Critics’ Picks

Inge Krause, ohne Titel (13. August 2008) (Untitled [13 August 2008]), 2009/2011, graphite, pastel, acrylic, cotton, Alu Dibond, 23 1/2 x 33".

Hamburg

Inge Krause

Galerie Mathias Güntner
Admiralitätsstraße 71
November 12 - January 14

Inge Krause’s latest exhibition includes portions of four new series of drawings, as well as an early Polaroid work. Krause has until now been known primarily for her unique process of painting: She pours numerous fine transparent layers of acrylic, with only occasionally a minimal pigmentation; the resulting paintings have the most delicate nuances of color and an inconceivable dimension of depth. The current exhibition, completely devoid of paintings, shows how Krause translates such qualities into the medium of drawing while preserving its autonomy. For her drawings, she has developed a graphic language as rigorous as that found in her paintings.

The source material for the works on view consists of photographs and text from daily and weekly papers, much of which inevitably contains current political references, appearing here as decontextualized snippets. For the most extensive and ongoing series so far, “endless headline,” 2011–, Krause draws with a pencil on white paper, each time including a newspaper image rendered in flowing filigrees of densely layered, short pencil strokes, carved out in various shades of gray. Afterward, she places a matte bonding sheet on one part of the surface, raises it, and glues it back again a few millimeters askew. The graphite that adheres to the bonding sheet produces a blurriness that makes the motifs appear like the vague images of memory.

The jet-black works in the series “ohne Titel (13. August 2008)” (Untitled [13 August 2008]), 2009/2011, also refer to newspaper content, but in this case specifically to front-cover images from August 13, 2008. The pieces have a strong painterly effect, though in fact they are graphite and pastel on cotton mounted on Alu Dibond and then coated with clear acrylic. The shared date creates a formal simultaneity among all the images: They not only stand for publicly communicated events, but they also reshape these occurrences into dreamlike reflections that themselves seem unknowable—images that release the representation of the present into a cross-dissolve of seeing, foreshadowing, and remembering.

Translated from German by Diana Reese.