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ANONYMOUS DRAWINGS archive selection 2009, 06.02.09 - 21.02.09

ANONYME ZEICHNER (Anonymous drawers) is an artproject initiated by Anke Becker. Under the pseudonym bluetenweiss, 9 exhibition in changing institutions took place since 2006. Now the ANONYME ZEICHNER are having their first show at a gallery. Like this, the project enters the territory of the art market, which it has been critically questioned so far.

The general exhibition preparation starts with an international call to participate on the Internet. No demands are being made; age, biography or heritage of the originator do not play any role. From the
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aproximately 1500 transmittals, a selection of works is chosen by bluetenweiss. Through these exhibitions since 2006, an archive of around 500 selected drawings is arisen. In the exhibition ANONYME ZEICHNER archive selection 2009, a selection of 100 anonymous drawings from this archive will be shown.

The exhibioned drawings are for sale for a symbolic unity price of 200 . The artists will receive an amount of 100 and the other 100 will go to the gallery fruehsorge contemporary drawings and bluetenweiss to realise further exhibitions and projects. The given price should not be seen as a real market price, but as a placeholder for any conceivable amount of money. Because the works are from both established artists and laymen, it is expected from the viewer to draw his own line between art and not-art. Common, art specific mechanisms like the importance of an artists` ego, price formation or prepared qualities which can be refered to a specific art context, should be reversed in this exhibition in an experimental way: the artists engage themselves to put their own person into the background for the benefit of the actual product, their artistic work.

Bluetenweiss will publish a catalogue for the exhibition with anonymous selected black and white images in a limited edition. It can be purchased for the amount of 10 during the exhibition or it can be ordered at the homepage of bluetenweiss:

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CUT OUT- Mit dem Messer Zeichnen 27.2. – 19.4.2009

The exhibition “CUT OUT- to draw with the knife“ approaches the papercut as symptomatic of the contemporary development for the actual expansion of the term of drawing. The principal of the line is not anymore bound to the surface plane but has liberated itself. With the cut-out process the drawing obtains a spacial and sculptural component, which is of big interest in this exhibition. With the five very different artistic positions - Philip Loersch, Charlotte McGowan-Griffin, Frédérique Lucien, Hansjörg Schneider and Ed Pien – the medium presents itself in a spectrum and sovereignity, totally emancipated from its arts and crafts tradition.

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The two artists of the exhibition „sgniward/sngis“ Katrin Ströbel (born 1975 in Pforzheim, Germany) and Ben Ktuisdijk (born 1981 in Zaandam, the Netherlands) deal with the variety oflanguage systems and their subjective meanings and interpretations. By combining several existing sign systems, they create in their work a new language, which shows the width of interpretation possibilities.

Katrin Ströbel therefor uses the variety of signs, which can be found in the city space. She analyses the graffities on the walls and captures them in scheme-like drafts on paper. In her collages graffitis from various countries and cultures merge into another. Like this arabic signs stand next to the classical graffiti-ballon-writing, two dimensional next to three dimensional signs and clearly readable words are followed by hieroglyph-like or blurred lettering. Through this abstract unitized way of working, floral or labyrinth-like carpets arise and hover over walls and ceilings. These cultural superimpositions are also thematized in her series „Marabouts“, where flyers from fortunetellers and life-advisors, with which people from other cultures on airports should be trussed, are collected and processed. The clash of different language- and religious systems are the focus of interest, which inspired her to this project.

Ben Kruisdijk’s language systems are more of scientific kind. In his series „etched x-ray drawings“ he uses x-rays and combines these with analysing drawings from biology. Like this a skelleton of a hand graps a flower and life and death meet each other. Kruisdijk also refers to fantasy, which can become reality through human being. Things that seem to be real or scientifically proofed, could also just be a connection of realities which become real like this. Also the connection of mathematic discoveries with scientific phenomens are accosted. In his drawings, the yellow papers with cursive handwriting titles seem like imitates of the earliest ways of documenting research results.

Both artists use a palimpsest-like technique by wiping out their analyses and overwriting them; a way to show the scientific process. Like this, the specific drawing systems that Kruisdijk and Ströbel have integrated in their drawings, can only be seen through a precise analyse.


DOT DOT DOT or also (...), the title of the exhibition describes the main characteristics of the works of the two artists Olivia Seiling (born 1972 in Beckum) and Jasper Sebastian Stürup (born 1969 in Frederiksberg). DOT DOT DOT stands for the gap in a text or in this context for the omition of important details of the represented people.

