fruehsorge contemporary drawings
La galerie que dirige depuis trois ans Jan-Philipp Fruehsorge est la seule, à Berlin, qui soit entièrement dédiée au dessin contemporain.En ce moment il présente, jusqu’au 25 octobre, un accrochage au titre très “tendance” : Nowhere Is Here.
Voici (en anglais, hélas !) le texte du dossier de presse que nous a transmis fruehsorge contemporary drawings :
Nowhere is here is curated by Kate Mcfarlane and Mary Doyle, codirectors of The Drawing Room, London and taps into the capacity of drawing to capture the contingent quality of the natural environment and our complex relationship with it. The artists hail from different parts of the world including Finland, Israel, Switzerland, Botswana and England and all are establishing international reputations. Each brings a different relationship to the natural environment, be it imagined, experienced or remembered, emotional or dispassionate. The artists use drawing to create hybrid worlds that could suggest a repositioning of our relationship to nature and society.
Axel Antas spends time with the natural environment, interacting with it in unconventional ways and then using photography and video to record his observations and interventions. Drawing forms a significant strand of his practice and he uses the resistant medium of the HB pencil to translate these photographic representations into drawings that possess an uncanny resonance of human activity which nonetheless eludes the viewer.
Nogah Engler shares a tangible relationship with the natural world – but it is more emotional than physical. Alternating between the mediums of drawing and painting she uses landscape and nature as metaphors for expressing experiences that deal with memory and history.
Franziska Furter uses pencil, ink and paper to make large scale drawings and sculptures which often use Manga as a starting point. This imagery is dramatically altered as different settings are morphed and signifying features such as figures and speech bubbles are removed and the resulting image is subjected to a dramatic increase in scale.
Reece Jones enacts a very physical relationship with his heavily worked charcoal drawings that are created through a process of drawing and erasure. Tapping into a huge picture archive Jones marries both man-made and natural environments to create stage sets for dramatic incidents.
Damien Roach’s practice spans drawing, watercolour, collage, video and sculpture but is characterized by a particular attention to form, colour and the visual quality of materials. He elevates the status of the overlooked and forgotten through his subtle juxtaposition of objects and images to question our perception, knowledge and value systems.
jan-philipp fruehsorge
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Les dessins sont remarquables !
Merci de m’avoir permis de les admirer d’un peu plus près en cliquant sur le site de la galerie.
Bien cordialement.
Bernard
Oui, c’est d’une très grande qualité. Et, pour tout dire, je préfère lorsque les commentaires sont enthousiastes et que les posts nous permettent de découvrir le travail d’artistes brillants plutôt que de pousser - entre nous - la complainte des laissés-pour-compte de l’AC !!…
Il paraît que le nombre de galeries à Berlin dépasse les 400 - difficile à croire que ce soit la seule “entièrement dédiée au dessin contemporain”. En tout cas, merci de nous l’avoir présentée!
it is actually right, the number of galleries is increasing every week.
I haven’t counted them, but 400 at least some sources say.
fruehsorge is indeed the only one exclusively dedicated to drawings. since a couple of months jordan/seydoux joined us- but they also show prints, which we don’t.
appologies for writing in english, I don’t dare to bother you wih my bad french language skills.
À Werner Pfarr :
Merci d’être un lecteur attentif et exigeant du Blog du Dessin Contemporain.
Votre serviteur
Thank you very much for your swift reaction, Jan-Philipp, it is very much appreciated.
Maybe we can hold you a little longer in this discussion and ask a few questions…
For example, how do you experience the discrepancy between, on the one hand, the fact that (more or less) all artists - be it painters, sculptors, new media artists etc. - express themselves also in drawings, and on the other hand, the under-representation of the medium drawing in the commercial art world today?
Is it a chance for you, because you are almost “alone to exploit a niche market”, or does it rather make things difficult for you, because the drawing is less easy to find, is less sought-after by collectors and art journalists, is considered a minor art, and promises lower gains for both the galerist and the artist?
It is obvious that you are a drawing enthusiast, but how would you describe the position of the drawing today?
Dear Werner, your questions are indeed of crucial importance.
I remember reading an economic study on artworks price formation. It unveiled the influence of a certain number of basic (scandalously materialistic) factors: size of the object, variety of colours and degree of conservation. Drawings are usually small, dark-coloured and highly fragile. They just do not fit the taste of the market (which does not mean that they do not fit anybody’s taste).
Whether we want it or not, Artworks are now treated as a mere asset class, just like options, bonds or real estate. As such, they are subject to increasing speculation and the concentration of investments on the most popular artists and Art categories. Why bother selling drawings while you can sell paintings and earn considerably more money and publicity?
it is absolutely true, that from a purely materialistic market point of view drawing is deeply underestimated. There is no reason whatsoever why a drawing should have a lower price than a painting or a sculpture etc..
they might reach the top class ( drawings by jasper johns for instance are sold for over a million USD) but still compared to paintings of the same artists they sell for much less..
on the other hand there is an increasing appreciating of drawings in the artworld within the last 5 years. more and more young artists chose it as their medium. the number of exhibitions worldwide and the strong presence at artfair is a significant proof of this shift in the market.
and from my experience more young collectors seem to be interested and are intrigued by the qualities of works on paper.
(Quoting Jan-Philipp: Appologies to you all for writing in… english…
Many thanks for your prompt “mise au point”: we are proud to have you with us, you, the-one-and-only contemporary drawings gallery in Berlin.
Welcomme, gentlemen, to the chic (low gains) club of drawing addicts. And, as Maxime is saying - himself quoting Werner - your questions are indeed of crucial importance!
Here we have Werner’s “sniper question”: how do you experience the discrepancy between, on the one hand, the fact that (more or less) all artists - be it painters, sculptors, new media artists etc. - express themselves also in drawings, and on the other hand, the under-representation of the medium drawing in the commercial art world today?
C’est une excellente question - et la raison d’être de ce Blog, de notre Cercle et des projets “dans le réel” que nous commençons à préparer pour 2009.
It is a real pleasure to have you here, soyez les bienvenus !
J’écris pour ne pas tomber :
Tendue sur un fil entre deux échassiers
Un héron sauvageon et un troteu boiteux et peureux
J’ai peur d’eux
Que l’un glisse, qu’il me blesse, qu’il réveille ma faiblesse
Et, que l’autre, s’emballe, tire le fil
Et trimballe
Le peuple de l’invisible, transparent
Et rêvant secrètement de lumière en vivant volet clos
Mur de l’asile comme seul arrêt à la cavalcade
Du lépreux, paresseux
En fait, le troteu
ALLES ZUZAMEN BRECHEN
Introduction aux corps cassés