Anschlüssel London/Berlin

Hanns Schimansky

Anschlüssel London/Berlin - A survey selected by Andrew Hewish,

Centre for Recent Drawing C4RD
http://likeyou.com/en/node/27869
http://www.c4rd.org.uk/C4RD/Centre_for_Recent_Drawing.html

Berlin - 9 September 2011 - 29 October 2011
fruehsorge contemporary drawings
Jan-Philipp Frühsorge
Heidestrasse 46-52
10557 Berlin
www.fruehsorge.com
http://www.fruehsorge.com/index.php?erste_ebene=3&zweite_ebene=1
Phone: +49 30 280 95282

From Berlin
EVA & ADELE, Frank Badur, Irina Baschlakow, Helen Cho, Nadine Fecht, Marc Gröszer, Bertram Hasenauer, Björn Hegardt, Olav Christopher Jenssen, Paco Knöller, Ulrich Kochinke, Takehito Koganezawa + Yusuke Oya, Astrid Köppe, Valentin Emil Lubberger, Kazuki Nakahara, Mark Lammert, Corinne Laroche, Fiene Scharp, Hanns Schimansky, Andreas Schmid, Dennis Scholl, Chiyoko Szlavnics, Heidi Sill, Viktor Timofeev, Jorinde Voigt
From London
Maxime Angel, Daphne Warburg Astor, Frank Auerbach, Peter Blake, Scott Blaser, Kirsty Buchanan, George Charman, David Connearn, Maryclare Foá, Nick Fox, Joe Graham, Takayuki Hara, Claude Heath, Andrew Hewish, David Hockney, Károly Keserü, Paul Kindersley, David Murphy, Thomas Qualmann, Frances Richardson, Giulia Ricci, Danny Rolph, Gordon Shrigley, Bob and Roberta Smith, Kate Terry, Annabel Tilley, Virginia Verran

“This survey by C4RD's Andrew Hewish seeks to present the vibrancy and depth of drawing production in London and Berlin. From recent graduates to the well established, these artists operate from within an understanding of the complexities of drawing values, of Anschlüssel: speculative, connective, playful - unlocking links wherever a line might lead. In bridging the space between these two metropolises, we find similar polyglot populations, artists from all over the world working in these cities, and with a similar breadth of expressive possibilities that reflect the exchange of ideas and forms in a globalised field.
Like any art of today, drawing can be considered completed by the viewer; but in completing the circuit of a drawing, a special kind of complexity filter is introduced. In an age of art where much is focused on a final outcome, be it product or conclusive meaning or image for the viewer, drawing offers a refreshing alternative. Drawing drags with it complex and disparate historical meanings particular to itself, all of which can brought to bear in the recognition of a work's status as a drawing. This particular set of meanings and questions are ones that drawing artists engage with in their daily practice.
Drawing has associations with being fragile, or temporary, containing gestures that are as much fleeting ideas as they might be marks on the page. It recalls time. It can rely on networks, of points in space or page, that are necessarily connected in the completion of the work; points that make stories, pathways, or forms […] can be subsumed by systems or processes, or engage a subtle negotiation between consciousness, technic and ground. We can connect, along the lines, the mindfulness, or otherwise, of the artist. It often engages directly the body of the artist, tracing their movement, allowing the viewer direct access to the record of its own making. It can love its own materiality. It can spectacularly stimulate our vision. It can graph data; write language. It can promote stages of development, or lyrical leaps of imagination. It can articulate imaginative space, or record observed space. It can draw on its own visual language, blending different traditions to forge new meanings. It is the exercise of imagination on line.”