See the fourth painting I ever ordered my copyist, the first one I received not having a buyer first, and the best of all.
See this fine piece on the right of eleven, in transparent plastic sealed, drawn-over prints, that can’t beat it.
See it quickly tacked on a wall, in the epicenter of berlins southern gentrification, almost floating in ambivalence, impassive to party lights, scaring a lonely plant.
Now look closer and see a holy trinity, music behind, negotiating with an alien, upwards pentagon. Or see the Merseburger Straße 108, oil and crayon on canvas, 80 × 56 cm, unsigned.
The photograph, tilted in harmony with the overall insult of my presentation and whose lower edge so curiously aligns with a left vanishing point is by associate Silvia Halfter.
Following an invitation I sent on the occasion of the exhibition ‘Interieurs’ (see post below), I was asked by an architecture student about renderings I did some three or four years ago, of the model you see above: a proposal for the exhibitions pavilion at the Postdam University of Applied Science.
In return I got this photograph and some more I always wanted to have.
The model was built by Markus Lemcke, Alice Geletey, Benjamin Hunold, Robert Saling and Simon Heller.
The photograph is by Markus Lemcke.
I did renderings and delivered drawings for the laser cut.
And thanks Marie for getting in touch and being.. the muse of all of the above.
This -quite literal- round table animation is a promo for the upcoming exhibition ‘Interieurs’, opening the 14.03.2014 in:
o.T. Projektraum ///// Weichselstraße 55, Berlin
Have it played to ‘Death of a Ladies Man' by Leonard Cohen for added drama and because it fits the length of the clip and other circumstances so nicely.
Expatiating on the format, I would have liked to call this a ‘backdrop clip’, but a quick search in google informs me the term is already taken, meaning something quite different.
Anyways, let a backdrop clip -in my sense of the term- be a clip played with no prior announcement, on a projection screen, in a place else intended primarily for purposes other than watching clips.
Like so called visuals, a backdrop clip has no credits, but is usually shorter, slower and more subtle. Unlike visuals, a backdrop clip has indeed a fixed, programmed soundtrack which, according to the description I am giving, and unlike the graphic content of the clip, will be consumed in its totality by the audience. For this reason, backdrop clips usually have bombastic sonorous beginnings, as its sole, lone attempt to catch the glance of the audience.
I’m doing preparations to work on a wall, doing a ‘tape-mural’ - I guess that’s a right word for it - And I’m using the picture above as guidance.
Parallely and related to this on-going work, my business partner started running a covert operation in jux, for the wealth of us. There I have seen some late versions, old and new, of pictures I drew in interiors.And I saw a special offer there too, even as I browsed through the pictures and came to the end. And that offer startled me a bit, to see it there, hidden but public, that I want to.. I quote, “draw ‘in your place’”.
So who’s place?
Adding to the atmosphere, let me tell you that this one very clear offer is pronounced, even as it stands, side by side, with a gritty over-saturated and over-contrasted, even yellow-revealing, self-portrait.
Anyway don’t fall for it yet and be sure to see it for real first. At the opening, the 14th of March 2014, at 8 pm.:
o.T. Projektraum Weichselstraße 55, Berlin
One week ago we had the third module of our drawing meetings. And then it repeats all over again in iterations, until it changes again.
EN: Never trust an artist who is afraid of computers. ///// The aesthetics of failure. The aesthethics of mistake. ////// How does honesty or ‘the search for truth’ relate to the practice of drawing. ///// What digital operations can improve our ability to convey a message? What analog processes are still unmatched by digital tools?
DE: Traut niemals dem Künstler, der Angst vor dem Computer hat. ///// Die Ästhetik des Scheiterns. Die Ästhetik des Fehlers. ///// Wie bringen wir Ehrlichkeit oder “Die Suche nach der Wahrheit” in Zusammenhang mit Zeichnen? //// Welche digitalen Operationen verbessern unsere Fähigkeit, eine Botschaft zu vermitteln? Welche analogen Prozesse sind noch unübertroffen von digitalen Werkzeugen.
Merseburger Str. 88b +++ 04177 Leipzig +++
This is the last drawing I did saturday in HanDstand und Moral.
