Galerie Bob van Orsouw - Zurich - various artists | Face to Face | 24 January 2015 – 21 March 2015

Klaas Kloosterboer 14119 / 14121 / 14122 , 2014 Enamel on linen each: 69 x 48 cm / 27 1/8 x 18 7/8 in

 

Portraiture has always served as an aide to remembrance beyond the present, enduring even death itself. Since the beginning of time mankind’s longing for the effigy has been apparent, at times even infused by a belief in the spiritualism and magic such an image can convey. While detail and meticulousness were once of great importance for the sake of recognition, these core characteristics of the genre became increasingly obsolete with the invention of photography in the beginning of the 19th Century. Being overruled in terms of exactness, and while simultaneously the medium itself undergoes turmoil’s of change – Impressionism, Expressionism, Surrealism, Futurism and later Photorealism and Hyperrealism – painting increasingly relied on its own devices and strengths. At once the focus shifted to portraying a being by way of painterly expression. History aside, the key attribute of a portrait per se remains creating a copy of some sort, even if abstraction or surrealist forms are applied. While the connection, or rather the search, for some sort of truth or reality remains the defining starting point for the viewer, it is however the mode of depiction chosen that has an authoritative effect on the work in progress: the artist now, through choice of material, stroke, and form, defines what is to be «painted». What does this ancient form of depiction still have to offer in the digital age? Whether it be classic self-portraiture or a genre-mix applied, a subordination of the term «portrait» or a reduction thereof, or even be it a reference made to the abundance of self-manifestation as a consequence of the digital day and age: the selection of artists included in this exhibition present the diversified possibilities that embody the concept of a portrait today. Carefully selected and placed «face to face», the juxtapositions create at once a dialogue between the various works as well as underline the expressiveness of each in its singularity. Not only does the diversity of the genre become apparent, moreover it itself becomes the mode of self- contemplation for artist and viewer alike. Philip Akkerman (NL, *1957) For more than 30 years the artist has created thousands of portraits solely of himself. Like a conceptual diary, he has transformed his own image via various costumes, age situations, and different modifications to his physiognomy. Beyond these variations, Akkerman alludes to movements in art history – such as Expressionism, Abstraction, or Surrealism – while similarly posing interesting questions about the «manufacturing» of ones identity to the outside world in contemporary times. Anton Henning (DE, *1964) Anton Henning’s creativity knows no bounds. He uses every technique, from drawing, to sculpture, photography, film and music, all the way to environmental installations. However painting plays the elemental role, often blurring the lines between snaking outlines and frightening grimaces who’s gaping mouths and hypnotising stare dissolve into surrealist structures. Klaas Kloosterboer (NL, *1959) Reacting with his canvases like a sculptor in space, Klaas Kloosterboer deconstructs giant, spray painted canvases he then takes apart and sews back together to bumptious costumes and masks. The almost theatrical settings and pieces bring «face to face» the tragedy and comedy of painting. Stephan Melzl (CH, *1959) With his paintings Stephan Melzl transports the classic ideology of the portrait into the here and now, through the application of contemporary aesthetics and the explicit referral to the digital age, including the use of smartphones and the ever-increasing need for self-projection. Paul Morrison (GB, *1966) Regarding Paul Morrison’s works, we find ourselves pondering over how our language functions. His schematic depiction of a tree is like an imprecise lecture on our subjective perception; just like the general term “tree” only imperfectly describes the empirical diversity of trees. His standardised-seeming depictions of nature point to the fact that an object, despite its recognisability, is never conclusively portrayable. Julian Opie (GB, *1958) Julian Opie’s unmistakable visual idiom is characterised by the reduction of individual features of the human figure to just a few telling lines or by the representation of physiognomic features so schematic that the portrait resembles a pictogram. His focus lies increasingly on the physicality of the piece itself – whether it be painting, LED screens, or sculpture – posing questions concerning identity in massmedial society. Albrecht Schnider (CH, *1958) From hundreds of drawing derive just a few large, perfectly geometrical landscapes and «portraits», the latter appearing more like faceless outlines of heads. Testing new painting possibilities, Schnider follows a highly distinctive attitude and striving for perfection in terms of both form and content.

Anton Henning Portrait No. 379 , 2013 Oil on canvas 50.3 x 50.1 cm / 19 3/4 x 19 3/4 in framed 51.5 x 51.5 cm / 20 1/4 x 20 1/4 in HENNI19773			Anton Henning Portrait No. 374 , 2013 Oil on canvas 80 x 70 cm / 31 1/2 x 27 1/2 in framed 82 x 72.5 cm / 32 1/4 x 28 1/2 in HENNI19771
Philip Akkerman Self-Portrait No. 87 , 2001 Oil on wooden panel 40 x 34 cm / 15 3/4 x 13 3/8 in AKKER10410			Philip Akkerman Self-Portrait No. 39 , 2009 Oil on wooden panel 40 x 34 cm / 15 3/4 x 13 3/8 in AKKER16772
Stephan Melzl Oldtimers , 2014 Oil on wooden panel 65 x 50 cm / 25 5/8 x 19 5/8 in MELZL20382			Stephan Melzl Smartphones , 2014 Oil on wooden panel 65 x 50 cm / 25 5/8 x 19 5/8 in MELZL20381

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