Drawing Documents in Extra City,Kunsthal Antwerpen

Rinus Van de Velde

Drawing Documents presents recent artistic projects that explore the medium of the drawing in its relation to memory and the representation of history. Parallel to the widespread current artistic concern with history that focuses on the politics of historical narratives, and the ambiguity of photographic or filmic documents, a renewed interest has emerged in drawing as a means of recording reality and relating to past events. Found somewhere between the genres of history painting, writing, and visual documents such as photography and film, the medium presents unique possibilities and asks particular questions concerning the reception of reality and historiography.

Drawing Documents explores how drawing establishes new relations between the imaginative and the evidentiary. The works bridge the visible and invisible, image and text, subjective desire and inscriptions of the real, authorship and witnessing, individual and collective memories, imaginaries and experiences. Drawings, this exhibition suggests, create a distinctive space that allows us to survey the condition of historical consciousness, particularly in relation to the image-economies of present-day mass media.

For Drawing Documents, Rinus Van de Velde creates a new series of wall drawings. Over the past years, Van de Velde has used a vast personal collection of images as templates for his drawings, combining them with textual fragments that introduce subjective experience into fragmentary narrative scenographies. Although the artist has long been working with a fictional Alter Ego, he has recently begun to approach historical figures and enter into an imaginary conversation with them through his work. Christine Meisner works both in film and drawing. Her work is based on extensive historical research and traveling, which is then cast into the form of essayistic video-works and series of deviated drawings. In the new works presented in this exhibition, she focuses on the history of slavery in the United States, creating topographic maps that explore fugitive routes and communication systems based on specific literary accounts. In his practice of painting and drawing, Xisco Mensua refers to poetic, literary and philosophic sources from the twentieth century, creating tableaus that mobilize transient layers of the historical imagination. Musician and cartoonist Peter Blegvad will be represented with his long-term project Imagined, Observed & Remembered, a series of what he calls comparative drawings, conceived as an inquiry into the role of the “mind's eye”. Here particular illustrations and objects are depicted first as imagined, then based on actual observation, and after a period of time, once again from memory. Ivan Grubanov presents a new series of drawings and paintings. In his work, Grubanov explores political historiography and puts to the test what specific modes of representation, such as the monument, contain, thus traversing the distance between official and personal histories. Florian Zeyfang’s Transmission Attempts is the only video-work in the exhibition. The black and white animation is based on a montage of scenes from films by Harun Farocki/Andrej Ujica, Jean-Luc Godard/Jean-Pierre Gorin and Jean-Marie Straub/Danièle Huilliet.

19 November 2010 – 6 February 2011

Extra City, Kunsthal Antwerpen
Tulpstraat 79, BE-2060 Antwerp

Anthony Gormley: Drawing Space

Currently at the Museo d’Arte Contemporanea Roma (MACRO) until February 6, 2011 is an exhibition entitled Drawing Space. In the exhibition, artist Antony Gormley displays what appears to be an evolution of his artworks on paper. He also explores the relationship between his drawings have with the development of his sculptures. The show presents drawings and sculptures which demonstrate how line has migrated from the surface of the paper to physical architectural space.

The exhibition shows Gormley’s drawings from 1981 which are very diagrammatic. The artist created these drawings with black oil paint and charcoal, and then pinned paper to the wall. The exhibition then continues with the night landscapes of the 1990s, and concludes with the most recent linear works.

One particular piece that stands out and did a successful job with representing the concept of is entitled “Mansion”. The artwork is a visual metaphor for the interconnectivity of lines in a mundane drawing or sketch with an actual structure. Although the viewer sees a mere drawing and not a tangible sculpture, we can conclude that both a three dimensional (sculpture) and two dimensional (sketch) are present in “Mansion”.

When we look at the piece we can see that inside of the larger human being there is smaller individual. This inner human may serve as symbolic icon of a two-dimensional sketch; the smaller idea. The larger human represent the actual sculpture as the big idea that could not have existed without a blue print of the smaller idea (the sketch). In vice versa, the correlation between line and space is also vivid in these piece in the way that one cannot sketch a sculpture if the does not exist, and one cannot make such an accurate sculpture without the pre-planning of a sketch. Both three dimensional physical space and flat two dimensional surface space rely on each other in order to create some sort of final artwork.

Another work of art that also complies with the artist’s theme of the migration of line to a physical space from flat surface can be seen in the photo below. At first glance, the sculpture can be described as what appears to be static. There is no clear indication that helps the viewer decipher the image of the sculpture.

