Künstlerhaus Dortmund
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drop me a line

Line . Character . Text .
 

8 March - 13 April 2014

Opening on Friday, 7 March at 20:0h



The exhibition drop me a line posits drawing as an immediate means of personal expression, a conveyor of narrative and first-hand experience, and as a reflection of social and political conditions. Wall-filling installations, digital design, and graphic work on paper and china are just some of the approaches the exhibiting artists employ; others include obsessive and repetitive fineliner work, fragmented and collaged text, as well as books that have been delicately sliced with a scalpel. Abstract or pictorial, text or image, marked or cut, no technique, style or scale is off limits.
 

Participating artists:

Evelyn Bracklow
Stephanie Brysch
Jürgen Eisenacher
John Franzen
Juliane Laitzsch
Matthias Reinhold
Karen Scheper
Barbara Wrede

 
> Radio report by Dorothea Breit on WDR 5 / Scala (in German)



Evelyn Bracklow


Chitins Shine, Detail

Detail, china-paint on china “Like a scream’s melody, like a brilliant blaze on black chitin, the objects of the series Chitin’s Shine possess a seductive terror.”
Chitin’s Shine is the first series of china objects by Evelyn Bracklow, which she populates with tiny life forms.
Dark, glittering blotches appear to spread over the glaze of the old china, intruding on ornamental flower decorations, covering golden rims and flitting between the concave and the convex. On closer inspection, however, they are more like ants with shining chitin armour bustling around the pristine white china, drawing new lines and cutting their own individual paths. www.laphilie.com



Stephanie Brysch


Take the Boat, 2010, from the work series: Dialogue with a Comic, photo source: Annika Schmermbeck

Stephanie Brysch works both on and with paper. She gently folds and cuts the delicate material, employing origami techniques or dissecting with a scalpel. Blank sketchbooks become filled with three-dimensional scenes from world affairs and characters from graphic novels are stripped from their contexts and re-imagined in new scenarios. Flying figures from an old Donald Duck comic gather together on two pages, as is so common in the real world, they fight for a safe passage in a dangerously overcrowded airspace. “Yikes! Help!” they scream, “We are flying!”
In the book-object, Take the Boat, Brysch combines her own pencil drawings with found text elements.. In the same way as a soundtrack dramatizes the protagonist’s actions in a movie, Brysch approach generates a dramatic art that pits survival against certain doom on the high seas. www.stephanie-brysch.de



Jürgen Eisenacher


Händler I, Graphite and Marker on Paper, 195cm x 150cm, 2006 
 

"The grotesque may amuse and frighten at the same time, appear ludicrous, absurd or uncanny. The exaggerated, partly bizarre figures in Jürgen Eisenacher’s new paintings also arouse abhorrence and pity at the same time and subtly touch the subconscious. He uses this aesthetical category to formulate the unspeakable and gain space for painterly innovation. (...) In his recent drawings and paintings Jürgen Eisenacher explores European colonial rule over Africa and its consequences. Both, black Africans and white conquerors are captured as deformed characters; these with large wide eyes or mice ears, those with a hollow gaze and large noses. Transformed cliché images confuse the viewer, without agitating him politically." (Susanne Burmester, Galerie Susanne Burmester, Bergen)
www.juergeneisenacher.de


John Franzen


Close up each line one breath and Each line one breath  N° P 12/50, 125 x 125 cm, Fineliner on 650 grams Saunders & Waterford paper
 

„... When I draw, I draw the void. Not the line. I focus on the nothingness around the line. It is a sort of meditation. My mind is clear. My focus is on the mere moment. There is only this one moment. Every time the same moment. Everything else is still. Never thoughts are louder and feelings profounder than in this moment. My mind transcends into bare presence. Personality becomes formless and nameless. With each breath the emptiness is filled more and more. With every line I get closer to my real origin…"
„Each line one breath titles a limited edition of 50 freehand drawings per material. It becomes on an artistic and graphic interpretation of evolution through the use of simple drawn lines." www.johnfranzen.com




Juliane Laitzsch


The Garden Squared , Museum Pfalzgalerie Kaiserslautern, 2011, Crayon on paper, 59,7cm x 42cm

