Matthias Beckmann, Patrick Borchers, Bea Davies, Jorn Ebner, Juliane Laitzsch, Pia Linz, Christoph Peters
Drawing as documentation
The exhibition “aufzeichnen”, co-curated by Matthias Beckmann, provides an insight into “drawing documentation”.
Using seven artistic positions as examples, the exhibition shows drawing as a contemporary artistic medium of documentation. Approaches, formats and techniques are as diverse as the perspectives of the draughtsmen and women. Some of them will reject the term documentation because it only refers to a part of their work.
Places are meticulously described in extensive series of drawings. The comic lets pictures and texts tell stories. The trace of the pen can trace movements and actions. Black dots in their condensation bring out the beauty of Japanese tea bowls. Drawing is texture and deals with texture. Territories are explored, measured and recorded. With suitable networks of lines, treasures can be lifted from the floods of media images. And it is always true that drawing, like seeing, is an act of interpretation. There is no such thing as unintentional seeing, pure documentation.
“Matthias Beckmann draws on location. He needs no other model than the situation he is aiming at. He grasps it in his seeing, indeed, it seems as if he exposes the obvious lineature as if in a kind of skeletal solarisation. The X-ray vision necessary for this seems innate. Effortlessly, he penetrates the confusing distractions of the coloured light-darkness, leaving behind a net-like concentrate that forgets nothing important. Details are discernible, front and back, near and far create the space, objects, shadow gaps or the grain of the wood are translated accordingly in the outlines that present themselves. A structural plausibility holds sway, always a little on the edge of ornamental realism. Despite the seemingly automatic transfer work, there is the ability to ignore, to overlook, which again and again provides the leaves with beautiful open spaces, or natural weightings. Only the most necessary things are captured. In any case, these drawings seem to be suspended in white.” (Reinhard Ermen, Matthias Beckmann, Kunstforum International, vol. 231, 2015, title: Zeichnen zur Zeit VII, p. 166)
Matthias Beckmann was born in Arnsberg in 1965 and lives as a draughtsman in Berlin. He studied at the art academies in Düsseldorf and Stuttgart. His strictly linear works are created without photographic aids or preparatory sketches directly in front of the motif. He has also been working on animated films for several years. His artistic work has been supported, among other things, by a working scholarship from the Kunstfonds Bonn, a foreign scholarship from the state of North Rhine-Westphalia for Paris, a scholarship from the Künstlerhäuser Worpswede, the Casa Baldi scholarship in Olevano Romano and a working stay in the studio of the state of Upper Austria in the Salzamt Linz. Matthias Beckmann’s works can be found in many graphic collections, e.g. in Berlin, Bonn, Bremen, Dortmund, Düsseldorf, Duisburg, Oberhausen or Wuppertal.
“Borchers’ drawings are images of fragmented experience of reality that can no longer be conveyed in a simple, central-perspective narrative. We stand in front of the picture as if in a Japanese Zen garden and are unable to grasp the totality of the composition, the exact number of stones on the gravel bed, wherever we stand, the overall picture is not complete.” (From: “Baby elephants and dead terrorists – on Patrick Borchers’ image-analytical hieroglyphics of the present.”, Jan-Philipp Fruehsorge, p.3, 2017)
Patrick Borchers was born in 1975, is a draughtsman and video artist. He lives and works in Hagen and Dortmund. After studying art and special education at the University of Dortmund, he attended the class of Timm Ulrichs at the Kunstakademie Münster. His works have been shown in numerous exhibitions in Germany and abroad, for example in Kyoto and Osaka in 2008, at OK Offenes Kulturhaus OÖ in Linz in 2011, in two exhibitions at Museum Folkwang Essen in 2014, at Dortmunder U – Zentrum für Kunst und Kreativität in 2016 and at Osthaus Museum Hagen in 2019. In addition to his own artistic work, he is an artistic assistant in the graphics department at TU Dortmund University.
“Drawing on location is my way of diving deep into the ‘here’ and ‘now’, an escape route from our subjective bubble, an access to the reality that surrounds us.
Drawing sequences of images, movements, colours and sounds that have just happened in front of my eyes has an unadorned immediacy that is hard to find in other media.
