1. Station: Vienna
The exhibition “ALMANACH – CABINET DE DESSIN” presents different aesthetic visions and artistic methods within contemporary drawing. The medium of drawing became a very frequented and central discipline in contemporary art praxis an it is considered as a very personal, intimate, subtle and fragile aura of visual thinking without any public obligation of creating definitive formations, without any institutional demand of monumentality and material solidity which fit in conventional hierarchic systems.
The subversive intimacy and a certain autobiographic character of contemporary drawing, in contrary, allows the artist to stay in his hidden studio, to be personal, secret, private and non-institutional, to work on his one-person projects, to write – or draw – his “journal intime” without accepting morally obligatory standards of any political network and of any collective communication system, it enables to the artist to find the first form of a new, personal, never explained, never precisely described concept of formation, to let him free and uncontrolled space for uncontrollable imaginations and dreaming, to follow obsessive routes of inner forces, to catch enigmatic, mysterious signals and evocations, with one word: to give – or re-give – himself completely to his own interim, vulnerable, provisory poetical immanency. The innocent freshness of drawing, the provocative beauty of immaterial, intelligible sensibility, the enigmatic power of empathic competence of the lines, the anarchic independence of being outside of the hierarchic systems of public representation give the drawing the suggestive force of the weakness, the subversive effectiveness of the silent interieur of artist’s thought. The drawing is the celebration of the subversive sensuality of the “prima linea”, the total realization of the evocative intensity in small, anti-monumental, anti-hierarchical dimension; the silent revelation of the hidden terrains of soul.
The exhibition “ALMANACH – CABINET DE DESSIN” is structured in four thematic parts which reflects different narratives in contemporary drawing praxis. The first chapter is dedicated to an old and large, very familiar subject, the landscape. In the divers personal interpretation the landscape gets completely open and poetical, metaphorical meanings which reflect our complex relation to nature, cosmos, universe as well, as the immediate physical environment. The second chapter offers divers interpretations of an enormous subject, the face. The interrogation of the human face as a central motive of any narratives, the questioning of the enigma of the visible, sensual, physical, touchable, living part of the human body or experience of the the un-visible, imaginative, metaphysical, intelligible fiction of the image of the human as well, as the obsessive, psychological, pathological aspects of the regard of the Other are the themes of this part of the exhibition. The third chapter deals with the questions of fragment as one of the basic experience in our epoch. The fragmentation as state of existence, as life-form, as inevitable cultural and social reality, but also the participation in the necessarily fragmented sociocultural and linguistic systems deepen the feeling of the impossibility of any real, authentic, credible completeness. This basically melancholic experience connects Romanticism and contemporary aesthetics and paradoxically gives even a new kind of subversive dynamism to new kinds of unconventional connections between divers references and connotative fields, so the fragmentation will be estimated not as negative, reductive, defensive passivity but in fact contrary, as a certain kind of liberalization praxis and subversive openness. The fourth chapter deals with the narratives of the social formalism, with the simulacrum, with the divers images and models of sociocultural self-legitimation and self-celebration as well, as with the illusions of the artificially created attitude patterns, with the symbolism of cultural
scenography. The Scene became omnipotent and at the same time meaningless; it dominates the cultural, political rituals and creates unlimited images of the simulacrum.
The exhibition “ALMANACH – CABINET DE DESSIN” will be presented in a series of small group shows each of them consisting of these four chapters. During the next two years different galleries, foundations and exhibition houses will give space to the show in Vienna, Firenze, Napoli, Torino and Rom.
Rolando Deval, &bdquogrounds drawing“, 2013, graphite on paper, 70 x 100 cm
© Rolando Deval
in colaboration with Galleria d’arte Alessandro Bagnai
Erich Gruber, "Katze3", 2012, Pencil, Crayon, Ink on Paper
© Erich Gruber
Courtesy Galerie Heike Curtze und Petra Seiser
Guglielmo Castelli, "La giusta valutazione di se stessi", 70 x 50 cm, Crayons & pastel oil in paper, 2014
© Guglielmo Castelli
in collaboration with Galleria Il Segno
ARPAÏS du bois, "Perception", 2012, mixed media on paper, 25 x 21 cm, unique
©ARPAÏS du bois
in collaboration with GALLERY FIFTY ON