaster art.
Fort Worth #4 (2008)
Leather, sand.
Simona Brinkmann, Fancy Goods, leather strap bridle and steel wall sculpture, contemporary art, post-minimalism
Fancy Goods (2012) - detail
Leather, burnished steel, metal fittings.
300cm x 130cm x 25cm.
Photography by Ekphrasis
Simona Brinkmann, Function Creep - Sanded steel.  Metal sculpture, contemporary art, post-minimalism, infrastructures of control.
Function Creep (2012)
Sanded steel.  90cm x 80cm x 300cm.
Photography by Ekphrasis
Simona Brinkmann, Fort Worth #4 - Leather, sand. The Aesthetics of Anxiety, Leather Sandbag floor sculpture, installation, contemporary art, modular sculpture, post-minimalism, defensive structures, luxury fortification, disaster art.
Fort Worth #4 (2008)
Leather, sand.
Simona Brinkmann, Dead Air at Regard Matrixiels, Treignac Projet. Serialised cast rubble floor sculpture, sculptural intervention, installation. Polyester resin, marble dust, polyester pigment. Mimesis sculpture. Cast rubble pile. Contemporary art, disaster art.
Dead Air (2011)
Dimensions variable -resin, marble dust, pigment. 
Photography by Ekphrasis
Simona Brinkmann, Wagonmater (detail), Through A Glass Darkly at Maria Stenfors. Sculptural installation, antlers, rope, rosewod cable reel, rope, plastic pipes, ponyskin. Taught rope, tension, Contemporary art, post-minimalism.
Wagonmaster (2008) - detail
Plastic pipes, ponyskin, rope, wood, metal hook, antlers.  Dimensions variable.
Simona Brinkmann, Greater Good, Back-to-front modular metal pictrue frame, cardboard, paper, masking tape, metal fixings, leather string. Contemporary art, post-minimalism, minimalist grid.
Greater Good (2011)
Back-to-front modular metal pictrue frame, cardboard,
paper, masking tape, metal fixings, leather string.
49.5cm x 49.5cm x 3cm.
Simona Brinkmann, Bullseye, modified skateboard sculpture, skateboard, plaster cement mix, animal horn, wheels. Floor sculpture, sculptural object, art editions, contemporary art.
Bullseye (2006)
Skateboard, cement/plaster mix, animal horn.
19cm x 84cm x 20cm.
Simona Brinkmann, Short Shadow, table and antler sculpture, table, latex dipped deer antlers, shiny black latex, clamps. Contemporary art, post-minimalism.
Short Shadow (2008)
Table, clamps, metal, foam, latex dip-coated deer antlers.
Simona Brinkmann, Long Rider, dub plate recording of stuck record, record player needle stuck in a groove, Art Athina, David Risley Gallery Gutter Records The Gutter, sound art object, contemporary art, sound sculpture, limited edition artist's vynil, dub plate.

Long Rider (2008) - exhibition view
A 12'" dub plate recording of the looped sound of a needle stuck in a groove.  

The work operates on the level of an object as well as that of a sound piece, relying on the discrepancy between the behaviour of the object as seen (the record spinning smoothly on the turntable) and the sound emanating from it (that of a stuck, skipping record). Dub plates are intrinsically experimental, ephemeral objects. They are one-off recordings, usually made on pvc or plastic with a somewhat inferior sound quality to vinyl and a limited life span. They were widely used, for example, by Studio One in Jamaica as a way of trying out new tunes in dance halls, and many dub plates never made it to become commercially-released vinyl pressings. Each dub plate will only play a finite number of times before the sound quality will start to significantly degrade and it is an important feature of LONG RIDER that the recording will slowly efface itself over time.

Edition of 10, plus display copy and artist’s proof. Each recording is pressed to order and comes with individual sleeve artwork hand-made from black wood-grain vinyl contact paper.