For my reportage, I combine drawing on location with the sequential storytelling typical of comics, with the aim of bringing readers as close as possible to the situations and events depicted and offering them a personal approach.”
Beatrice Davies, born in Italy in 1990, has lived in Berlin since 2012 and works as a freelance illustrator and comic artist, among others for the homeless newspaper Strassen|feger. Supported by a scholarship, she began her artistic training at the School of Visual Arts in New York in 2010. After stays in Colombia and Italy, she moved to Berlin with her husband and child. In 2015, she began studying visual communication at the weissensee kunsthochschule berlin. In 2016, she receives the Comic Invasion Berlin sponsorship award and the Mart Stam scholarship. In 2018 she is accepted by the Studienstiftung des Deutschen Volkes. Her first graphic novel “Der König der Vagabunden” (The King of the Vagabonds), with which she is among the finalists for the Berthold Leibinger Stiftung Comic Award in 2019, is published by avant-verlag in the same year. In 2020, Jaja-Verlag will publish an anthology of her autobiographical comics under the title “A Child’s Journey”.
“The mental space of drawing consists of layers of matter and time. Transformations (of memory). Drawing in my work is analogue and digital, on paper or as sound. The triptych “08.12.1980” was created in 2014 after I had acoustically traced the places where the Beatles had demonstrably stayed at the beginning of their career in Hamburg in my online sound project “(The Beatles) in Hamburg” (2011/2012) [http://wwwthedeatlesinhamburg.com/]. John Lennon’s death has such a permanently strong reverberation in my life that I wanted to transpose Yoko, John and the Dakota Building, in front of which Lennon was shot, as drawings”.
Jorn Ebner was born in 1966 in Bremerhaven, lives in Berlin. Studies: Masters in English Literature, History and Art History, University of Hamburg (1990-95), BA (Hons) Liberal Arts, Central Saint Martins College of Art and Design, London (1995-98), Corso Superiore di arti visivi – Allan Kaprow, Fondazione Antonio Ratti, Como (1997), AHRC Research Fellowship, University of Newcastle upon Tyne School of Art (2002-05). Recent projects: Kunst + Kommunikation 2020 project grant, Kunsthaus Kloster Gravenhorst; AiR Niederösterreich 2019, Krems [AT], International solo exhibitions and participations: including Kunstverein Bochum; Laura Mars, Berlin; Museo de arte contemporaneo de Bogota [CO]; Vane, Newcastle upon Tyne [UK]. Publications by the publishing house The Green Box, Berlin.
Seen up close
Juliane Laitzsch’s artistic work is motivated by the curiosity to understand things in their becoming and passing. How do things change over time and how do the corresponding images develop in our minds?
Starting from an examination of historical textiles, currently textile fragments from Egypt in late antiquity, she asks about time; about the time that inscribes itself in the material of the textiles and about the time that becomes legible in the medial mediation of the objects, in texts and photographs. The drawings follow her observations, they reproduce documents relating to the objects and they document their own process of creation. Drawing serves Juliane Laitzsch as a medium of approach and slowing down. In doing so, her drawing technique varies from the most precise representation possible to scribbling on a telephone. Her attention is focused on the process of drawing, its momentum, its rhythms, resonances and feedbacks.
Juliane Laitzsch was born in 1964 in Nuremberg, she studied sculpture in Bremen and at the Hochschule der Künste in Berlin. She has received working scholarships from the Berlin Senate, the state of Mecklenburg-Vorpommern, the Graduate School of the UdK Berlin and the VW Foundation, among others. In 2019, her works were shown in the exhibition “Original Bauhaus” at the Berlinische Galerie and in 2020 in the exhibition “Seen Up Close” at the Kulturhistorisches Museum Magdeburg. Currently Juliane Laitzsch is realising an artistic dissertation at the Kunstuni Linz, supervised by Thomas Macho, and is a member of the PhD programme “Epistemologies of Aesthetic Practices” in Zurich.
I usually begin the “site-specific drawing projects” by surveying the site with footsteps. Using the survey numbers, I weave an area plan with freehand pencil lines drawn from a coordinate system I have laid out on the lower and right edges of the paper surface. I now work directly on the spot with a tracing board. Drawing and writing, I situate my observations made over long periods of time from countless pedestrian perspectives in the plan and thus compare them in an overall view.
