The limits of drawing explored in new ARTER exhibition

The ARTER Space for Art, in Istanbuland’s Beyoilu, is currently home to work by 17 international artists, all exploring aspects of contemporary drawing by specifically focusing on the relationship between line and space.
Titled and”Spaceliner,and” the exhibition is about contemporary drawing, explained Berlin-based curator Barbara Heinrich, during a recent press tour for the exhibition, which opened on May 15.
and”We usually think of drawing to be two dimensional a reflection on a surface, which is usually a [piece of] paper. But drawing has undergone quite exciting and interesting developments during the course of time, especially since the 1960s,and” Heinrich said.
and”Drawing had a kind of an interrelation with other media such as sculpture, painting, photography, video — as well as with andlsquoenvironmental artand’,and” she added.
Around half of the artists featured in the show are from Germany, and a 1964 sculpture by the late German artist, Harry Kramer, a pioneering 20th-century artist best known for his kinetic sculptures, is among the highlights. Light and sound installation artist Hans Peter Kuhn is also among the eight German artists featured.
Switzerlandand’s Sandra Boeschenstein, Nic Hess and Zilla Leutenegger are joined in the catalog by the UKand’s Pip Culbert, Polandand’s Monika Grzymala, South Korean artist Jong Oh, and Turkeyand’s inci Eviner and GandOzde ilkin.
All of the artists in the show focus on drawing and exploring their art space in one way or another.
A majority of the works in the show were commissioned for this exhibition, so most of them are being offered for public view for the first time.
In a detailed article published in the exhibition catalogue, Heinrich argues that drawings now serve as descriptions of reality more than ever. They tell stories, document experiences, explore perceptions and endure as the memoryand’s afterimage.
and”Drawing creates cartographies — of the object, of motion, of space and of the idea — always oscillating between extremes of directness and deliberation, between spontaneous subjective notation and calculated analytical investigation,and” Heinrich writes.
Moreover, techniques with which drawing are made have also become more diversified in the past few decades.
and”The options in artistic materials and media have expanded tremendously. Drawings are created using needle and thread, masking tape and wire, clotheslines, horsehair and charcoal by folding and by cutting, by light. Lines are found in projections, on walls and floors, on wood, canvas, or glass surfaces lines broadcast their echo in space,and” she adds.
All the works presented in and”Spacelinerand” start from a mode of thinking rooted in drawing, which differentiates the artistic results here from spatial installations in general, the curator explained. and”This approach manifests itself in both the choice of materials as well as in their use. Above all, however, it is manifested in the worksand’ graphic intensity and how the lines are used in, and with, the space. Thus, the works reflect, on the one hand, a persistent attempt to fathom the epistemological quality of the medium of drawing. On the other, the aspect of motion is substantially integrated into the worksand’ conception, which leads to a fundamental discussion of the tension between spatial image and actual experience in space.and”
h2 Maximum intellectual freedom, minimum meansh2 All the works in the show move in the and”transitional zones between lines drawn and the actual physical spatial environment,and” Heinrich said. All of the works in the show deal with both the constructed spaces we live in as well as visions of the interior, she added.
Whether executed in pen or pencil, with a cutter or with neon tubes, whether stretched between points of attachment, glued on or projected, each of the projects in the exhibition affords a glimpse into the subject matter, ways of working and approaches in contemporary drawing, she said, adding, and”They show that drawing as a basic artistic form of expression grants a maximum of intellectual freedom with a minimum of means.and”
and”The extension of drawing into space challenges our habitual visual and sensory perceptions in exciting and playful ways,and” she noted.
The way the exhibition is assembled follows a dialogical principle, the curator explained, adding that this highlights and”lines of connection, leitmotifs and points of intersection between the works.and”
In and”Off the Mirror,and” a three-channel video she made for and”Spaceliner,and” Turkeyand’s Eviner delves into the human figure and social space.
and”She is concerned with the process of the construction of female identity, with the creation of role models and the ability to surmount them, with issues of presentation and representation,and” Heinrich explained.
For this work, Eviner has used triangular mirrors in various sizes, and in front of these mirrors, figures perform endless, constantly repetitive movements. Objects such as a book, a fish or fragments of drawings appear and at the same time, the surrounding architecture is captured within the mirrorsand’ images.
and”Foreground and background, top and bottom fuse into multi-layered perspectives, thus irritating our perception. From the arrangement of single elements — legs, hands, heads, objects, gesture and architecture — new references emerge that go beyond conventional attributions. The workand’s pictorial fragments as well as its complex reflections remind one of the shards of a broken mirror. In its derivation from the Latin term andlsquoreflexioand’ [to bend back, bend, double over] reflection means not only the refraction of waves or rays, but also stands for a scrutinizing and comparative type of thinking — in this case, thinking about models of behavior, roles and ways of being, as well as alternative possibilities of action,and” the curator explained.
ilkin, who uses handicraft techniques in her artistic practice, presents a work titled and”Bosphorus Tourand” in and”Spaceliner.and”
and”ilkin is especially interested in the visual vocabulary of embroidery, which she employs not only on fabric, but also on paper or objects. In and’Bosphorus Tourand’ the artist combines a view of urban Istanbul, where the historical skyline encounters a future one, and a view of a rocky, barren landscape into a panorama that surrounds the space. The urban section is peopled by human beings, animals and things, some of which grow into amorphous forms or disappear inside them. Sometimes the figures elongate themselves in loose-hanging threads, lines of connection that relate to the space surrounding them as if they were fingers evaluating the fabric they touch. Construction machines are at work, policemen are in action, while the people pursue playful and fantastical activities and the urban landscape overruns the desert of broken up stones. Overlaying the textile and tactile image is a soundscape that interweaves the artistand’s texts with various sounds and makes the space — and the viewer — integral components of drawing,and” Heinrich said.
At the same time, the work is an examination of the relationship between past and present, individual and collective history, personal biography and the power structures of politics, all of which are pierced by the artistand’s needle, subtly and precisely.
and”The theme of ilkinand’s work that links reality and fiction is the transitory character of the city,and” the curator said.
and”Spacelinerand” will continue until Aug. 2 at ARTER. Admission is free.

and”Raumzeichnung,and” a site-specific installation by Monika Grzymala, at Arter.(Photo: Aras Selim Bankoilu)

and”Not a Car at All,and” a sculpture by the late artist Harry Kramer, is among works on display in and”Spaceliner.and”(Photo: Reinhard Prandullage)

SOURCE: Today’s Zaman