However, through a closer look at the structure we can see that there are smaller rectangular objects that contribute to the entirety of sculpture. While the overall contour of the sculpture itself is in a way robust, the details that contribute and make up the sculpture are very linear. Without the linearity of the details the sculpture would not exist in three dimensional space. Through this work of art Gormley provokes the idea that lines gain a sense of relief and freedom away from the weight of description. In other words, line is detached from the burden of having to create a clear description of a recognizable image. Furthermore, the linear qualities of the sculpture create an energetic atmosphere which gives life to the sculpture and helps activate the viewer’s recognition of space.

26 October 2010 - 6 February 2011

au Macro à Rome

Ensor et l'art contemporain

Le Musée des Beaux-Arts de Gand et le S.M.A.K. présentent ensemble l’exposition 'Hareng Saur: Ensor et l’art contemporain'. Cette exposition s’inscrit dans le cadre d’une série de manifestations, tant en Belgique qu’à l’étranger, en l’honneur du 150e anniversaire de la naissance de James Ensor (1860-1949). Elle se distingue en associant l’œuvre d’Ensor à celles d’artistes contemporains.

Hareng Saur: Ensor et l’art contemporain constitue une nouvelle étape dans l’approche de l’œuvre de James Ensor. L’exposition montre que l’art d’Ensor a gardé toute son actualité sur la scène artistique actuelle. Ensor, extrait de son contexte historique, est considéré comme un artiste intemporel, dont les thèmes et la technique sont très proches des pratiques de bon nombre d’artistes contemporains. Les sujets et les points de vue d’Ensor sont donc toujours d’actualité en ce début de vingt et unième siècle. Des thèmes comme le masque et le grotesque, la critique sociale, l’autoportrait, l’identification au Christ, la foule, la satire et la mort n’ont en effet rien perdu de leur portée dans l’art d’aujourd’hui. L’exposition établit des liens inattendus et montre qu’Ensor a cherché à travers son œuvre visionnaire à atteindre un objectif visé par quantité d’artistes actuels.

Outre une large sélection d’ œuvres d’Ensor (tableaux, dessins et gravures), l’exposition regroupe le travail d’artistes qui se réclament ou non d’Ensor, sous forme de tableaux, sculptures, vidéos, installations, performances, dessins...

L’univers plastique d’Ensor est ainsi relié à celui d’Eija-Liisa Ahtila, Francis Alÿs, Huma Bhabha, Jake & Dinos Chapman, George Condo, Thierry De Cordier, Marlene Dumas, Thomas Hirschhorn, Tomasz Kowalski, Jonathan Meese, Bruce Nauman, Ugo Rondinone, Dana Schutz, Cindy Sherman, Raymond Pettibon, Thomas Schütte, Thomas Zipp…

Marlene Dumas

période: 31.10.2010... 27.02.2011

on LINE

Drawing through the twentieth century

exhibition in MOMA, November 21,2010-February 7, 2011

Drawing conventionally has been associated with pen, pencil, and paper, but artists have drawn lines on walls, earth, ceramics, fabric, film, and computer screens, with tools ranging from sticks to scrapers to pixels. Looking beyond institutional definitions of the medium, On Line (on view from November 21, 2010 to February 7, 2011) argues for an expanded history of drawing that moves off the page into space and time. Comprising the work of more than one hundred artists, the exhibition charts the radical transformation of the medium between 1910 and 2010, as artists broke down drawing to its core elements, making line the subject of intense exploration: as the path of a moving point or a human body in motion (the dancer tracing dynamic lines across the stage, the wandering artist tracing lines across the land), as an element in a network, and as a boundary—political, cultural, or social.

On Line is organized chronologically in three sections: Surface Tension, featuring the artistic drive to construct and represent movement through line within the flat picture plane; Line Extension, composed of works in which lines extend beyond flatness into real space—that is, into social space; and Confluence, presenting works in which line and background are fused, giving greater significance to the space between lines. In following the development of the meaning of line over the last one hundred years, the exhibition traces it in movement, across disciplines, and as it has been drawn out and rewoven in time and space—inevitably reflecting the interconnection and interdependency that are increasingly both shaping and emerging from a globalized society. Line, like thought, once understood as linear and progressive, has evolved into a kind of network: fluid, simultaneous, indefinite, and open.

Supakitch & Koralie

SUPAKITCH & KORALIE - VÄRLDSKULTUR MUSEET GÖTEBORG from elr°y on Vimeo.

Sandra Vasquez de la Horra au Bonnenfantenmuseum,Maastricht

Sandra Vásquez de la Horra is her name. She has Chilean nationality but has been living in Düsseldorf since 1995. Her work is 'modest'. It is small-scale and concerns drawings. But, good heavens – when she hangs those drawings on the wall! Then they become part of a greater whole; a chain that can stretch over the entire wall. Her world is populated by bidden and unbidden guests. She welcomes them in, without respect to persons. It must be said, however, that once they are caught in her net, there is no escape. Everything and everybody is 'sealed' beneath a thin layer of beeswax, which is applied over all the drawings. Something that was initially fluid and therefore malleable suddenly appears unmanageable; in readiness for eternity.