“In front of us are drawn miniature worlds, parallel realities, begotten by Pia Linz. Here, objective writing is paired with tacit knowledge, the implicit knowledge that is in the hand and is activated in the drawing process. This ambivalence is what is fascinating about the “place-based drawing projects”. They stand on the edge of ontological doubt and shake the foundations of the buildings. For these drawings not only open up a trivial spatial illusion, but also touch the border where the real and the imaginary meet. The laws of surface are outwitted, surface and depth are interchanged. In this drawing, fiction and fantasy meet with scientific research and mathematical precision. The boundaries of being and appearance, of inside and outside, of proximity and distance become blurred. Pia Linz’s drawing is the in-between, she captures it.” Mechthild Haas, (“Pia Linz”, exhibition catalogue: “JE MEHR ICH ZEICHNE. ZEICHNUNG ALS WELTENTWURF”, Museum für Gegenwartskunst Siegen, 2010)
Pia Linz was born in Kronberg i.T. in 1964 and studied painting and graphics at the Städelschule in Frankfurt am Main. Her work is represented internationally in exhibitions and public collections. Various scholarships have taken her to Rome (Studienstiftung des Deutschen Volkes, 1989/90), London (Hessische Kulturstiftung, 2005/06) and New York (Berliner Senatskanzlei-Kulturelle Angelegenheiten, 2010/2011), among others. In 2015, she was awarded the HAP Grieshaber Prize by VG Bild-Kunst for her work. Since 2016, she has been a professor of drawing at the Berlin-Weißensee School of Art.
Tea bowls, nothing else.
In November 2019, I visited an exhibition at the Urasenke Tea School Museum in Kyoto, which featured famous vessels for the tea ceremony as well as 17th and 18th century manuscripts with simple drawings of the objects on display.
Since I have been working intensively with Japanese tea ceramics for more than twenty years and had been looking for a new approach to my own drawing work for quite some time, I combined the two during the exhibition and came up with the idea of approaching some of the tea bowls I had collected over time in drawing. After months of experimenting, I decided on the technique of dot hatching, because on the one hand it allows great precision, and on the other hand it dispenses with anything superficially individual.
To draw, I place the respective bowl on a pedestal at eye level and illuminate it as evenly as possible. Drawing is both a scanning of the contours and surfaces with eye and pencil and an approach to the invisible behind it.
Christoph Peters was born in Kalkar on the Lower Rhine in 1966. From 1988 to 1994 he studied painting at the Karlsruhe Art Academy with H.E. Kalinowski and G. Neusel, finally as a master student of Meuser. He then worked for five years as an air passenger control officer at Frankfurt Airport. Since 2000 he has been living in Berlin as a writer and illustrator.
Most recently, he published the novels “Das Jahr der Katze” (2018) and “Dorfroman” (2020), the story collection “Selfie mit Sheikh” (2017), as well as the essay “Diese wunderbare Bitterkeit – Leben mit Tee” (2016). His work has received numerous awards, including the Aspekte Literature Prize in 1999, the Friedrich Hoelderlin Prize in 2016 and the Wolfgang Koeppen Literature Prize in 2018.
Parts of his collection of Japanese ceramics were on display in the exhibition “Among Friends” at the Museum für Kunst und Gewerbe, Hamburg, in 2019/20.
In 2020, the Otto Ubbelohde House, Goßfelden, showed tea bowls and drawings. The exhibition was accompanied by the catalogue “Teeschalen, sonst nichts”.
*** Translated with www.DeepL.com/Translator (free version) ***
9 June to 18 August 2021
Matias Bechtold and Maike Sander Other worlds
Matias Bechtold and Maike Sander show a world made of cardboard in the studio im HOCHHAUS. While Maike Sander focuses on bird sculptures for this exhibition, Matias Bechtold creates cityscapes. The exhibition “Other Worlds” provides an insight into the artistic possibilities inherent in the mundane material.
