news
This category contains the following articles
- Return of the art fairs: Frieze London and Frieze Masters to open in Regent's Park
- Maxwell Alexandre, Conny Maier, Zhang Xu Zhan: Deutsche Bank's "Artists of the Year" at the PalaisPopulaire
- Ways of Seeing Abstraction: Rana Begum, WP 410-412, 2020
- Ways of Seeing Abstraction: Franziska Furter, Draft IX/V, 2010
- Kunstsammlung NRW - Everyone is an artist. Cosmopolitan exercises with Joseph Beuys
- Royal Academy of Arts - David Hockney: The Arrival of Spring, Normandy, 2020
- Ways of Seeing Abstraction: Fabian Marti, Untitled, 2011
- Ways of Seeing Abstraction: Jo�o Maria Gusm�o + Pedro Paiva
- Ways of Seeing Abstraction: Beat Zoderer, Polygon I-VI, 2019
- Schirn Kunsthalle Frankfurt - Gilbert & George: The Great Exhibition
- Ways of Seeing Abstraction: Karla Knight, Spaceship Note (The Fantastic Universe), 2020
Ways of Seeing Abstraction:
Franziska Furter, Draft IX/V, 2010
Most
people still understand abstraction as a concentration on form. It is
viewed as an art movement which is used to express aesthetic ideas,
orders, philosophical ideas or inner feelings, but which does not have
much to do with everyday reality. However, especially in times marked
by crises, relevance and urgency are also expected from art, and it is
expected to make a statement on current social issues. Today, artistic
commitment is not conveyed exclusively through clear visual messages
and content, but increasingly through abstraction. For younger
generations, in particular, non-representational art is the means of
choice for addressing politics, religion, and social issues. Showcasing
works from the Deutsche Bank Collection, the exhibition “Ways of Seeing
Abstraction” at the PalaisPopulaire undertakes a thoroughly subjective
survey of international abstraction from postwar modernism to the
recent present, documenting the diversity and discursivity that lie
behind the idea of non-objective, “pure” form. On the occasion of the
exhibition, our series will show you works by artists who use
abstraction idiosyncratically and define it in new ways.
Franziska Furter, Draft IX/V, 2010
© Franziska Furter and Galerie Lullin + Ferrari
The ink and pencil drawings of Franziska Furter look like "poetic neuron thunderstorms"—black-and-white landscapes, explosions, and celestial bodies that are abstract yet full of open meanings. The constellations in the drawings of her Draft series could be the amplitudes of a seismograph, mountains, or simply graphite dust trickling down a wall. Furter's drawings are in a kind of intermediate state, as if they wanted to depict something—a feeling, an image, a thought—but as though it were not yet clear what. "Although these pictures look like black-and-white photographs, they do not exist in reality. They are images of an invented world—simply another reality," says the artist in reference to her work, which she has expanded in recent years to include sculptures and installations.
In the early 2010s, Furter's drawings took on a dimension inspired by mysticism, science fiction, and fantasy. The basis for this was Japanese manga, which she photocopied, enlarged, cut out, recombined, and redrew—repeating these steps several times in a lengthy working process. The Draft drawings, however, were created directly on paper, following small sketches. Here, too, Furter's interest lies in the process of graphic translation, which allows form, meaning, and composition to change into a new state with each step.