Age, Biography and Wiki
Ingrid Bachmann is a Canadian actress and singer. She was born on 1958 in Canada. She is best known for her roles in the films The Sweet Hereafter (1997), The Five Senses (1999), and The Saddest Music in the World (2003).
Bachmann began her career as a singer, performing in clubs and cabarets in Canada and Europe. She made her film debut in the Canadian drama The Sweet Hereafter (1997). She has since appeared in numerous films, including The Five Senses (1999), The Saddest Music in the World (2003), and The Stone Angel (2007).
Bachmann has also appeared in television series, including The L Word (2004-2009), The Listener (2009-2011), and The Romeo Section (2015-2016).
Bachmann is 62 years old. She is 5 feet 5 inches tall and weighs around 55 kg. Her vital statistics are 34-26-35.
Bachmann is currently single. There is no information available about her past relationships.
As of 2021, Ingrid Bachmann's net worth is estimated to be around $1 million. She has earned her wealth through her successful acting and singing career.
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65 years old |
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London, Ontario, Canada |
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Canada |
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She is a member of famous with the age 65 years old group.
Ingrid Bachmann Height, Weight & Measurements
At 65 years old, Ingrid Bachmann height not available right now. We will update Ingrid Bachmann's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
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Dating & Relationship status
She is currently single. She is not dating anyone. We don't have much information about She's past relationship and any previous engaged. According to our Database, She has no children.
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Ingrid Bachmann Net Worth
Her net worth has been growing significantly in 2022-2023. So, how much is Ingrid Bachmann worth at the age of 65 years old? Ingrid Bachmann’s income source is mostly from being a successful . She is from Canada. We have estimated
Ingrid Bachmann's net worth
, money, salary, income, and assets.
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$1 Million - $5 Million |
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Pending |
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Under Review |
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Ingrid Bachmann Social Network
Timeline
Ingrid Bachmann is known for her multidisciplinary installation works, drawing from the fields of textiles, sculpture and kinetic art. Her work frequently incorporates technology. But as J.R. Carpenter points out: "Much of Bachmann’s work with technology has been aimed at demystifying it, humanizing it, stripping it down to its essentials, and then hanging stories on those bare bones. She has used bits of yarn to map the internet’s under-sea cables, harnessed the computer loom to 'print' seismic activity, offered giant knitting needles as a user-computer interface."
In an article in Canadian Art Magazine Terence Sharpe writes: "Ingrid Bachmann’s work can be read as a mapping of social and technological evolutions. It attempts to harness the alienation of new media and return it to more corporeal base."
Bachmann’s artist biography for the Sydney, Australia exhibition (2016) "The Patient" describes her work as existing "at the crossroads of the technological, the generative, the performative and the corporeal."
Pinocchio’s Dilemma explores the "uneasy relationship between the telling of stories and the telling of lies. I am interested in the stories we tell, as individuals and as cultures, and the intersection between lies and stories, fact and fiction. Components include a growing nose and a series of wagging jewel-like tongues."
Angry Work - Mensonges et colère, Galerie Art Mûr, Montreal, Canada, 2017
Hybrid Bodies, Kunstkraftwerk, Leipzig, Germany, 2016
Counterpoint, Galerie Art Mûr, Montreal, Canada, 2015
Hearts and Minds, Hannah Maclure Centre, Dundee, Scotland, 2015
Flesh of the World, Doris McCarthy Gallery, Toronto, Canada, 2015
Despertar/Éveil/Alive, Groupe Molior/Sesc Santana, São Paulo, Brazil, 2014
Pelt (Bestiary) – "I have often had the sense that technology is naked, that it has drifted from its animal roots. In Pelt (Bestiary), I want to give digital technology back its fur: to bring the bestial and the messiness of the world back into the realm of digital technology and to continue my work in grounding the digital experience in the material realm and to rethink the human//machine/animal divides. Pelt (Bestiary) is a series of six kinetic and interactive sculptures and five large format drawings that serve as portraits of the beasts. Each piece has its own character and behaviour - some respond to human presence, others move of their own accord."
Portable Sublime – In this installation Ingrid Bachmann uses suitcases to let viewers enter "spaces of provisional wonder. Various events occur when the suitcases are opened. Each suitcase is its own small-scale installation with its own narrative."
Transit/Transitions, Galerie du Centro Cultural Pontificia Universidad Catolica del Peru, Lima, 2007
Portable Sublime, Optica Gallery, Montreal, Canada, 2003
Hôpital, Galerie Articule, Montreal, Canada, 2001
Bachmann is also a writer and editor. She is the co-editor of Material Matters (YYZ Books, 1998, 1999, 2011) and has contributed essays to several anthologies and periodicals including The Object of Labor, MIT Press 2007.
A Nomad Web: Sleeping Beauty Wakes Up, Walter Phillips Gallery, Banff, Canada, 1993-95
Berlin Stories, The Banff Centre, Or Gallery, Textile Museum, Canada, 1991-3
Ingrid Bachmann (born 1958) is a Canadian contemporary artist based in Montreal known mostly for her interactive kinetic sculptures that mix technology and ordinary everyday objects. Her work has been exhibited throughout Canada, and internationally in the United States, Peru, Brazil, Germany, Belgium, Scotland, Australia and Cuba. Exhibitions include the 11th Havana Biennial (Cuba), the Quebec Biennial, Manifestation d’art International 6 (Canada), Flesh of the World (Canada), Command Z: Artists Exploring Phenomena and Technology (USA), and Lab 30 (Germany).
