Überzeichnen
18 Sep - 15 Nov 2015
ÜBERZEICHNEN. Von Basel aus
Anna B. Wiesendanger, Boris Rebetez, Bruce Nauman, Bruno Jakob, Cécile Hummel, Claudia und Julia Müller, Eric Hattan, Fred Sandback, Jürg Stäuble, Karim Noureldin, Lena Eriksson, Maja Rieder, Miriam Sturzenegger, Robert Estermann, Silvia Bächli, Stalder Anselm, Therese Bolliger
18 September - 15 November 2015
Curated by Ines Goldbach together with the artist Cécile Hummel.
Curatorial Assistant: Eva Falge.
There is a lot of been said about drawing of present. It is the most origial artistic media, autonomous, spontaneous, direct, process-authentic, by their process closer to the artist than other disciplines. Since years a renaissance of drawing is attested, which suggests that the drawing has had a rather quiet existence in other disciplines the decades before.
In fact, the drawing – in particular in the conceptual art in the 1960s and 1970s – was primarily a first formulation of ideas and models as well as a preparation for something subsequent – and by this the most physical and visible that remained of many ideas.
The autonomous drawing with a strong tendency to figurative and corporal objects is rediscovered by artists in the late 1970s and 1980s. Since that a huge amount of opportunities has been developed by artists and have been shown in the topic of drawing. They are constantly extended in the use of media and by means of used material.
The present drawing can therefore take a variety of shapes and forms. Pencil, crayon, ink or charcoal are no longer reserved for drawing exclusively. Substrates and materials – like mirror, plexiglass, exhibition walls or projection surfaces – that are activated with new media or overlaid with glowing neon, are added to well-known carriers such as paper, cardboard or canvas. Large size drawing installations accentuate the way from the sketch pad and the hand-, arm- and bodymovement into the room. Other areas like animation, drawing reports, photographs, scientific drawings, notations, diagrams, engineering drawing or topographical drawings are currently part of the scope of the drawing, helping to be no more small-sized, quiet and perceived in some eyes to be secondary about the painting.
So how can our interest to a drawing exhibition at Kunsthaus Baselland can be described, which enters no overview of a medium, but is intended to enable a search for clues at a specific aspect? The first interest is the priority, which occupies the drawing in the work of the selected artists. Where does it stand within the working process and where it leads necessarily. What is the appearance and texture of the drawing within the respective work of the invited artists? But also: How is drawing used within the artistic creativity? Is it the leading resource to knowledge, the visualization of thought processes and instructions? Is it an expression of a pictorial poetry, invention, visualized memory, an image generator, an appropriation or narration, a blueprint that leads to paintings, sculptures or installations?
Despite the diversity of the united artists – with a few exceptions – almost all have in common that they made drawing to their primary artistic process or use it as a precondition for further artistic steps.
The subtitle Von Basel aus explains the direction of view that we have taken. In concentric circles we look at the work of certain artists varying years at home and abroad, whose collection of drawings represent a direction within the broad field of (graphic) options, and put a strong emphasis on those illustrators, who work in Basel. Some are represented with works from the 1980s or 1990s, and with very recent works. Others have developed new works at the place and for the place.
To the exhibition at the Kunsthaus Baselland two other aspects are of importance – the publication and the accompanying program. The publication, which was developed together with Georg Rutishauser and is puplished by edition fink, Zurich, includes numerous texts and discussions with the artists to deepen the respective work. The image part gives – through the newspaper format – the chance, to see more drawings and works that are mostly not seen in the exhibition, in large format – very close to the original.
For the accompanying program we have invited artists whose work can also be seen in the exhibition theme. During the symposium days, which are dedicated to the drawing, their works respectively their artistic concept will be introduced and presented within the existing exhibition. The exhibition will be overridden by an active part and will given space to the dynamic. Artists and cultural workers are Susanne Fankhauser (Basel), Franziska Furter (Basel), Martina Gmür (Basel), Julia Marti and Milva Stutz (Zurich / Lausanne), moreover, there is a concept of Anna Albisetti (Zurich ). All of this will make the exhibition, the program and the pulication to something special.*
*An excerpt from the introduction to the exhibition catalog Überzeichnen. Über das Zeichnen. Über das Zeichnen hinaus by Ines Goldbach. Original language: German.
