Doris von Drateln

  • Ludger Gerdes

    “You can unmask and reveal things with images; you can anticipate them and examine them. Images are trial runs for unborn reality,” says Ludger Gerdes. This Düsseldorf sculptor made his first public appearance in the early ’80s with installation works that were constructed “image-sites,” models that cautiously explored architecture and landscape as the most important arenas of human life. “The first and foremost function of art,” wrote Gerdes in 1984, “is to create and give shape to the spaces we live in.” Art, he says, should be in the public domain and act as a vehicle for social communication.

  • Marcel Odenbach

    Video art has undergone a fundamental change during the last couple of years, with video artists trying more and more to translate traditional fine arts media into video, to imitate drawing, painting, and photography using the flickering language of video imagery. In the case of Marcel Odenbach this change can be seen both in his videos and in his growing preoccupation with drawing. Although he incorporated drawings into his video works of the mid ’70s, the relationship of the two media in his work since 1981 has been somewhat different. The drawings, which originally began as sketches for his

  • Jürgen Bordanowicz

    Like the ancients, Jürgen Bordanowicz regards human beings as vessels. We know almost nothing of this vessel, are barely conscious of events taking place within it, and know nothing objectively of events in the world that surrounds it. Yet our existence is created out of the interaction between these external events and those that occur within us. In Stofflich-geistige Strömung (Material-spiritual flux, 1985) Bordanowicz has painted the human-being-as-vessel in the form of a large sitting figure in which streams of different colors flow together. The figure is surrounded by blue currents—blue

  • Ernesto Tatafiore

    Ernesto Tatafiore’s figures greet us elegantly with head, not hat, in hand. For instance, there’s Louis XVI: he inclines charmingly toward an audience outside the drawing, which is sarcastically entitled Luigi I’ultimo (Louis the last, 1981). This title reminds us of the drama of the French Revolution, with its protagonists Danton and Robespierre and its victim Louis XVI, the latter a key theme in his work. The headless Louis XVI is an emblem for death, which, as a border crossing, signifies for Tatafiore first and foremost a threshold to the new, specifically the departure from absolute monarchy