Art Review - March Issue - (Page 80)
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LAPP Bertram Hasenauer BERTRAM HASENAUER HAS LATELY BEEN IN PREPARATIONS
FOR two exhibitions of drawings, which he composes on the wall of his
studio in Berlin Friedrichshain and in cardboard models on the floor. He
is one of the winners of this year’s Strabag Art Award in Vienna, with
the connected solo show at the end of January, and he has a gallery
exhibition in Sassa Trülzsch’s new space, ST Studio, in Berlin. Both
shows combine portraits with material studies, landscapes and drapery, all
meticulously executed in coloured pencil on paper. Due to the medium’s
subtlety, and because the works will be sparingly set in the whitewashed
exhibition spaces, these shows will appear quite frugal, but the drawings
will nonetheless hold their own and articulate their presence. Hasenauer,
who was born in Saalfelden, Austria, in 1970, is equally a painter and a
draughtsman. He studied at the Academy of Fine Arts in Vienna, at the
University of Arts in Berlin and at Central Saint Martins College in
London. In his paintings he works with acrylic on wood, modulating the
diluted pure colours in numerous washes and thus creating a similarly
perfectionist surface to his drawings. His works are meditations on
appearance, on the perception and display of surface. Many of his subjects
are young people against a white background, either confronting or turning
their backs on the viewer, stating their presence in an undefined space.
These portraits, however, do not necessarily depict a specific person –
though Hasenauer occasionally links them to people he knows. They are more
amalgams of styles and attitudes, as if several people were fused into
one, their looks merged. Many of these figures are alike; next to each
other, their faces are closely related, with the shapes of the eyes or the
lines of the lips almost indistinguishably varied, so that they appear like
pictures of siblings or even twins. Once apart, though, the di erences
manifest themselves and the personalities of these figures seem to
develop. Through the distinctions in posture and gesture, they turn into
types, into stylisations of everyday self-portrayal and manner. It is
therefore unsurprising that Hasenauer recently included the drawing of a
knight’s armour into one of his series, or that he draws hooded youths
or shrouded figures. All Instant Things Are Fading, 2006, crayon on
paper, 30 x 42 cm. Courtesy Galerie Hohenlohe, Vienna F ARTREVIEW uture
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Table of Contents for the Digital Edition of Art Review - March Issue
Manifesto
Dispatches
Consumed
Tales from the City
David Lynch
Marcel Dzama
Future Greats
Art Pilgrimage: Moscow
Mixed Media: Moving Images
Mixed Media: Photography
Mixed Media: Digital
Reviews
Book Reviews
On the Town
On the Record
Art Review - March Issue
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