Calligraphy of a Young Westener, Viele Angestellte, …

from left to right:

Calligraphy of a Young Westerner, 1995
ink and pencil on paper, 29,7 x 42 cm

Untitled (Viele Angestellte), 2006
felt pen on whiteboard paper, 42 x 59.4 cm

We have to go over the building., 2011
marker on paper, tape, 29.7 x 21 cm

shown in:
“Clay Collection and Speculative Plane”, Hilfiker Kunstprojekte, Lucerne, Switzerland (2011)
“Voici un Dessin Suisse (1990-2010)”, Musée Rath, Geneva, Switzerland (2010)
“New Sundays”, Galerie du Jour agnès b., Paris, France (solo show, 2008)
“Robert Estermann. Manor Kunstpreis Luzern 2007”, Museum of Art Lucerne, Switzerland (solo show)
“Robert Estermann”, Galerie du Jour agnès b., Paris, France (2002, solo show)

Bibliography:
Kunstmuseum Luzern, “Robert Estermann, Pleasure, Habeas Corpus, Motoricity. The Great Western Possible”, exhibition catalogue, Edition Fink, ISBN 978-3-03746-105-1, 2007, Zürich (monographical)
“Voici un dessin suisse”, livret d’exposition, Musées d’art et d’histoire (publisher), Geneva, pp. 28-29


 

Excerpt from Robert Estermann, Blue Rider by Elisabeth Lebovici
in: Robert Estermann. Pleasure, Habeas Corpus, Motoricity. The Great Western Possible Ed. Susanne Neubauer, Kunstmuseum Luzern, Museum of Art Lucerne, edition fink, Zurich, 2007, ISBN 978-3-03746-105-1

Robert Estermann’s gallop actually resists definition, style, the hold of all those words that propel a society of ageing or regressive children. The words “Beruf”, “Veranlagung”, “Tatsache”, “Schöpfung”, “Tätigkeit”, “Motivierung” are written in capital letters on a sheet of paper [Calligraphy of a Young Westerner]. Underneath, in smaller letters: “Freizeit”. Leisure, free time. But is this demand for freedom of time or space more plausible when the words on the drawing are the drawing and thus become part of the fiction of the drawing? “It’s a choice, I’ve got nothing left to loose”, the artist explains. “I’ve abandoned all useless baggage. I take liberties. It’s so important, art can be so provocative, with no need for complicated illusions, no narration or complex settings: a really simple drawing has the chance of being effective. I don’t want to let it be an illusion: I still believe, as an artist, that the artist’s freedom still remains.” His freedom of expression.


 

Aus dem Pressetext von Isabel Flur zur Ausstellung Robert Estermann «Clay Collection and Speculative Plane», Hilfiker Kunstprojekte, Luzern, 9.11.–23.12.2011

«We Have to Go Over the Building.» – Diese Aufforderung oder vielmehr: Feststellung (denn das appellative Ausrufezeichen fehlt) steht mit dickem Marker geschrieben auf einem Blatt Papier, das in unmittelbarer Nähe der Installation «Clay Collection and Speculative Plane» an die Wand des Ausstellungsraums geheftet ist. Als radikale Erklärung steht die zeichnerische Arbeit für sich, unterstreicht aber auch deutlich die Bildaussage des dreidimensionalen «Tableaus» der Installation.

 

 

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