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"Calling Lines to Life" - The Press on The Circle Walked Casually at the Deutsche Bank KunstHalle

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“Calling Lines to Life”
The Press on The Circle Walked Casually at the Deutsche Bank KunstHalle


We’ve never seen works from the Deutsche Bank Collection in quite this way before: “The Circle Walked Casually” presents around 130 works on paper in a white, endless-seeming space. The show, curated by Victoria Noorthoorn, is focused entirely on the artworks, which appear to float in space along an imaginary line. The press responded enthusiastically to the unusual exhibition.


The magazine art includes The Circle Walked Casually among the exhibitions one “shouldn’t miss at any cost,” while architect, designer, writer, and Monopol editor Friedrich von Borries counts the show at the Deutsche Bank KunstHalle among the three exhibition highlights of 2013. And in the Berliner Zeitung, Ingeborg Ruthe praises the “bold and highly poetic experiment. (…) The images veritably float in the shadowless space, which is cotton-white from indirect light and seems somehow unreal, like in a fairly tale of snowy lands with smooth lines and flying colors everywhere—the pictures are as though in continuous dialogue with one another.”

In the Saarbrücker Zeitung and on the art blog DARE, Nicole Büsing and Heiko Klaas write: “Typically South American, the show exudes a kind of magic realism, a liberation from static exhibition formats and art historical pigeonholing. As a result, proceeding from drawing to drawing, the viewer is carried along by webs of associations and discovers how certain elements are picked up on again and again, transform, or turn into something else altogether.” The upshot of this is that “Noorthoorn’s intelligently put-together show is not least a passionate plea for the medium of drawing, so often underestimated in an exhibition establishment in love with painting.”

“It’s magical”—as globe-M quotes a visitor to the show. The article published in the online site for art and culture goes on: “Following a winding organic line, the works of art occupy the exhibition hall, forming a unique rhythm of color and form. They augment one another, provoke and correspond to one another.” The Informationsdienst KUNST observes that “there aren’t many exhibition spaces in Berlin that are curated in such versatile ways” as the KunstHalle. The Deutsche Bank Collection is presented here in a way “so surprisingly different that it’s worth a visit for the new spatial experience alone. In an undulating line stemming from the minimal ceiling suspension method, the light works on paper strike a great pose.” The online magazine KULTURA-EXTRA also underscores the effects of the works shown in the exhibition architecture designed by Daniela Thomas: “Here, the delicacy of the drawings, which might otherwise be overpowered by a conventional hanging in a museum or a gallery, becomes a total visual pleasure; there is nothing to distract (…) from the essential.”

Andrea Hilgenstock of the Berlin city magazine tip also voices praise for the exhibition architecture: “It confounds our sense of space. The exquisite selection from the corporate collection is turned into a kind of kinetic sculpture.” She goes on to observe that “the curator trusts in the power of the images, dispenses with chronology and accompanying text, and allows the works to communicate amongst themselves and speak directly to the viewer. (…) The parallels in this inspired hanging are amazing—with abstract color studies by Katharina Grosse corresponding with Gerhard Richter.”

In the Tagesspiegel, Marcus Woeller observes: “Noorthoorn mixes artists, techniques, formats, genres, and disciplines in order to do justice to the collection’s full range. But she also creates pools of communication in which works enter into dialogue with one another (…) two naive girl portraits by the Worpswede expressionist Paula Modersohn-Becker gaze in curiosity at a golem rising up from a blue watercolor ornament by Tony Cragg, who otherwise usually designs monumental sculptures on the computer. At moments like these, it becomes apparent what the old-fashioned medium of paper has always been best suited for: the experiment, for bringing lines and forms to life.”

The Circle Walked Casually forms the beginning of a series of exhibitions in which the Deutsche Bank Collection is presented in the right light by guest curators,” reports Sabrina Schleicher in the Kunstzeitung. “With the current presentation, Victoria Noorthoorn has succeeded in putting up a terrific opening show: let yourself be swept along by the chain of associations, discover from drawing to drawing new connections, and in the end you will leave the show buoyed by the work.”




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