Sandra Vásquez de la Horra's cultured and sophisticated art, while thrusting its roots down into South American origins, is nurtured by a rich and varied visual culture as well as an in-depth knowledge of European and South-American literature, philosophy and anthropology. Italian culture left a deep-seated mark on her; its great classical authors, such as Dante, and its artists and architects –Leonardo da Vinci, Michaelangelo, and Palladio – figure among her references. She read André Breton, Tristan Tzara, Charles Baudelaire and Arthur Rimbaud, and particularly liked Paul Eluard. She later discovered North American literature, Walt Whitman, and the writers of the beat generation: Allen Ginsberg, Gregory Corso, Lawrence Ferlinghetti and, later, Jack Kerouac.

Sandra Vásquez de la Horra always drew. Her radically figurative drawings are never "beautiful" in the classic sense of the term. They have a rough, immediate quality, a sense of urgency to them. They feature many personal elements. Since 1997, the artist finishes her drawings by dipping them in wax. This treatment gives her work a unique materiality and endows the pencil line with ambiguous depth. The wax serves as a translucent skin, providing a patina to the drawing that transports it to another time.

The artist readily uses a variety of paper qualities and colours, and is particularly fond of accounting pads with columns marked by red lines. As a result she can use old paper, often of mediocre quality, which she enjoys rummaging around for at flea markets. Her line is fluid, firm and applied in an unbroken movement. The shapes are often filled in, as if "coloured in" in graphite, in a wide variety of greys and blacks, and sometimes, though rarely, set off by a touch of yellow, pink or red.

Each of her drawings is a work of art in its own right, telling a particular story and revealing a particular soul, but Vásquez de la Horra likes to arrange them to form large wall installations comprising up to a hundred pieces at times of a variety of sizes. The setup is temporary, susceptible to being modified for a given space. It requires an attentive gaze and an intuitive sense on the part of the artist to produce a narrative structure that is strictly speaking storyless yet imbued with a humour that is at once exuberant, baroque and filled with acuity.

Typography is widely present in Sandra Vásquez de la Horra's work. Many of her drawings combine figure and writing, with the latter changing the import of the picture. She likes to use capital letters, small and large, that she lays out as she wishes with no regard for correct grammatical breaks, thereby producing surprising words, charged with new meanings. Sometimes the artist allows the words to take up most of the space, dominating the motif and becoming the real subject of the drawing. It is tempting, in particular in the German context, to compare her way of working with language to that of the great masters of subversion of words and letters from the Dada period, Kurt Schwitters and Raoul Hausmann in particular.

In relation to her anthropological studies, myths and popular tales are at the centre of the artist's concerns and provide her with the subject of many drawings. Religion and sex are also major themes in her work. She takes up as subjects the Sacred Heart of Jesus, the Immaculate Conception, as well as saints, such as Lazarus and Sebastian. As for sex, it's treated very naturally and quite casually. Politics is also an important component in Vásquez de la Horra's world, although it tends to play a latent role.

Vásquez de la Horra also participates in the tradition of a great family of artists, one of whose ancestors are Goya and Redon. Some of her figures, particularly their faces, seem to be a discreet, vibrant tribute to the great 'master of blacks'. Like Redon, Vásquez de la Horra has a pronounced taste for the strange and the morbid. And like him, she has a predilection for skulls, hanged bodies, ghostly apparitions, and the figure of Saint Sebastian that Redon drew and painted often. She has managed nearly imperceptibly in her work to retranscribe this influence in her own pictorial idiom.

jusqu'au 24 octobre 2010

The more I draw

Drawing as a Concept for the World

September, 5 2010 to February, 13 2011

Museum of Contemporary Art, Siegen

Constantin Luser

Sprawling fantastic worlds, fictitious maps, exuberant, comic-like picture stories, diagrams depicting the knowledge of the world, subconscious doodles that illustrate the soul’s inner workings: Drawing is a spontaneous, sweeping artistic medium through which myriad realities become unfurled. Drawing is also a medium that directly connects with our everyday experience: Every child draws, every adult scribbles regularly, draws up plans, sketches routes, attempts a portrait or simple chart.

On over 1,400 m² space our overview exhibition The More I Draw in the Museum of Contemporary Art Siegen highlights the tendencies in contemporary art drawing since the 1960s, focusing on the serial, narrative, descriptive, and mythologizing forms.

The exhibition showcases 41 international artists and aims at revealing the definitive role drawing plays in modern art, a role that was conceived by Conceptual Art, which discovered drawing as an original art medium and to a large extent helped to revaluate it through its conceptual traits.