Anna B. Wiesendanger, Boris Rebetez, Bruce Nauman, Bruno Jakob, Cécile Hummel, Claudia und Julia Müller, Eric Hattan, Fred Sandback, Jürg Stäuble, Karim Noureldin, Lena Eriksson, Maja Rieder, Miriam Sturzenegger, Robert Estermann, Silvia Bächli, Stalder Anselm, Therese Bolliger
18 September - 15 November 2015
Curated by Ines Goldbach together with the artist Cécile Hummel.
Curatorial Assistant: Eva Falge.
There is a lot of been said about drawing of present. It is the most origial artistic media, autonomous, spontaneous, direct, process-authentic, by their process closer to the artist than other disciplines. Since years a renaissance of drawing is attested, which suggests that the drawing has had a rather quiet existence in other disciplines the decades before.
In fact, the drawing – in particular in the conceptual art in the 1960s and 1970s – was primarily a first formulation of ideas and models as well as a preparation for something subsequent – and by this the most physical and visible that remained of many ideas.
The autonomous drawing with a strong tendency to figurative and corporal objects is rediscovered by artists in the late 1970s and 1980s. Since that a huge amount of opportunities has been developed by artists and have been shown in the topic of drawing. They are constantly extended in the use of media and by means of used material.
The present drawing can therefore take a variety of shapes and forms. Pencil, crayon, ink or charcoal are no longer reserved for drawing exclusively. Substrates and materials – like mirror, plexiglass, exhibition walls or projection surfaces – that are activated with new media or overlaid with glowing neon, are added to well-known carriers such as paper, cardboard or canvas. Large size drawing installations accentuate the way from the sketch pad and the hand-, arm- and bodymovement into the room. Other areas like animation, drawing reports, photographs, scientific drawings, notations, diagrams, engineering drawing or topographical drawings are currently part of the scope of the drawing, helping to be no more small-sized, quiet and perceived in some eyes to be secondary about the painting.
So how can our interest to a drawing exhibition at Kunsthaus Baselland can be described, which enters no overview of a medium, but is intended to enable a search for clues at a specific aspect? The first interest is the priority, which occupies the drawing in the work of the selected artists. Where does it stand within the working process and where it leads necessarily. What is the appearance and texture of the drawing within the respective work of the invited artists? But also: How is drawing used within the artistic creativity? Is it the leading resource to knowledge, the visualization of thought processes and instructions? Is it an expression of a pictorial poetry, invention, visualized memory, an image generator, an appropriation or narration, a blueprint that leads to paintings, sculptures or installations?
Despite the diversity of the united artists – with a few exceptions – almost all have in common that they made drawing to their primary artistic process or use it as a precondition for further artistic steps.
The subtitle Von Basel aus explains the direction of view that we have taken. In concentric circles we look at the work of certain artists varying years at home and abroad, whose collection of drawings represent a direction within the broad field of (graphic) options, and put a strong emphasis on those illustrators, who work in Basel. Some are represented with works from the 1980s or 1990s, and with very recent works. Others have developed new works at the place and for the place.
To the exhibition at the Kunsthaus Baselland two other aspects are of importance – the publication and the accompanying program. The publication, which was developed together with Georg Rutishauser and is puplished by edition fink, Zurich, includes numerous texts and discussions with the artists to deepen the respective work. The image part gives – through the newspaper format – the chance, to see more drawings and works that are mostly not seen in the exhibition, in large format – very close to the original.
For the accompanying program we have invited artists whose work can also be seen in the exhibition theme. During the symposium days, which are dedicated to the drawing, their works respectively their artistic concept will be introduced and presented within the existing exhibition. The exhibition will be overridden by an active part and will given space to the dynamic. Artists and cultural workers are Susanne Fankhauser (Basel), Franziska Furter (Basel), Martina Gmür (Basel), Julia Marti and Milva Stutz (Zurich / Lausanne), moreover, there is a concept of Anna Albisetti (Zurich ). All of this will make the exhibition, the program and the pulication to something special.*
*An excerpt from the introduction to the exhibition catalog Überzeichnen. Über das Zeichnen. Über das Zeichnen hinaus by Ines Goldbach. Original language: German.