“Matias Bechtold’s works are fascinating because they inspire the imagination both through mega-structures and as models of entire cityscapes or of gigantic buildings. At the same time, they are so rich in detail that one can literally lose oneself in them while looking at them and forget that it is a model. For this special experience between vision, illusion and realism, however, it is not only the uniformity of the material from which they are made that plays an important role. Above all, the consistent facture of its processing, in which the material is almost made to disappear, is essential. In their conceptual and artistic coherence, Bechtold’s works indeed bring to view worlds all their own, which comment critically and ironically on or purposefully transcend the world we live in.” (Laura Mars, 2015)
Mathias Bechtold, born in Ibiza in 1955, builds models of houses and entire cityscapes out of packaging in the broadest sense. He layers skyscrapers with curious interiors out of cake wrappers or sushi boxes, cities and islands out of cardboard. Partly fictitious or inspired by literature, such as Alfred Kubin, or based on existing things as a projection into a future. This is how cities like Cologne or Berlin with skyscrapers and futuristic traffic routes have come into being and how Ibiza has grown together into a single urban mesh.
“Maike Sander puts things in relation to people. And lo and behold – things are livelier than we thought. The hoover, asthmatic, earns its mercy, whether it still sucks or not. The fish: a living being, not just a tasty display in the fish shop. The monkey: ditto – and? Doesn’t he look a bit like Uncle Herbert? In this way, chairs also become something like relatives, brother and sister. You don’t have to love each other to be related, that happens in the best families. These chairs are rarely moved, they move within themselves and groan under the weight of human beings. (…) The material used by Sander, paper, cardboard and algae, is ephemeral per se. You cannot own the chairs and armchairs; they are clearly characterised as artistic artefacts with no practical value. Instead, they convey an idea of transient being, of the respective individual, which is unique and unrepeatable. (…) Perhaps that is the nature of things as well as of people: ageing, constant change. Maike Sander’s sculptures sharpen our view of things and people anew, subtly conveying a respect that makes us aware of a possible new sustainability that affects not only our relationship to things but also to other people”. (Martin Stather)
Maike Sander, born in Lüneburg in 1965, has been working with this material in her sculptural work for a long time. In addition to animals, which she usually creates in original sizes and sometimes brings to life with other materials, such as algae, she also uses everyday objects as models. She has created entire furnishings, from chairs to beds to bathrobes, out of cardboard. The obvious fragility creates a special atmosphere that would be comparable to a museality, but also immediately breaks it. *** Translated with www.DeepL.com/Translator (free version) ***
Annette Kisling, Jens Franke Leonard Wertgen
Exhibition from 19 January to 2 June 2021
Doshi Doshi Doshi
Born in 1927, the architect Balkrishna Doshi has decisively shaped the Indian city of Ahmedabad with his architectural work and his social commitment. In addition to his work as an architect, he is an urban planner, professor, theorist and founder of the Faculty of Architecture at CEPT University in Ahmedabad.
Since 2009, Leonard Wertgen and Jens Franke (in collaboration with Niklas Fanelsa, Marius Helten and Björn Martenson) have been investigating the city of Ahmedabad with their continuing research. Their interest is to understand the city’s built environment in its diversity and contradictions and to make perceptible the parallelism of spatial concepts that always include social, political and historical moments. In 2016, they had the opportunity to talk to Balkrishna Doshi about his work and the city of Ahmedabad. This conversation forms the starting point of the exhibition “Doshi Doshi”. In addition, as a further part of the research project, film footage and photographs of the following buildings from Ahmedabad by Balkrishna Doshi will be shown: Institute of Indology (1962), Central Bank of India (1967), Premabhai Hall (1972), LIC Housing (1976) and Sangath (1981).
Annette Kisling’s photographic work is dedicated to a very well-known building by Balkrishna Doshi, the Indian Institute of Management in Bangalore (1963 to 1983). In the winter of 2014, she had the opportunity to walk through and photograph the campus of the Institute of Management during the day and at night over the period of two weeks. The place is designed in such a way that interior and exterior spaces correspond with each other, merge into each other. For the exhibition, mainly photographs were selected that provide insights into precisely these in-between areas, in addition to some interior spaces, for example the library of the institute.