Well-known artists‘ approaches are shown in an historical retrospective, such as by Joseph Beuys, Frédéric Bruly Bouabré or Cy Twombly, but also other important illustrators of the following generation, for example Anna Oppermann or Tomas Schmit, among others. A focal point of the exhibition is the actual practice of drawing, visualized by extensive groupings of works and drawing installations by contemporary artists such as Jorinde Voigt, Dan Perjovschi, or Alexander Roob, artists who have expanded drawing as an art form experimentally and through performance.

The artists of the exhibition (in chronological order): Joseph Beuys, Frédéric Bruly Bouabré, Cy Twombly, Gerhard Rühm, André Thomkins, Stanley Brouwn, Anna Oppermann, Hanne Darboven, Katharina Meldner, Tomas Schmit, Barbara Camilla Tucholski, Heinz Emigholz, Anne-Mie van Kerckhoven, Nanne Meyer, Peter Radelfinger, Silvia Bächli, Harald Falkenhagen, Joseph Grigely, Alexander Roob, Raymond Pettibon, Nedko Solakov, Mark Lammert, Dan Perjovschi, Johnny Miller, Dorothea Schulz, Tracey Emin, Claude Heath, Pia Linz, Hannes Kater, Pavel Pepperstein, Sandra Vásquez de la Horra, David Shrigley, Chloë Piene, Ryõko Aoki, Christelle Franc, Katrin Ströbel, Ralf Ziervogel, Constantin Luser, Dasha Shishkin, Jorinde Voigt and Mariusz Tarkawian.

An extensive catalogue will be published at the beginning of September. The catalogue will include an introductory essay by Eva Schmidt and an article by Michel Sauer, next to expositions on the artists and a commentated index by Jan-Philipp Fruehsorge on exhibitions, blogs, publications, etc. that are dedicated to drawing as a medium. Publisher: DuMont Buchverlag, Cologne.

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Eraserhead in Fruehsorge Galerie,Berlin

Jonathan Callan - Jürgen von Dückerhoff - Alex Hamilton - Bertram Hasenauer Christian Holstad - Hansjörg Schneider - Mark Sheinkman - John Sparagana

Inspiried by the exhibition If you melted, I would melt myself in to you at Patrick Heide Contemporary Art in London.

Erasing – wiping out – eliminating...

These are the techniques and terms that the artists presented in the exhibition Eraserhead are dealing with. Melting as a concept is here brought to the next level: to the point of the dissolution of the material. Through this process something new emerges. At the same time, nothing can be erased completely: The remains of the original objects are still present in the newly formed shapes: the traces left behind are still visible. The artists erase and transform the visuel information, and in doing so, they have to include the eliminated part in the concept of their new draft. Whatever emerges is thereby responding to the erased parts. In 1953, when Robert Rauschenberg was still at the beginning of his carrier, he asked Willem de Kooning if he would give one of his drawings to him, so he could erase it. In erasing art, Rauschenberg created his own art that gained its significance through the previous creation. An act of patricide and birth.

Erasing, sanding and eliminating are procedures that employ the materiality of the medium. New motifs emerge from the existing objects and at the same time the characteristics of the medium paper are being made visible: its vulnerability, its fragility, its evanescence.

Duration of the show: 10.09 – 23.10. 2010

Dessins Contemporains/Collection Florence&Daniel Guerlain

Sandra Vasquez de la Horra

Le musée Beaux-Arts et d’Archéologie de Besançon accueille du 4 juin au 20 septembre 2010, une sélection d’environ 150 dessins contemporains issus de la Collection Florence et Daniel Guerlain.

Cette exposition s’inscrit dans la longue tradition des Arts graphiques du musée de Besançon. Avec plus de 6000 dessins, le Cabinet des Dessins de Besançon est l’un des plus riches de France. Très complète, la collection bisontine offre un panorama de l’art occidental du 14ème siècle à nos jours. Toutes les écoles y sont représentées, de la Renaissance au XXème siècle, des séries italiennes (Baroche, Carrache, Tiepolo) ou nordiques (Dürer, Rembrandt, Rubens) aux artistes français (Poussin, Vouet, Fragonard, Matisse, Renoir).

Cette exposition trouve ainsi toute sa place dans la lignée de ce prestigieux héritage. Comme Jacques Guerlain, célèbre parfumeur et grand-père de Daniel, qui admirait les Impressionnistes, Florence et Daniel Guerlain vivent avec l’art de leur temps. Collectionneurs depuis de nombreuses années, cette exposition est pour eux l’occasion de partager leur sens de l’art et leur goût pour l’art contemporain.