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Olivia Seilings portraits deal with self exploration or with the analysis of mimicy from friends and relatives. She is fascinated, not by strong emotions but by little, spontanous gestures, which she captures before they fade irretrievably. The gestures are minimal and so the drawings that arise are reduced and outlined. They are mainly contours, which reduce the drawing to two-dimensionality. Like this, Seiling extracts single moments out of a complex continuum. Through a specific omition, the viewer manages to recognize the whole human being in spite of the reduced drawing. Seiling works not only on two dimensional surfaces but also explores the space with her overdimensional portraits on plastic sheeting, which because of its transparency, seem to merge with the room. Her analysis also takes place on video. For example in her video "She proves her interface and marvels over her mimic animation of her interactive surface" Seiling works with a face grid that reminds one of a scientific experimental practice.

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Jasper Sebastian Stürups handling of gaps are more obvious. His figures, which have their source in films and the music scene, principally lack their face. But because of the effect of recognition they seem to be completed. His graceful, accurate lines create compacted fields of lines next to white fields, that substitute the face. Stürups use of colour is also various and contrastful: sometimes strong colours fill the created fields, sometimes the lines are flooded with light watercolours, through which parts of the figures shine through, sometimes his works are reduced to only line. Stürups drawings seem like scraps/snatches of memories from dreams, which underly the phenomenon that often facial details escape the memory. This feeling is fortified by the special effects that Stürup creates with colour. Black stains on the drawings stand for the black holes in the otherwise complete context, the blizzard like surroundings stand for strong, insistant memories and the labyrinth like lines which surround the people in some drawings, stand for the feeling of confusion due to the incoherent context of a dream.

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12 art critics select drawings.
A curatorial experiment: we invited 12 art critics for a group show, asking each of them to nominate one artist, living in Berlin and working mainly in the field of drawing, who recently grasped their attention. The watchlist principle in a particular configuration.There was no limitation to the critics in terms of subject matter or drawing technique. This mode of choice produces a snapshot of the medium in its variety. It hereby enables the viewer to see manifold technical approaches as well as how drawing today is connected or disconnected to current theoretical discourses.

fruehsorge contemporary drawing has been focussing on the medium since 6 years always trying to convey an overview about recent developments, if this is possible at all.

With this show we wanted to add another – the art critics - perspective to our own, which sometimes might look for the too obvious or is too much guided by questions of personal taste. We are curious and invite you to discover what the reversal of roles, the critic turned curator will end up to.

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FRANK BADUR - Why Pattern? 31.10.09 – 8.01.10

The galleries Hamish Morrison Galerie, fruehsorge contemporary drawings and Jordan Seydoux — Drawings & Prints are pleased to present three exhibitions by the artist Frank Badur on the occasion of his 65th birthday.

Frank Badur who was born in Oranienburg near Berlin lives and works in Finland and Berlin. Since 1985 he works as a professor for painting at the „Universität der Künste“, Berlin. His oeuvre was shown in numerous international institutions (Malmö Kunstmuseum, SE, Mondriaanhuis, Amersfoort, NL , Museé de Cambrai, F, Museum of Modern Art, NY, USA, etc.) and is present in many important collections (Deutsche Bank, Frankfurt, Neue Nationalgalerie, Berlin, Museum of Fine Arts, Houston, TX, USA, etc.).

Although at first glance he may seem to be a representative of geometric abstraction, Badur is an artist who can by no means be pigeonholed merely as a devotee of Concrete or Essential Art. A vital, sensual delight in colour and line run through all of his work. In painting he takes on issues of dimension and proportion, investigating the tonality and intensity of colours in more ore less rigidly ordered fields and stripes. On paper by contrast, free-form lines alternate with clear grid structures, creating compositions with virtuoso rhythms.

The new exhibitions bear witness of Frank Badurs mastery of geometric abstraction as well as of his ability to express his unique concept of colour and light in his work. In his new paintings large and small sized works are combined and develop a vivid dialogue. Badur presents a new intense colour palette, in which he especially experiments with tones of red.

In the centre of the exhibition at fruehsorge contemporary drawings is the presentation of a new drawing series “Reflections on the Eisenman Grid”. In this cycle of 24 works Badur reflects on the formal structures of the “Memorial to the Murdered Jews of Europe” by US architect Peter Eisenman.

Since many years Frank Badur is particularly interested in graphic art and experiments with different techniques (etching, screenprint etc.). On the occasion of his exhibition at Jordan Seydoux the artist has edited a new series of six wood cuts. Especially for this body of works the graphic studio Tabor Press has developed a new printing technique with MDF (medium density fibreboard) boards, which enables the artist to produce special colour applications.

Parallel to the three exhibitions a new catalogue on the oeuvre of Frank Badur is published by “Kehrer Verlag” publishers, with texts by Hubertus Butin and Christian Rattemeyer. A limited edition of 100 catalogues will include a signed print by the artist.

We are very pleased to be able to present Frank Badurs broad range of new works in his hometown Berlin in such a comprehensive way that has had no predecessor.
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