Petra Lottje

I started to draw in form of one line at a stretch during my studies, exploring “l’écriture automatique”, so called automatic writing.

At that time I wrote a whole series of texts without punctuation marks and capital letters, and I developed drawings in form of one continous line.
Since then, it became my favorite style, bearing the potential of surprise for me while working on a drawing. At the moment of drawing I don’t reflect on it, I don’t have time to think. Therefore I make a lot of sketches, of which, in my view, only a few are good enough to leave my studio. The process towards a satisfactury outcome takes a long time – resulting in a drawing that possibly needed few seconds to be done.

When I realized that I’m about to tell the story of mir fehlt nichts (I don’t miss anything), I soon found out that I couldn’t continue without a team. Until now, this movie is the most complexe animation project in my work. I got support in working with different computer programs, in working with Wacom, music and sound. For some scenes I needed an actor, cinematographer, lighting technician, digitization of the newsreel and so on. By all means, I considered it essential to draw every line by myself.

DVD Lines Fiction in the Hamburger Kunsthalle

Drawing Rooms 2017
You can ✶easily✶ get the DVD! Online or straight in the Museumsshop Hamburger Kunsthalle
DVD Lines Fiction Hamburger Kunsthalle

Betina Kuntzsch

I apply high-end-programs to create some very plain moving images. A short line that multiplies, and starts moving, transferring the movement to other lines in other time-delayed areas.
Even here, I play with random outcome – some results I keep, others I delete, as if I would work with pen on paper.
Sometimes I draw on a graphic tablet, using an electronic pen.
The gestural expression is important here, I can use it for a motion path. I can animate the drawing, morph it, let it disappear. I also can simulate drawings, applying a computer program that is intended for simulating snow, smoke, or fire works.
I exposed stills of the animation on copper plates for classical gravur printing.
In these photogravures I again pick up the theme of phantom images. I‘m interested in linking media, like paper with moving image, gravure with video still and so on.

Tina Haber

Even though being animations, I regard these moving pictures as images in the tradition of domestic interiors in painting. By showing a certain perspective, and by presenting basic commodities, an idea of every day life becomes visible, although the space is deserted. Therefore a remarkable interplay starts between intimacy and anonymity that I find is a peculiarity in the genre of painting domestic interieur.

Nicole Wendel

Both, the drawing and the film documentary complement each other in the installation, while I regard the performance basically as the actual work of art. In my performances I deal with the living, with the vulnerable, and finally with the ephemeral, therefore all documentation should be contradictive.
However, I find it important to let the drawings, resulting from the performance, have an effect in the aftermath. They preserve the intentions, the time and energy of the event. After the performance in Colmar, I leaned the chalk-board against the wall, emphasizing its imagery. That resulted in a gap in the circle on the floor, prompting the viewer to visually complement the form. It was as well important to me to present the film documentary of the performance during the exhibition.

Alex Bodea

Yes, my visual notes are a contemporary creation. Similar to the snapshots shared on social media, they can be easily placed online. There are many ways of showing my visual notes. Being of small format, they fit into one’s hand and they can be handled like a post-it note. Or they can be placed into an open archive, and people can browse through it (as it usually happens when I present my work in galleries).

Hanna Nitsch

For some years now I’m interested in emotional interpersonal conditions that I try to transform into pictures, but I also deal with emotional conditions contained in certain imagery. In my opinion, drawing is the best artistic medium to explore this field. Between a feeling and the image there is only your hand, a pencil, and a sheet of paper. However, a picture is a very complex network of simultaneous dependencies and intertwinings, constructions and codings. Assuming that emotions and codes follow certain patterns, they emerge from a picture by means of four effects: color and shape, surface and line. As a first step I focused my collages on basic emotions like love or grief that are immediatly comprehensible emotional conditions.

Robert Seidel

While my residency at Epicenter Projects in California I was challenging myself to use the desert and canyons in the San Andreas Fault area as my drawing surface. Laser technology is used there for land survey and earthquake detection, so I found its artistic appropriation decisive. Because some of the performative laser drawing were kilometres in scale, I used long-time exposure photography to capture them in full detail. My own reaction to the different topologies and the resulting gestures put my drawing for the first time into their own group of works.

Hamburger Kunsthalle / Zeichnungsräume / Drawing Rooms

25. November 2016 bis 21. Mai 2017 / November 25, 2016 – May 21, 2017
Galerie der Gegenwart, floor 2 – Öffnungszeiten: Dienstag – Sonntag 10 – 18 Uhr, Donnerstag 10 – 21 Uhr, Montag geschlossen / opening hours: Tues – Sun 10 am – 6 pm, Thurs 10 am – 9 pm, closed Monday

Gallery not found.

Kristinn Hardarsson

My work in general have a tendency towards the handmade; more so unconsciously I believe. This particular work, The Fox, is constructed with the form of children’s books in mind and the story is even in some way not far from what you could expect in such literature, but in other ways not.