The starting point of Juliane Laitzsch’s drawings is her preoccupation with the collection of handcrafted objects of the Pfalzgalerie Kaiserslautern. The invitation to an exhibition in 2011 lead to her developing a new visual discussion of the garden as an enclosed space, which is defined either by fence, hedge or wall. These works have developed into a free adaptation and graphic reaction to the earthen or china showpieces of the collection of applied art, which are decorated with naïve scattered flowers or floral patterns. Laitzsch captures their structure and ornamentation in her drawings, moving between representations of the untamed wilderness and nature subdued by the gardener and the strict order of the ornament on the three-dimensional and artificial object. She explores the image drawn by nature, creating a graphic reflection of it. www.juliane-laitzsch.de
 


Matthias Reinhold


Federball, 2011
 

English coming soon!
„Die Arbeiten von Matthias Reinhold deklinieren in ihrer grafischen und oft auch raumbezogenen Ausrichtung eine potentiell unendliche Vielfalt von tonalen Mustern und freien ikonographischen Assoziationen (...) Aspekte automatischer Schreibweisen und freie Improvisationskultur verfließen in seinen Arbeiten auf oft ganz unangestrengte und eigenständige Art und Weise mit analytisch-abstrakten Herangehensweisen. Reinholds Methodik ist in jedem seiner Schritte ebenso einem romantischen Prinzip des Organismischen und Informellen verpflichtet wie auch einem rationalen Kalkül, das nach Wirkweisen und formalen Zusammenhängen sucht. Seit 2007 arbeitet Matthias Reinhold in dem Projekt 'Ikonolog' an einem ganz zentralen Punkt der Wahrnehmungspsychologie, nämlich der Frage, wie die retinale Ebene reiner Abbildung und die sprachliche Ebene der Bedeutungsinhalte im Wahrnehmungsprozess zusammenhängen. 'Ikonolog', zusammengesetzt aus 'Ikon' – Bild, Zeichen und 'Logos' – Wort bezeichnet genau diese Problemstellung. 'Ikonolog' meint aber auch das Strukturprinzip eines 'Weblogs', eine assoziativ-mäandernde Endloskette aus Bildern, das auf ideale Weise die metamorphotische Wirkweise der Eidetik spiegeln kann." (Alexander Roob, Professor für Freie Grafik und Malerei an der Kunstakademie Stuttgart)
www.ikonolog.de
 

 
Karen Scheper


KWATSCH 2011,Drawings, objects, mural drawings/mixed media, Installation view, detail © VG Bild-Kunst, Bonn 2011
 

“In her artistic work, Karen Scheper develops universes of texts and signs and generates [black and white] objects and extensive assemblages. The visual structures of her works merge with written information fragments and the quintessence of scientific curiosity towards complex associative fields, which (often) circle around the fundamental contradiction between subjectivity and scientific impartiality. […]
The safety of the physical and intellectual space of action is shaken, the motto is: KWATSCH. Scheper is not suggesting a nonsense, but rather a significant sound: the precarious trudging around in every construction of temporality and the silent stumbling in a space/time continuum which has already left the terrestrial field of gravitation.” From: “wurmloch oder der versuch, krümmungen gerade zu biegen” [“Wormhole or the attempt to straighten curves”], Kunstverein Tiergarten / Galerie Nord, Berlin 2011, Text: Ralf F. Hartmann / Karen Scheper.
www.karenscheper.de



Barbara Wrede



From the work series: A Country Outing, Collection of Saxony-Anhalt,© VG Bild-Kunst, Bonn 2013, photo source: Robert Patz
 

Barbare Wrede used the stipend she received from the German federal state Saxony-Anhalt in the Künstlerhaus Salzwedel to keep a pictorial text-journal. In the series entitled A Country Outing – News from the Little Venice of the Altmark, she uses 52 separate sheets of paper to document her three-month stay. The handwritten texts are accompanied by aquarelle drawings, which, in spite of their obviously illustrative character, have a unique aesthetic sensibility. The events recorded by the artist are only semi-private; instead of intimate confessions, rather more mundane (sometimes even banal) observations are collected. […] Titles like ‘Longing’ or ‘Social Contacts’ nevertheless generate expectations that we might learn something personal about the artist, which the short texts barely fulfil. […] Wrede does not reveal her different sources but places self-experienced, observed, read or overheard situations side by side.
(Excerpt from the catalogue text: “Von Tagebuch bis weblog” [“From diary to weblog”] by Dr. Isabell Schenk Weininger, Director of the Städtische Galerie Bietigheim-Bissingen.)
www.olompia.de



Concept and Organisation: Anett Frontzek, Peter Schmieder
images ©: the artists (if not stated otherwise)
exhibtion views ©:
photos opening ©:

Kindly supported by:
Kulturbüro Dortmund, Sparkasse Dortmund, DEW 21