All Videos: Uwe Jonas, Pictures: Thomas Bruns
In this video, the first room of the exhibition, but also the whole concept is explained by the artists.
Eröffnung am 28. Januar um 19 Uhr
wegen Corona Geschlossen
Wolfgang Aichner – Sonja Alhäuser – Michelle Alperin – Nándor Angstenberger – Martin Assig – Clara Bahlsen – bankleer – Heike Baranowsky – Heike Kati Barath – Horst Bartnig – Jürgen Baumann – Michael Bause – Konstantin Bayer – Matias Bechtold – Kai-Annett Becker – Matthias Beckmann – Oliver van den Berg – Holger Biermann – Roland Boden – Manuel Bonik – Patrick Borchers – Kai Bornhöft – Benedikt Braun – Thomas Bruns – Marcel Buehler – Ingmar Bruhn – Matthew Burbidge – Astrid Busch – Dirk Busch – Salomé Chkheidze-Mohs – Herbert De Colle – Marula di Como – Chris Costan – Swen Daemen – Henrike Daum – Dellbrügge & de Moll – Anne Dettmer – Helmut Dick – Andreas Drewer – Jesper Dyrehauge – Irena Eden & Stijn Lernout – Manfred Eichhorn – Axel Eichhorst – Jürgen Eisenacher – Dana Engfer – Christel Fetzer – Frederik Foert – Franziska Frey – Sabine Friesicke – Stella Geppert – Catherine Gerberon – Ingo Gerken – Katrin Glanz – Thorsten Goldberg – Carola Goellner – Kerstin Gottschalk – Reinhold Gottwald – Michael Gumhold – Markus Guschelbauer – Massoud Graf–Hachempour – Kim Dotty Hachmann – Ulrich Hakel – Heike Hamann – Klaus Hartmann – Lisa Haselbek – Tanja Hehn – Tina Isabella Hild – Gerhard Himmer – Annika Hippler – Christian Hoischen – Birgit Hölmer – Ralf Homann – Irène Hug – Anja Ibsch – Andrea Imwiehe – Henrik Jacob – Gunilla Jähnichen – Zora Janković – Anna Jermolaewa – Uwe Jonas – Jaeeun Jung – Yuki Jungesblut – Martin Kaltwasser – Mi Jean Kang – Franco Kappl – Judith Karcheter – Veronika Kellndorfer – Werner Kernebeck – Annette Kisling – Ulrike & Günther-Jürgen Klein – Andreas Knäbel – Andreas Koch – Eva–Maria Kollischan – Susanne Kohler – Karen Koltermann – Andreas Kotulla – Ulrike Kötz – Vanja Krajnc – Inge Krause – Annette Kuhl – Susanne Kutter – Verena Kyselka – Chantal Labinski – Pia Lanzinger – Michael Lapuks – Seraphina Lenz – Pia Linz – Antonia Low – Liz Magno – Fritz Margull – Enikö Márton – Matthias Mayer – Howard McCalebb – Manfred Michl – Penka Mincheva – Ulrike Mohr – Leo de Munk – Berit Myrebøe – Silvia Nettekoven – Gertrud Neuhaus – Sybille Neumeyer – Gabriele Obermaier – Lorcan O’Byrne – Juergen O. Olbrich – Bea Otto – Jürgen Palmtag – Jürgen Paas – Günther Pedrotti – Roman Pfeffer – Andrea Pichl – Torsten Prothmann – Marcel Prüfert – Katja Pudor – Maria–Leena Räihälä – Mirja Reuter –– Gerda Riechert – Kai Richter – Sebastian Rogler – Matthias Roth – Rasso Rottenfusser – Julia Sand – Maike Sander – Matthias Schamp – Gisela Schattenburg – Claudia Schoemig – Iris Schomaker – An Seebach – Olivia W. Seiling – Daniel Seiple – Spunk Seipel – Johanna Smiatek – Soyoung Shon – Soopum Sohn – Jan-Peter E.R. Sonntag – Elisabeth Sonneck – Petra Spielhagen – Ute Sroka – Anne Staszkiewicz – Christian Stock – Tommy Støckel – Stoll & Wachall – ststs – Sven Stuckenschmidt – Betty Stürmer – Max Sudhues – Caro Suerkemper – Gaby Taplick – Johanna Thompson – Thea Timm – Peter Torp – Tim Trantenroth – Lukas Troberg – Andrea Übelacker – Timm Ulrichs – Marcos Vidal – Anke Völk – Line Wasner – Christine Weber – Albert Weis – Ute Weiss Leder – Markus Willeke – HS Winkler – René Wirths – Gloria Zein – Barbara Zenner – Christof Zwiene
Raum 1 (Video/360 Fotos: Uwe Jonas;Fotos: Thomas Bruns)
