RIEHEN / BASEL

JÜRGEN BRODWOLF

Deceleration

October 11th, 2019 – February 1st, 2020

 

Invitation (PDF)

Online catalogue (PDF) 

  • Brodwolf 2018 Vision im Malcantone 01

    Jürgen Brodwolf
    Vision im Malcantone.
    Rötelzeichnung auf altem Aktenpapier, 2018.
    Unten links signiert und datiert. 21 x 30,8 cm.
    Obj. Id: 80552

  • Brodwolf 2019 Figurengruppe vor wilder Gotthardwelt 01

    Jürgen Brodwolf
    Figurengruppe vor wilder Gotthardwand.
    Rötelzeichnung, collagierte Tubenfiguren auf altem Aktenpapier, 2019.
    Oben rechts signiert und datiert. 22,5 x 36,4 cm. 
    Obj. Id: 80559

  • Brodwolf 2019 Blaue Papierfigur mit drei Buestenstudien 01

    Jürgen Brodwolf
    Blaue Papierfigur mit drei Büstenstudien.
    Rötelzeichnungen, collagierte Papierfigur auf altem Aktenpapier, 2019.
    Oben rechts signiert und datiert. 21,2 x 34,4 cm.
    Obj. Id: 80549

  • Brodwolf 2019 Blaues Figuerchen vor Bergpanorama beim Bruenigpass 01

    Jürgen Brodwolf
    Blaues Figürchen vor Bergpanorama beim Brünigpass.
    Rötelzeichnung, collagierte Papierfigur auf altem Aktenpapier, 2019.
    Oben rechts signiert und datiert. 22 x 36,4 cm.
    Obj. Id: 80554

  • Brodwolf 2018 Paar

    Jürgen Brodwolf
    Paar.
    Rötel- und Graphitzeichnung auf Transparentpapier, 2018.
    Oben rechts signiert und datiert. 20,6 x 29,2 cm.
    Obj. Id: 80547

  • Brodwolf 2018 Bergkopf  Vision auf der Alp Vicania oberhalb von Morcote 01

    Jürgen Brodwolf
    Bergkopf - Vision auf der Alp Vicania.
    Rötelzeichnung und Blaustift auf altem Aktenpapier, 2018.
    Oben links signiert und datiert. 21 x 33,7 cm.
    Obj. Id: 80544

 

JÜRGEN BRODWOLF

Deceleration

October 11th, 2019 – February 1st, 2020

 

Very new kinds of works were produced in recent weeks and months in the studio on the river Kander through the use of a very unique technique. They are several series of drawings that the master of the tube figure has committed to paper. The artist, born in Dübendorf (Switzerland) in 1932, who in 1959 came by his “monogram” with the discovery of his figure shaped out of paint squeezed out of a tube, by his so characteristic form of expression, has remained faithful to it, and it now invigorates his new, poetic-seeming works.

Initially produced in the secluded village of Vogelbach in the Black Forest, his graphic and sculptural works are now created in Kandern. His studio-cum-home houses him with his wife Erika and the entire family of figures. This is where he receives art connoisseurs from all of the German-speaking regions as well as from abroad. In Kandern, journalists, photographers, art critics, art historians, museum directors, and art lovers can encounter Brodwolf, his figures, as well as his foundation.

He creates works on paper primarily in his second home in Vezia near Lugano, but the new red chalk works are children from his home on the river Kander. The artist enthusiastically refers to them as “deceleration” in his oeuvre. They originate in a copying process from sketches made in Kandern that are used as references. These quickly executed sketches are slowly and painstakingly copied out in red chalk in such a way that the “nervous” quality of the sketches is lost. They are careful, tranquil-seeming compositions that reflect something dreamlike; they are anthropomorphic forms worked out of rocks and trees. They are landscapes that are placed over the paper and tube figures, which populate them and bring them to life.

Most of these drawings originate on paper from old files in his house in Vogelbach, in which the artist lived with his first wife, Adelheid, and their five children for a long time. These picture carriers have an artistically inspired character per se; they are ragged, wrinkled, the contours are not exactly rectilinear, and they have bulges and signs of wear. This paper is ideally suited to accommodate the artist’s compositions, an artist who has always alienated things that are old and worn with use and even included discolorations and “filth” in his oeuvre. These red chalk drawings also exhibit coloring between the lines; this creates atmosphere, is the artist’s intention, and is not a matter of discoloration that requires restoration.

Series such as “Kleine Schweizer Reise” (Little Swiss Journey), “Tessiner Impressionen” (Impressions of Ticino), or “Torsi, Köpfe und Beine” (Torsos, Heads, and Legs), each of which comprises six to ten drawings, belong to the works that recently originated in the former hospital in Kandern, in part the result of journeys and walking tours that Brodwolf undertook by train or on foot, and during which he always had sketchbooks at hand in which he captures the atmosphere, the natural environment that surrounds him.

Presenting these new sheets by Brodwolf in combination with the presentation of works by Alfred Kubin is intentional, as what these two artists share is the fantastic and the dreamlike. Both of them chose a kind of special form of personal inner emigration, out of which they maintained and continue maintain contact with their surroundings, both near and far, through their wealth of literature and intense correspondence as well as regular visits and journeys.

Both Kubin as well as Brodwolf embellished and embellish their letters with drawings; extensive exchanges of correspondence exist between the artists with publishers, art dealers, museum directors, and curators as well as friends. Both artists always discovered figures in nature, in rocks and trees, and elaborated on them; nature was a rich source of inspiration to them and found expression in numerous drawings and works of graphic art.

It is our hope that the juxtaposition of these two so very different and yet so similar graphic oeuvres, between which lie three generations, will expand and promote the knowledge and appreciation of this technique as the basis of all creative artistic work.

Alexandra Henze Triebold

(Translation by Rebecca van Dyck)

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