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Galerie Thomas Schulte is opening a group exhibition entitle d\, THOUGHT\, with drawings by Richard Deacon\, Idris Khan\, Paco Knöller\, Jonathan Lasker\, Allan McCollum\, Michael Müller and Albrecht Schnider\, on Friday\, 1 February 2013. The exhibition will run until 9 March.

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Minimal and Concept art in the 1960s were the first to develop new strateg ies for which the drawing\, as the carrier of the artistic ideas\, was ofte n the starting and end point. The exhibition\, THOUGHT\, at Galerie Thomas Schulte brings together seven artists which the gallery represents and for whom the drawing reflects conceptual thought processes while at the same ti me manifesting processes of pictorial abstraction.

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American artist Jonathan Lasker (born 1948 in Jersey City\, USA)\, who engages with the pos sibilities of painting in the face of an increasingly concept-oriented art\ , began in 1986 to make detailed drafts of his compositions using drawings and small formats\, only to then recreate them precisely in large formats. The organic\, subjective-gestural idiom of his earlier works was thus repla ced by an increasingly intellectual process that is under the artist’s cons tant control and excludes any chance elements.

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For Swiss artist Alb recht Schnider (born 1958 in Lucerne\, Switzerland) the drawing also serves as a model for painting and can be regarded as an essential basis for his oeuvre. Schnider’s drawings also explore the potential of pictorial represe ntation\, be it in abstract studies or in faceless portraits made up of geo metrical forms. For Schnider\, the immediacy of the drawing process functio ns as a counterbalance to the strict composition of his paintings\, for unl ike in Lasker’s case\, for him the drawing is not necessarily a direct mode l.

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The drawing as an expression of planning-related ideas and conce pts has always played a major role in the sculptural work of Richard Deacon (born 1949 in Bangor\, Wales). Deacon’s drawings clearly exhibit an uncomp romising exploration of the limits and potential of contemporary sculpture. On the plane\, Deacon lays the intellectual ground plan for the later exec ution of his sculptures\, thereby simultaneously creating an independent dr awing oeuvre which in itself is a ‘role model’.

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In the 1980s\, Alla n McCollum (born 1944 in Los Angeles\, USA) developed surrogates for each g enre of traditional artworks. These functioned as representatives whose sim ple combination of colours and forms he individualised and at the same time replicated in series. His Drawings\, presented in groups of 15 to 1 80 copies\, emerge as axisymmetric figures due to their combination of stra ight lines and quadrants transferred to cardboard using stencils and colour ed in with graphite. These represent the drawing itself\, in the form of a dense black plane. Even if they resemble mass-produced objects\, not one of the Drawings created by McCollum is similar to the other.

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T he gallery is showing two younger positions with Idris Khan (born 1978 in B irmingham\, England) and Michael Müller (born 1970 in Ingelheim on the Rhin e). Both artists engage in different ways with the medium of the drawing. M ichael Müller takes his own drawing gesture as the theme of his art. His ca rtographical pencil drawings are usually large constructs consisting of sev eral standard sheets of paper covered in dense abstract hatching. Müller’s work Gefühl und Gefüge confronts the need for wholeness with a fragm entation that is inherent in the picture and is addressed by means of the b reaks between the individual drawing sheets.

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Idris Khan\, who has m ade a name for himself above all for his superimpositions of digital reprod uctions of pictures\, texts and musical scores\, has recently begun to rely on his own material and does not conceive of the drawing’s limits in any c onventional sense. In the stamp works presented here in the exhibition\, th e artist addresses the theme of the coding of messages and writing as a med ium for storing knowledge. Khan’s radically applied lettering is superimpos ed in such a way that the actual text is difficult to decipher. For his lar ge-format wall drawing in the Corner Space of the gallery\, Khan has used t exts by the late-medieval theologian Meister Eckhart: the circular form of the repetitive lettering corresponds to the Dominican theologian’s understa nding of time and eternity.

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The works by Paco Knöller (born 1950 in Obermarchtal) have a special position within the exhibition. Fourteen of t hem\, from the series\, The Thinking Reed\, are presented in the gallery’s Window Space. Knöller began his art training in the 1970s with Joseph Beuys at the Kunstakademie in Dusseldorf and this is still evident in his partic ular drawing style. In Beuys’ sense\, Knöller’s drawing process is also an expression of material-thinking and thus the result of a very conscious act of thinking.

DTEND:20130330 DTSTAMP:20140923T070653 DTSTART:20130202 GEO:52.5101298;13.3920657 LOCATION:Galerie Thomas Schulte\,Charlottenstraße 24 \nBerlin\, D-10117 SEQUENCE:0 SUMMARY:THOUGHT\, Richard Deacon\, Idris Khan\, Jonathan Lasker\, Allan McC ollum\, Michael Müller\, Albrecht Schnider UID:255009 END:VEVENT BEGIN:VEVENT DTEND:20130201T210000 DTSTAMP:20140923T070653 DTSTART:20130201T190000 GEO:52.5101298;13.3920657 LOCATION:Galerie Thomas Schulte\,Charlottenstraße 24 \nBerlin\, D-10117 SEQUENCE:0 SUMMARY:THOUGHT\, Richard Deacon\, Idris Khan\, Jonathan Lasker\, Allan McC ollum\, Michael Müller\, Albrecht Schnider UID:255010 END:VEVENT END:VCALENDAR