Seront présentées notamment des œuvres de Jean-Michel Alberola, Edouardo Arroyo, Silvia Bächli, Mark Brusse, Matt Bryans, Win Delvoye, Damien Deroubaix, Marlène Dumas, Richard Fauguet Jean-Olivier Hucleux, Guillermo Kuitca, Christian Lhopital, Erik van Lieshout, Robert Longo, Frédéric Loutz, Tony Oursler, Javier Perez, Carmen Perrin, Ernest Pignon-Ernest , Richard Prince, Markus Raetz, Alain Séchas, Kiki Smith, Hervé Télémaque, Tatiana Trouvé, ...La liste n’est pas close.

Catharina Van Eetvelde

Voici un dessin suisse(1990-2010)

Le Musée Rath accueille Voici un dessin suisse (1990-2010), une exposition du Musée Jenisch de Vevey, réalisée en collaboration avec le Musée d’Art et d’histoire et le Fonds d’art contemporain de la Ville de Genève. La présentation réunit une quarantaine d’artistes, suisses ou vivant dans le pays, qui accordent au dessin une place privilégiée.

En Suisse, le dessin connaît depuis une bonne dizaine d’années un profond renouveau. Nous le voyons en effet s’affirmer comme un médium à part entière dans la plupart des manifestations d’art contemporain qui d’ailleurs multiplient les expositions consacrées à cette technique. Ses caractéristiques dépassent largement les traditionnelles catégories du trait, du contour, de la ligne, du tracé, du support papier. Sa présentation en outre ne se limite plus à un accrochage linéaire de feuillets encadrés sur des cimaises. Le dessin désormais se déploie dans des dimensions qui l’excèdent pour décliner sa nouvelle identité dans le cadre d’installations, d’interventions directes sur l’architecture du bâtiment, tout en s’alliant des technologies d’appoint comme la photographie, l’informatique, la vidéo, l’éclairage, le son. Dans des variations de gris, la scénographie de l’exposition, due à Karim Noureldin, offre tour à tour des espaces ouverts et plus intimistes où l’accrochage des œuvres se décline selon des agencements aléatoires, faisant alterner séries de dessins ou installations in situ et juxtaposant des travaux sur support papier avec d’autres recourrant à des techniques, matériaux et dimensions plus complexes et diversifiés. C’est précisément cette diversité de techniques et de mises en espace qui permettent de comprendre toute la richesse du dessin contemporain.

Les artistes sélectionnés travaillent le dessin depuis de nombreuses années, explorant chacun ce processus de création qui dévoile le cheminement de la pensée. Parmi ceux-ci, on trouve quelques personnalités largement reconnues sur la scène internationale ou nationale comme : Silvia Bächli, Yves Netzhammer, Ugo Rondinone, ayant représenté la Suisse à la Biennale de Venise, respectivement en 2009 et 2007. D’autres tels que : Marc Bauer, Alain Huck, Joëlle Flumet, Silvia Buonvicini, Robert Ireland, Jean Crotti, Didier Rittener, exposent régulièrement dans nombre de musées et galeries. Enfin le public peut également découvrir de nouveaux talents à l’image : d’Ingo Giezendanner, alias GRRR, Zilla Leutenegger, Genêt Mayor, huber.huber, Lordana Sperini.

Langages artistiques contemporains
L’utilisation de techniques telles que la mine de plomb, le fusain, le crayon, l’aquarelle, ou le recours à des genres traditionnels comme le paysage, le portrait, la nature morte, la scène de genre, ne signifient pas pour autant un retour à une forme d’académisme. En effet, tout en s’appuyant sur l’héritage graphique du passé, le dessin actuel s’ouvre désormais à une foule de langages artistiques contemporains (BD, street art, graphisme publicitaire, art naïf, dessin animé, dessin vectoriel), pour produire des œuvres hybrides, inattendues, surprenantes. Le meilleur exemple de cette évolution spectaculaire est certainement la proposition monumentale d’Ingo Giezendanner, alias GRRR, qui a réalisé une vaste composition murale, Sarajevo 2009, située à l’entrée de l’exposition, dans laquelle l’artiste conjugue avec brio l’esthétique de la BD, la peinture et la vidéo. L’œuvre représente et documente un environnement urbain avec l’idée de reproduire en très grand format le carnet de croquis intimiste que tout artiste digne de ce nom a l’habitude de tenir lors de ses périples ou randonnées en terres étrangères. Dépassant le cadre pittoresque du carnet de voyage, GRRRR invente une forme capable de suggérer les rythmes, flux et pulsations d’une scène urbaine.