Simona Brinkmann, Ghost Herd - multichannel sound installation, surround sound bison stampede, spatial sound, low frequency hooves rumble, sound as sculpture, contemporary art, Netwerk centrum voor hedendaagse kunst, Aalst, Belgium, New Reform
Ghost Herd (2004-2010) - installation detail
A surround sound installation in which a herd of bison stampedes the gallery space from one end to the other. At irregular intervals, the space resounds with the deep rumble of animal hooves. The sound swells up, moves through the building and dies away, making the herd of bison a spatial - albeit invisible - reality.
Simona Brinkmann - Untitled, modified skateboard, black ponyskin, rope, high gloss automotive laquer, sculpture, contemporary art.
Untitled (2008)
Pony skin, skateboard, rope, lacquer car paint, hook.
Dimensions variable.
Simona Brinkmann, Doors Become Bridges - steel, graphite, leather. Panorama - concrete rubble, cargo net. Sculpture, contemporary art, post-minimalism.
Background: Doors Become Bridges (2012)
 Steel, graphite, leather, metal fittings. 
300cm x 210cm x 20cm.
Foreground:  Panorama (2012)
Concrete rubble, cargo net.
Dimensions variable.
Photography by Ekphrasis
Simona Brinkmann, Bridges Become Doors - steel, graphite, burnished aluminium. Floor sculpture, contemporary art, infrastructures of control, post-minimalism.
Bridges Become Doors (2012) - detail
Steel, graphite, burnished aluminium.
Dimensions variable.
Photography by Ekphrasis
Simona Brinkmann, The Producers, Black Leather Strap Wall Sculpture, Metal Fittings, Bridle Harness Sculpture, Contempoary Art, Post-Minimalism, Abstracted Restraint, Master and Servant.
The Producers (2012)
Leather, metal fittings.  Dimensions variable.
Simona Brinkmann, Fort Worth #1 - Leather, sand. The Aesthetics of Anxiety, Leather Sandbag floor sculpture, installation, contemporary art, modular sculpture, post-minimalism, defensive structures, luxury fortification, disaster art.
Fort Worth #1 (2007)
Leather, sand.
Simona Brinkmann, Dead Air, Canyon and Salto Mortale - exhibition view at Regard Matrixiels, Treignac Projet. Serialised cast rubble floor sculpture, sculptural intervention, installation. Polyester resin, marble dust, polyester pigment. Mimesis sculpture. Cast rubble pile. Contemporary art, disaster art.
Regard Matrixiels at Treignac Projet.
Installation view, left to right:
Dead Air (2011) - resin, marble dust, pigment.
Canyon (2010-11) - foam-padded leather, board, steel.
Salto Mortale (2011) - speakers, glass, audio CD playing intermittent sound of breaking glass.
Photography by Ekphrasis
Simona Brinkmann, Canyon - foam-padded leather, board, steel, magnets. Relief Wall sculpture, soft modular sculpture, contempoary art, post-minimalism, padded brick, luxury padded cell, automotive interiors.
Canyon (2010-2011)
Foam-padded leather, board, steel.
30cm x 137cm.
Simona Brinkmann, Wagonmater (detail), Through A Glass Darkly at Maria Stenfors. Sculptural installation, antlers, rope, rosewod cable reel, rope, plastic pipes, ponyskin. Taught rope, tension, Contemporary art, post-minimalism.
Wagonmaster (2008) - detail
Plastic pipes, ponyskin, rope, wood, metal hook, antlers.  Dimensions variable.
Simona Brinkmann, Doublezero, giant three dimensional mirrored zero sculpture, body height, mirrored perspex, subverted minimalism, post-minimalism, contemporary art. Decimal sculpture. Reflective nothingness. Winner of the Clifford Chance Scultpure Award 2007.
Doublezero (2006)
MDF, mirrored acrylic.  163cm x 226cm x 40cm.
Simona Brinkmann, Non-Specialist, black leather strap wall sculpture, burnished leather, hanging straps, post-minimalism, contemporary art, abstract bridle sculpture.
Non-Specialist (2010)
Burnished leather, screws.
Simona Brinkmann, Long Rider, dub plate recording of stuck record, record player needle stuck in a groove, Art Athina, David Risley Gallery Gutter Records The Gutter, sound art object, contemporary art, sound sculpture, limited edition artist's vynil, dub plate. Hand made record sleeve, black wood grain effect contact paper collage.

Long Rider (2008) - sleeve

A 12'" dub plate recording of the looped sound of a needle stuck in a groove.  

The work operates on the level of an object as well as that of a sound piece, relying on the discrepancy between the behaviour of the object as seen (the record spinning smoothly on the turntable) and the sound emanating from it (that of a stuck, skipping record). Dub plates are intrinsically experimental, ephemeral objects. They are one-off recordings, usually made on pvc or plastic with a somewhat inferior sound quality to vinyl and a limited life span. They were widely used, for example, by Studio One in Jamaica as a way of trying out new tunes in dance halls, and many dub plates never made it to become commercially-released vinyl pressings. Each dub plate will only play a finite number of times before the sound quality will start to significantly degrade and it is an important feature of LONG RIDER that the recording will slowly efface itself over time.

Edition of 10, plus display copy and artist’s proof. Each recording is pressed to order and comes with individual sleeve artwork hand-made from black wood-grain vinyl contact paper.

Simona Brinkmann, Gymkhana - black ponyskin and painted concrete pipes tubes, metal steel stand, plumb bob, rope, sculpture, contemporary art
Gymkhana (2008) - detail
Pony skin, concrete, plastic, powder-coated steel, leather, chromed cast brass plum bob, rope.
200cm x 190 cm x 175cm.
Simona Brinkmann, Your Favourite Records - hand-broken shards of vynil records, glass jar, shelf, destruction in art, contemporary art.
Your Favourite Records (2005) - detail
Shards of hand-broken vinyl records, jar, shelf.
24cm x 24 cm x 40cm.
Simona Brinkmann, Gymkhana - black ponyskin and painted concrete pipes tubes, metal steel stand, plumb bob, rope, sculpture, contemporary art
Gymkhana (2008) - detail
Pony skin, concrete, plastic, powder-coated steel, leather, chromed cast brass plum bob, rope.
200cm x 190 cm x 175cm.
Leather Face (2006)
DVD video, 4'12''