Raum 2 (Video/360 Fotos: Uwe Jonas;Fotos: Thomas Bruns)
Ulrike und Günther-Jürgen Klein, Anne Staszkiewicz
Fotos: Thorsten Bruns
Andrea Pichl, Matthew Burbidge
Exhibition from 4. September to 6. November 2019
Fotos: Thomas Bruns
Holger Biermann, Thomas Bruns
Pictur: Thomas Bruns, Kulturforum, 2015
19. June to 21. August 2019
Holger Biermann, Thomas Bruns
Pictures: Thomas Bruns
Zora Janković, Peter Torp
Fotos: Thomas Bruns
Picture: Uwe Jonas
23. Januar bis 3. April
Sonja Alhäuser – Michelle Alperin – Nándor Angstenberger – Martin Assig – bankleer – Heike Kati Barath – Jürgen Baumann – Michael Bause – Konstantin Bayer – Matias Bechtold – Kai-Annett Becker – Matthias Beckmann – Oliver van den Berg – Holger Biermann – Berthold Bock – Roland Boden – Patrick Borchers – Kai Bornhöft – Ivan Boskovic – Nick Bötticher – Benedikt Braun – Thomas Bruns – Matthew Burbidge – Sonja Burbidge – Astrid Busch – Dirk Busch – Kate McCabe – Alexander Callsen – Mahmut Celayir – Herbert De Colle – Marula di Como – Henrike Daum – Dellbrügge & de Moll – Anne Dettmer – Helmut Dick – Andreas Drewer – Irena Eden & Stijn Lernout – Manfred Eichhorn – Jürgen Eisenacher – Dana Engfer – Scott Clifford Evans – Frederik Foert – Enrico Freitag – Franziska Frey – Sabine Friesicke – Stella Geppert – Ingo Gerken – Katrin Glanz – Surya Gied – Thorsten Goldberg – Kerstin Gottschalk – Reinhold Gottwald – Michael Gumhold – Massoud Graf–Hachempour – Kim Dotty Hachmann – Ulrich Hakel – Heike Hamann – Lisa Haselbek – Gerhard Himmer – Annika Hippler – Birgit Hölmer – Ralf Homann – Stephan Homann – Irène Hug – Henrik Jacob – Gunilla Jähnichen – Zora Janković – Anna Jermolaewa – Uwe Jonas – Yuki Jungesblut – Martin Kaltwasser – Mi Jean Kang – Franco Kappl – Judith Karcheter – Veronika Kellndorfer – Werner Kernebeck – Yeon Ji Kim – R.J. Kirsch – Ulrike & Günther–Jürgen Klein – Andreas Knäbel – Andreas Koch – Folke Köbberling – Eva–Maria Kollischan – Karen Koltermann – Andreas Kotulla – Vanja Krajnc – Inge Krause – Carolina Kreusch – Annette Kuhl – Susanne Kutter – Verena Kyselka – Chantal Labinski – Pia Lanzinger – Michael Lapuks – Julia Lazarus – Seraphina Lenz – Pia Linz – Antonia Low – Enikö Márton – Matthias Mayer – Howard McCalebb – Manfred Michl – Penka Mincheva – Ulrike Mohr – Leo de Munk – Berit Myrebøe – Silvia Nettekoven – Gertrud Neuhaus – Sybille Neumeyer – Gabriele Obermaier – Wolfgang Obermair – Lorcan O’Byrne – Juergen O. Olbrich – Bea Otto – Jürgen Palmtag – Jürgen Paas – Roman Pfeffer – Andrea Pichl – Andreas Pinkow – Torsten Prothmann – Marcel Prüfert – Katja Pudor – Thomas Rentmeister – Mirja Reuter – Hannes Ribartis – Tina Ribartis – Gerda Riechert – Kai Richter – Reneè Ridgway – Susanne Ring – Matthias Roth – Rasso Rottenfusser – Julia Sand – Maike Sander – Lena Inken Schaefer – Gisela Schattenburg – Claudia Schoemig – Iris Schomaker – Alexandra Schumacher – An Seebach – Olivia W. Seiling – Daniel Seiple – Spunk Seipel – Ekaterina Shapiro-Obermair – Kamil Sobolewski – Soyoung Shon – Jan–Peter E.R. Sonntag – Elisabeth Sonneck – Christina Speer – Petra Spielhagen – Anne Staszkiewicz – Christian Stock – Tommy Støckel – ststs – Sven Stuckenschmidt – Max Sudhues – Johanna Thompson – Thea Timm – Peter Torp – Lukas Troberg – Andrea Übelacker – Timm Ulrichs – Marcos Vidal – Line Wasner – Christine Weber – Albert Weis – Ute Weiss Leder – Markus Willeke – HS Winkler – Sezer Yigitoglu – Barbara Zenner – Christof Zwiener
Fotos: Thomas Bruns
