Alexandrinenstr. 1, Kreuzberg, 10969 Berlin, Germany
The pictures of Frauke Boggasch, painted in many glazed layers and sombrely romantic appearing, are conceptual and above all a confrontation with classic questions on painting. In the glazes she buries the knowledge of painting’s conditions. Archetypes, confrontations and allusions are hardly or not at all visible anymore. These layers and histories face up against the completed picture, which on the surface display impasto application and appear almost manically worked. Boggasch employs this mania solely for the purpose of romantic irony, she is in the same way stubbornly asserting painting in the present time, referring to herself as a topos of anti-bourgeois artist-genius.
The stuggle for one’s own form is for Boggasch necessarily a consequence of the knowledge of tradition and the formal language of the modern, which she simultaneously – as a late follower – wishes, and is obliged, to counter with an individual outlook and directness.
Emotion, mysticism and pathos are always, in Boggasch’s work, reflection, consciousness, exaggeration, hints as to the illusionistic character or the reading of the page. Lastly, if Boggasch is to bring an intellectual aspect into her paintings, then it is only as a discreet insertion. She would rather apportion the space next to the painting, and outsource these elements to the invite cards, photographic self-portraits or titles. In this way she achieves her carefree tone of ironic conditionality and in doing so underlines the authenticity of both spontaneity and calculation, feeling and thought, life and history.
Adrian Lohmüller is showing five drawings at Cruise & Callas and with his “Die Braut Spricht” (“The
Bride Speaks”) is staging an installation in the gallery’s cellar. Tellingly, the viewer steps down into this piece, below ground level, and first of all sees a table, covered with a red chequered table cloth, the end of which is pulled in, or out from, behind a brick in the wall that has been exposed by the artist. Behind this is piled up apparatus of containers filled with water and piping. Fluid, in part heated by a gas burner, in small, suggestively multiplied doses, drips continually out of the system onto a salt rock, flowing from there into a feather duvet and pillows, not only moistening the floor with water and salt crystals as it flows on, but dampening the whole room.
“Die Braut Spricht” suggests the stages of a love play – from a romantic tête-à-tête, to the act of love, and on to the gentle laying down of the extracted essence of one of the love-players. Dissolving contrasts such as skin and cement, separation and penetration, the pierced and closed system, the eternally sealed surface and its (eternal) cutting open, the question of “who is man, who is woman?” and the dilemma of the individual in society form Lohmüller’s central concern.
As in many of his works, in the core of this installation can be found the positively epidemic loss of privacy and sexuality, which, in search of intimacy’s recesses, is inexorably and ever more undermined in animalistic urges by the closing off of public space. Lohmüller reveals nothing of the simmering pressure; on the contrary: his focus lies on the creation of an intimate and warm atmosphere, which subtly has the political impetus of his work take second place behind the individual and human.