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Berlin

Contemporary Fine Arts

Exhibition Detail
DRESDENER PARAPHRASEN
Am Kupfergraben 10
D - 10117 Berlin
Germany


October 4th, 2012 - November 10th, 2012
Opening: 
October 2nd, 2012 6:00 PM - 8:00 PM
 
,
© Courtesy of Contemporary Fine Arts
> QUICK FACTS
WEBSITE:  
http://www.cfa-berlin.com
NEIGHBORHOOD:  
mitte
EMAIL:  
gallery@cfa-berlin.de
PHONE:  
+49-30 288 787 0
OPEN HOURS:  
Tues-Fri 11-6; Sat 11-4
> DESCRIPTION

After the spectacular popular success of the exhibition „Dresden Paraphrases“ of GERT & UWE TOBIAS at the Kupferstichkabinett in Dresden, we consider ourselves very proud and grateful that Contemporary Fine Arts can take over the exhibition in our own space.
For the exhibition the artist brothers took on a particular challenge: from the extensive holdings of the museum, they selected unique masterworks of graphic art from past centuries, which they then interpreted and adapted from a contemporary perspective. Gert and Uwe Tobias have created more than 40 popular works of contemporary graphic art in comparison to the historical works of the exhibition, bringing about the artistic dialogue that is the central appeal of the ‘Dresden Paraphrases’.
The artists have drawn from various sources: from the precious mid-15th-century copper engravings by the Master of the Playing Cards; from the expertly rendered Italian chiaroscuro woodcuts by Ugo da Carpi and Antonio Zanetti from the early 16th and 18th centuries; from the magnificent engraved patterns for the Dresden chinoiseries, which date from the early 18th century and, not least of all, from the revolutionarily monochrome panel work by Herman Glöckner from the early 1930s.
The ‘Dresden Paraphrases’ by Gert and Uwe Tobias do not merely describe a cultural transfer between historically ennobled masterworks and a current position in contemporary art. Instead, they open our eyes to a perception of aesthetically parallel worlds that have lost nothing of their presence and their pictorial power. At the same time, the panopticon of these works elicits the viewer to pose probing questions into cultural tolerance and outdated traditional values. The gaze that the exhibition facilitates – a gaze both forward and backward in time – confirms once again the tradition of the worldrenowned Dresden Kupferstich-Kabinett as a wellspring of this kind of discourse.


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