Hans HS Winkler
Bild: Irving Norman
7. November 2018 bis 15. Januar 2019
The exhibition in the studio im HOCHHAUS will feature an installation that focuses on works of 33 artists from the West Coast of the 20th century who, through their political commitment, became or could become pioneers for later generations.
Many of these actions survives through stories and myths that still are told today, and in addition to the products of the art market, they build another gallery of images and history.
As a protest against the accession of the United States in World War I, in 1916, the sculptor Beniamino Bufano cut off his right index finger and sent it to President Woodrow Wilson as a “symbolic trigger finger.” In the 1950s, Victor Mikhail Arnautoff taught at Stanford University and championed an art that was determiuned to criticize the political system. His lithograph titled “DIX McSmear” was removed from an exhibition in San Francisco because it showed the then-Vice President Richard Nixon with a bank robber mask and his connection to the McCarthy era. On top of that, the government tried to initiate his dismissal. A key figure in the American “counterculture” in the 1950s/60s was Wally Bill Hedrick, who openly opposed American foreign policy and, in particular, the war in Vietnam. As an artistic contribution, he presented, for example, the US flag with the word “peace.”
At the end of the 1960s, hundreds of thousands of people united in the face of the mass death of the Vietnam War: As Counter Culture, they attacked traditional American values, bourgeois morals and manners that were identified as the cause of war and racial discrimination.
This cultural revolution became the most influential opposition in the history of the United States to oppose capitalist America with a different, socialist or socialist social design.
In San Francisco, the “Diggers” declared the city a “free zone” and propagated the free distribution of clothing, food, medicines, and apartments. Along with the San Francisco “Mime Troupe” and the “Black Panthers,” they organized free breakfast for impoverished African American schoolchildren.
Emory Douglas was responsible for the creative and visual impact of the Black Panthers. He implemented the ideas of the movement in the party newspaper, which had been published weekly since 1967, using drawings, paintings, and graphics, and organized wide-ranging and international presentations of his posters.
With the help of a “volunteer guerrilla army,”Robert “Robbie” Conal was also able to intervene in public space through weird and grotesque depictions of US politicians.
In 1978, artist Lowell Darling ran for California’s governorship. His trademark was an oversized hand reminiscent of Mickey Mouse’s, ready to shake hands, always ready to use. To confront him with the reality of politicians, a colleague, the performance artist Tony Labat abducted him. Disguised. Ultimately, the action failed and Tony Labat later described the action as “Kidnap Attempt“.
A reconstruction of the “Slant Step Show” can also be seen: An exhibition filled with stories and myths, of which there are “only” narratives and interviews by participating artists such as William Wiley, who addresses the necessary disappearance of “market” art.
The documentary “Weather Underground” (2002) can be seen as a media supplement. The Oscar-nominated film reports on the gradual radicalization of students during the Vietnam War.