Ingo Giezendanner

De son côté, le dessin formel et rigoureux de Joëlle Flumet transforme ses Scènes d’Aménagement du territoire en propositions hyperréalistes révélant des comportements et des espaces stéréotypés. La créatrice parvient à fondre dans un même continuum l’image et son support, ici une plaque d’aluminium, pour produire in fine une sorte d’objet domestique qui relève à la fois du catalogue publicitaire et du panneau décoratif. Enfin le travail d’Yves Netzhammer offre une approche volumétrique du dessin qui pour l’occasion se développe matériellement dans une portion de l’espace. L’installation de l’artiste donne corps à un univers mêlant la pesanteur objectale à la légèreté du trait, ses formes hybrides et surréalistes activent les facultés perceptives, entraînant une foule d’associations entre le monde de la réalité et celui de la représentation graphique.
Certes la présentation n’est pas exhaustive car l’idée directrice n’est pas de procéder à un inventaire des artistes oeuvrant dans cette même direction. L’exposition du Musée Rath a cependant le mérite de mettre en évidence l’essor du médium dessin sur la scène helvétique au cours de ces vingt dernières années.

Françoise-Hélène Brou

« Voici un dessin suisse 1990 –2010 ». Musée Rath, jusqu’au 15 août 2010. Place Neuve, Genève. www.ville-ge.ch/mah

Drawing Paper

Penelope Davenport

Drawing Paper is a not for profit newspaper based publication concerned solely with drawing.

The purpose of this blog is to function as a supplement to the printed edition. We're keen to make it
rich in quality drawing based content so if you've got something interesting you'd like to share with us please send it to something@mikesstudio.co.uk (files should be JPEG's at 72dpi upto 2mb).

Please note, all submissions are subject to editorial control – some work is of more interest to us than others. Please refer to previous posts for an indicator of our preferences.

Drawing Paper was conceived and designed by Mike Carney and Jon Barraclough, Liverpool UK. www.drawing-paper.tumblr.com

Nouveau livre : Pen to paper

Allyson Mellberg Taylor

Pen to Paper presents a fine selection of the most adventurous images from a global scene of artists, working mainly with a pen or analogue techniques such as water color, ink or collage.

This recent revival has injected immeasurable visual wealth into the world of illustration, fine art and especially character design. Artists reject the computer and channel their creativity through spontaneous freehand drawing to create untamed, edgy and exceptional beings.

With works by Allison Schulnik, Shoboshobo, Allyson Mellberg Taylor, John Casey, Luke Ramsey, Eric Shaw, Seth Scriver, Joey Haley, Mark DeLong, Kerozen and many more.

publishing,Pictoplasma

Luke Ramsey

Drawing time, le temps du dessin

Trop souvent confinées aux « cabinets des dessins », les œuvres sur papier sont pourtant le reflet des manifestations premières de la pensée et de l’acte artistique. Le «chef-d’œuvre» naît de la feuille blanche, du trait, de la ligne, en un mot : du dessin.

C’est dans cet incroyable espace que sont les galeries Poirel que le dessin s’invite pour s’offrir dans une «re-présentation » inhabituelle. Jouant de l’effacement, du remplissage à outrance, ou de l’utilisation inventive de la rame de papier, les œuvres interrogent tour à tour l’espace et le temps, prenant ainsi parfois des proportions envahissantes. La spectaculaire installation de Gaylen Gerber, Backdrop (toile de fond), qui, comme son nom l’indique, a pour fonction de servir de fond à d’autres œuvres, crée un nouvel environnement, effaçant le contexte exclusif du mur blanc pour proposer une architecture flottante, redéfinissant ainsi notre perception des « dessins accrochés ».
L’ensemble des autres œuvres y est, en effet, disposé dans une logique de mise en danger où chacune peut tout aussi bien y trouver son écrin. Backdrop questionne alors à la fois le contexte de l’exposition, l’architecture mais aussi notre expérience de la temporalité et l’autonomie (ou non) de toute œuvre d’art.

Manifestation associée

Musée des Beaux arts de Nancy
Le dessin contemporain s’expose comme un questionnement et une source de plaisir. Pourquoi, dans un monde de technologies avancées et d’hypermédia, les artistes s’investissent-ils de plus en plus dans le dessin ? Cette exposition proposera quelques pistes qui lient tradition et expérimentation autour de la figuration.

Musée des Beaux-Arts de Nancy 3 place Stanislas

Galeries Poirel 3 rue Victor Poirel, Nancy Jusqu’au 16.08.2010 Tous les jours sauf le mardi et le 14.07, de 10:00 à 18:00.

Din A4 International Drawing Project

Fia Cielen

Qu'est-ce que le projet DIN A4?

Le Projet DIN A4 est une collection d'oeuvres d'art contemporain réalisées sur le format imposé de A4 (les oeuvres peuvent cependant avoir été conçues au départ pour un autre format). Il s'agit d'oeuvres d'artistes émergents ou reconnus, et même d'oeuvres posthumes cédées par les exécutants.

