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© antje dorn / VG Bild-Kunst, Bonn 2002 [all rights reserved] | ||||||||||||||||||
Auswahl aus der Serie "Wood", 2002, 32 Zeichnungen à 29x39,5 cm, Kohle auf Holz Some drawings from "Wood", 2002, series of 32 drawings à 29x39,5 cm, charcoal on wood, |
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"Wood", 2002, 32-tlg. Serie, Kohle auf Holz (Auswahl) in der Ausstellung "Antje Dorn - Stuff", Museum Folkwang, Essen 2011. In Vitrine: "Cookie Park - Die Welt in Stücken", Originalzeichnungen, Tusche auf Papier, 1994; Erstausgabe, Leinengeb., 1995, Paperbackausgabe 1996 Ausstellungsphoto: Jens Nober, Museum Folkwang |
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Text von Annelie Lütgens aus dem Katalog zur Ausstellung "Gezeichnete Stadt", Berlinische Galerie, Museum für Moderne Kunst, Berlin 2020
Antje Dorn Alltägliche Straßen, Architekturen und Gesichter sind der Stoff, aus dem die Kunst von Antje Dorn entsteht.1 Wie etwa diese 32 Kohlezeichnungen auf Sperrholz: »Mit der Auswahl des Zeichengrunds aus Sperrholz ging die Arbeit eigentlich los, und im Laufe der Entwicklung im Atelier habe ich immer mehr Platten im gleichen Format dazugekauft. Die häufig von vielen Leuten verwendeten Sätze ›Ich weiß es nicht‹ und ›Ich hab's vergessen‹ bildeten den Startpunkt der Textsprechblasen, die ich dann immer weiter ausgebaut habe.« 1 Vgl. Antje Dorn. Stuff, Ausst.-Kat. Folkwang Museum Essen, Göttingen 2011. Antje Dorn Everyday streets, architecture, and faces are the stuff that the art of Antje Dorn is made of.1 For example, these thirty-two charcoal drawings on plywood: “By choosing a plywood support, the work truly began, and as things developed in the studio I purchased more and more boards in the same format. Things people say like, ‘I don’t know,’ or ‘I forgot,’ formed the point of departure for the speech bubbles, which I then continued to expand.”2 Thirty-two faces: Antje Dorn renders drawings of women and men of all ages. The lengths and styles of their hair, in some cases their glasses and their beards, are all different; their facial expressions are usually blank, with hardly any of them smiling. Despite the many external distinguishing characteristics, these aren’t portraits; they reveal no clear identity. The artist used newspaper photographs as a point of departure, defamiliarizing them, typifying them, anonymizing them, and sometimes imagining them. “The faces aren’t supposed to be portraits of particular individuals, that was important to me, but ‘types’ that we all know without recognizing anybody in particular.” Thirty-two speech bubbles: the artist has assigned sentences to this anonymous cast of urban types. Some of the sentences are short, catchy everyday phrases (“I once knew that”), while some are more complex, with double negations, thus ultimately meaning the very opposite: “When I wanted to forget, I didn’t remember not being able to forget.” The meaning of statements like this, about forgetting, remembering, not wanting to know, about the attempt to “know” something or whatever it is, not to forget it, stretches from distraction to ignorance and superficiality to the repression of things, deeds, and events, that we cannot and should notor conversely can and shouldforget. Beside the heads and sentences, the support for the drawings plays a third important role. It even gives the series its title (spelt out in capitals): WOOD. This refers to the material of the support and the charcoal used for the drawings themselves.. For Antje Dorn, this series is not least an “excursion into the underwood of branches of language around the words ‘know,’ ‘remember,’ and ‘forget,’ and also a certain thicket between saying and meaning.” Wood refers not just to the material of the artwork but also to the forest and the building material. Underwood in turn is the title of a famous work by Marcel Duchamp from 1916: the readymade consists of the protective cover for a typewriter with the Underwood logo. With the mechanical typewriter, all sorts of sentences about knowing, forgetting, and remembering could be brought to paper. But the faces rendered on the wood, ranging from individuals to types, are what we remember when examining the drawings.
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"Wood" in der Ausstellung "Gezeichnete Stadt - Arbeiten auf Papier 1945 bis heute", Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur, Berlin 2020 Ausstellungsphoto: Antje Dorn Sammlung: Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur, Berlin |
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"Wood" in der Ausstellung "Kunst in Berlin von 1945 bis heute", Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur, 2014 Ausstellungsphoto: Antje Dorn |
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"Wood" in der Ausstellung "Graphik im Licht", Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur, Berlin 2007 Ausstellungsphoto: Silke Helmerdig Sammlung: Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur, Berlin |
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Barbara Wien über die Serie "Wood", 2002: In der Serie "Wood" geht Antje Dorn von simplen Sätzen zu den Themen Wissen, Erinnern und Vergessen aus. |
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"Wood", 32-tlg. Serie, Kohle auf Holz, in der Ausstellung "Das Örtliche", NAK Neuer Aachener Kunstverein, 2003 Aussstellungsphoto: Antje Dorn |
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