In ‘Drawing F.' the model is chief. Or so it is supposed to be. Unfortunately it was a bit cold and we'll have to work on that and make it cozy.
I’ll keep on posting these in jux.
EN: I suggest that the the most important object of representation, for the human, is the human itself. I suggest, that with consciousness, the individual self-understanding is an important locus of exploration and creativity. ///// Our perception of human features has a higher degree of finesse than our perception of any other object. //// The human figure. Nudity and its profound meaning. The portrait as the ultimate genre of static visual art.
DE: Ich behaupte, dass für den Menschen die Darstellung seiner selbst, insbesondere seit der Entstehung des menschlichen Bewusstseins, zum wichtigsten Thema wurde. ///// Unsere Wahrnehmung der menschlichen Züge ist um ein Vielfaches feiner als unsere Wahrnehmung irgendeines anderen Objekts. //// Die menschliche Gestalt. Nacktheit und ihre tiefere Bedeutung. Das Porträt als ultimatives Genre der statischen bildenden Kunst.
Between ‘Raum’ and ‘Analog-Digital-Analog’ there will be time to concentrate and relay, drawing nudes or almost nudes, saturdays starting at 3pm in:
Merseburger Str. 88b +++ 04177 Leipzig +++
Yesterday my partner tried in vain to hang pictures of ‘The Berlin Report Vol. 1’ in a place called ‘Cafe am Kamin’ (Kreuzberg, Berlin)
The prints were not framed in a conventional way but they sure had a generous white border. And that should have been enough. But the chief seemed more interested in frames than anything else and she woudn’t allow my partner to hang anything. Not even such a bearable, innocent picture as the one above: a salubrios sunset with no underhanded motives.
My partner did the right thing, they won’t frame us so easy.
His name is ‘Romeo' and he is my property.
I’m being explicit about the ownership matter as I’m supposed to give notice of my work in here. And while it is true that I made him in as much as he made me, I was already a benumbed adult as he came on a train from Leipzig to Berlin, not more than a kitten back then, still unformed and easily impressionable.
Now a young adult, Romeo lives a lonely cat life in Leipzig again, resisting temptations of a succesful career in advertising, even as he gazes deep beyond the skyline on his window sill. Or lost in thought as in the picture above, unaware of the limelight, refusing to sell Dolce & Gabbana accesories in a matter of seconds.
The photograph is by artist Pawel Podolak, who also made a wonderful toy for him I might upload one day here for all of you to see.
Last weekend I started coordinating a drawing workshop in:
Merseburger Str. 88b +++ 04177 Leipzig +++
This is the general call:
EN: Training in drawing give us the ability to communicate more precisely. ///////// While learning drawing we will build on knowledge that is already available to us. We may feel this knowledge is inside us, and by drawing we are transfering it from the passive realm of memories into the active realm of illustration. Or we may feel it is outside us: drawing happens when the ability of our mind to recognize is put in to work by the ability of our body to describe. //////// In the ideal case drawing should be a process of understanding and not just a process of imitation.
DE: Das Zeichnen verleiht uns die Fähigkeit genauer zu kommunizieren. //////// Man kann davon ausgehen, dass in jedem die Grundlage für das Zeichnen steckt. /////// Während des Zeichnenlernens werden wir auf Kentnisse, die bereits vorhanden sind, aufbauen. Wir können den Eindruck haben, dass diese Kenntnisse uns innewohnen, und beim Zeichnen transferieren wir diese vom passivem Reich des Erinnerns zum aktiven Reich des Darstellens. Oder wir suchen außerhalb unseres Körpers: die Kentnisse sind da draußen und die Fähigkeit unseres Körpers, zu beschreiben, setzt die Fähigkeit unseres Geistes, zu erkennen, in Zeichnung um.
They take place three saturdays a month, starting at 3pm. Each saturday a different module. The first one is called ‘Raum’:
EN: Space perception and space description. //////// How do we perceive space? What sensations can we identify as being related to space in one way or another? //// What are the limitations and paradoxes of the bidimensional space?
DE: Raumwahrnehmung und Raumdarstellung. //////// Wie nehmen wir Raum wahr? Welche Art von Empfindungen können Raumverhältnisse in uns bewirken? ///// Welche Limitationen und widersinnige Aspekte hat der zweidimensionale Raum?