Le format DIN A4 est le format original de courrier européen dont les sigles signifient Deutsches Institut für Normierung. Les dimensions du format A4 sont 210 x 297 mm.

Le format imposé aux oeuvres assure de lui même la pérennité du projet, par le simple fait qu'il réduit considérablement les inconvénients de stockage et de transport.

Un soin tout particulier a été apporté à l'organisation et l'équilibre des expositions. L'équilibre a toujours été gardé pour éviter de plonger les oeuvre dans un esprit de compétition, d'une part, et de l'autre, de submerger le visiteur d'un nombre trop important de travaux.

Le "Projet" a ainsi demandé aux artistes participants à travers le monde d'envoyer chacun deux oeuvres au format DIN A4.

Le but est d'encourager les artistes à se manifester et s'inscrire. Ce projet ne trouve son existence que par la coopération globale des artistes. La participation de chacun d'eux fait que le projet Din A4 est une représentation permanente de leurs aspirations, sensibilité et leur époque.

Toutes les oeuvres sélectionnées sont filmées ou photographiées sur CD ROM ou DVD et montrées alternatives au cours des expositions. Chacune d'elles est entreposée et montrée à la demande de visiteurs intéressés.

Grâce à ce concept de collection, nous espérons faire du Projet DIN A4 un miroir de l'art contemporain.

Etat du projet

Pour appréhender le projet DIN A4, il faut d'abord en saisir le concept. D'un coté, le projet contribue à créer une vitrine permanente de l'art contemporain dans une certaine globalité. De l'autre, il permet de constituer une collection permanente.

L'idée sous-jacente est aussi qu'en tant que projet participatif, l'artiste n'engage aucun frais ni coût, si ce n'est celui de l'oeuvre elle même et de son transport. Un effet d'émulation est créé avec le prestige croissant de la collection et de sa visibilité.

Le charme du projet en est aussi sa force: le format DIN A4 est un format commun à tous les carnets de croquis, blocs-note, scrapbooks etc... L'expédition est facilitée, de fait, par la correspondance de la taille des enveloppes. Mais, ce projet demeure profondément européen malgré l'intérêt qu'il suscite outre Atlantique... Qu'à cela ne tienne, les premiers artistes américains ont dû couper la taille de leurs papiers pour nous les envoyer. Et ils continuent de le faire aujourd'hui!

Le projet débuta aux Pays Bas, et grâce à l'enthousiasme de ses membres originels, son implication s'étendit très vite aux autres pays. Des artistes allemands montrèrent un vif intérêt et se joignirent au projet, suivis rapidement par des artistes belges, français, polonais, britanniques et des Balkans.

L'exposition de DIN A4, à deux reprises dans des manifestations espagnoles et une fois au Mexique donna l'impulsion à toute une vague d'artistes hispanophones qui s'ajoutèrent aux roumains et italiens. Ainsi, la réputation internationale de DIN A4 se consolida de plus belle.

Le projet DIN A4 s'est récemment centralisé sur Malaga, en Andalousie. Grâce à des idées nouvelles sans cesse apportées et à l'enthousiasme de ses fondateurs hollandais, nous sommes assurés que le projet continue de croître comme un moyen vital d'expression artistique. Il croit par le nombre d'artistes et d'oeuvres impliqués et par une visibilité internationale en permanente expansion.

Information pratique du projet DIN A4

Comment participer?

Envoyez deux oeuvres originales sur papier A4 (210x297mm) à:

DIN A4, Malaga on (Ernst Kraft / Verónica Romero)

C/. Caldedería Nº 7 - 4ª - 1

CP.29008 - Málaga - Espagne

(Tel. (0034). 678 743 491 or (0034) 619 85 19 34)

Envoyez vos travaux par courrier ou transporteur, soigneusement conditionnées accompagnées des information suivantes: adresse postale, email, background et expérience artistique, expositions, etc.

Envoyez aussi par email ces informations sur un document Word avec les photos de vos deux oeuvres, et éventuellement (mais hautement recommandé) une photo personnelle (type photo d'identité) et des autres photos de vos oeuvres significatives comme des toiles, sculptures, installations... à l'adresse suivante: dina4.ernst@gmail.com

Vous recevrez un accusé de réception par email et nous vous aviserons de l'avancée du projet à mesure que le projet avance.

Il y a un processus de sélection qualitatif des oeuvres afin de maintenir un certain niveau de qualité du projet global.

Les oeuvres sélectionnées sont la propriété du Projet DIN A4 pour la pérennité de ses activités culturelles non lucratives et sa publication sur internet.

Nous assurons une manipulation et un stockage professionnel des oeuvres.

Etant donnée la taille et l'échelle du projet, nous déclinons toute responsabilité quant à la perte ou la détérioration des oeuvres durant le transport, l'installation et autres circonstances imprévues.

Nous transmettons vos coordonnées, avec votre permission, aux visiteurs intéressés dans le but de vous contacter. Merci de nous stipuler par courrier si vous ne désirez pas que vos informations soient transmises.

En nous envoyant vos oeuvres, vous acceptez les conditions citées ci dessus dans leur entière globalité.

(Dans l'éventualité où vos travaux ne seraient pas retenus, nous vous les renvoyons à vos frais. Merci d'indiquer votre accord avec cette condition. )

http://www.dina4.org.es/inicio

Drawing Space in New York

Kentler International Drawing Space, located in Red Hook, Brooklyn, is dedicated to bringing important and timely contemporary drawings and works on paper to the public by local, national and international artists, as part of the cultural fabric of the community. The Kentler Flatfiles, consisting of drawings and works on paper by over 160 artists, are available for viewing by curators, collectors and the general public by appointment. The Kentler gallery, founded by artists Florence Neal and Scott Pfaffman, opened its doors in April of 1990 and quickly became the focus of a burgeoning artists community in this historic, inspiring, yet challenging area of the New York City.

The gallery is located in a storefront space which faces Van Brunt Street, a busy commercial avenue. The building was built in 1877 by the Kentler family as a men's haberdashery which served the Brooklyn seaport business workers. Today the neighborhood is a lively mix of Black, Hispanic, Italian, and Irish families, public schools, parks, waterfront piers and churches. The gallery is especially accessible to the public, as its glass doors face a bus stop, attracting notice and visitors who would otherwise have little opportunity to meet artists or to see new works of art.

The gallery sponsors monthly and bi-monthly exhibitions featuring solo, group shows and installations by some of New York's most exciting emerging and under-recognized artists. Shows drawn from the international community have given travelling artists an opportunity to visit America and bring their work to a New York audience. An announcement card, a press release and photo or video documention accompanies each show. The gallery is open to the public Thursday, Friday, Saturday and Sunday from 12 - 5pm. Exhibition dates, hours, Artist /Curator talks and special events will be listed in our web site under current exhibition.

http://www.kentlergallery.org

C4RD :London's museum space for drawing

Nick and Phill Goss

Drawing: imagination on line

Drawing as an approach is regaining the importance it once had as a way of thinking or acting that is fundamental to the human experience. It is being considered less as a particular use of materials or sub-activity of a particular discipline, and more as an approach discrete in itself.

C4RD’s purpose is to make space for drawing - to maintain the visibility of a characteristically humanist approach that is drawing - in the encouragement and refinement of understanding of drawing the arts and society at large can benefit. C4RD seeks to facilitate access and dialogue for current drawing practice independent of structural forces in commercial and institutional settings. Drawing defined as the exercise of the imagination on line reinforces drawing’s capacity as a performed analogy (mentally/manually) of the continuum that is human consciousness; two marks, as in mathematics, necessarily make a line.

Centre for Recent Drawing is London’s museum space for drawing. Since 2004 C4RD has provided a public exhibition space and exhibition series that is independent and non-commercial. C4RD is in the unique position of being able to provide a whole building dedicated to drawing - showing continuous exhibitions of a broad variety of drawing practice - and also be able to house residencies specifically for those for whom drawing is a core part of their practice. This is in addition to the C4RD web presence, the C4RD Community registry, publications (D4RD and Z4RD) and Online Residencies.

C4RD welcomes all those with a particular interest in drawing as a core experience from within and outside the arts. It seeks a balanced programme to present a broad variety of expansive possibilities in drawing. More information on our programmes is available on this website. C4RD is staffed and funded by the generosity of individuals and private and corporate donors, and is a UK Registered Charity and member of the Museums Association.

Andrew Hewish

Director

http://www.c4rd.org.uk

Drawing Spaces in Lisbon

Drawing Spaces is a project space located at Fábrica Braço de Prata, in Lisbon, that seeks to promote investigative practices related to the subject of drawing. This project supports collaborations between artists and researchers from Portugal and artists and researchers from abroad. Drawing Spaces involves 22 artistic residencies and exhibitions; a series of lectures and debates; and various activities for art students and the general public related to the subject of drawing.

http://drawingspacesen.weebly.com

Portes ouvertes de l' Académie des Beaux-Arts : juin 2010

ensemble de dessins

détail de l'ensemble

Manon Paquet

Leslie Saint-Paul

Raphaël Decoster

détail d'un travail de Ambre Gabriels

ensemble de dessins

détail de l'ensemble

Mehdi

Pauline Cappoen

Benjamin Pierard

Julie