Christian Denzler

‹Bleistift auf Papier›

21.9. – 20.10.2018

Opening Thursday 20.9.2018, 18-20h

Christian Denzler, «o.T.», 2018, Bleistift auf Papier, 80 x 60 cm
Christian Denzler, «o.T.», 2018, Bleistift auf Papier, 115 x 80 cm
Christian Denzler, «o.T.», 2018, Bleistift auf Papier, 59 x 46 cm
Christian Denzler, «o.T.», 2018, Bleistift auf Papier, 60 x 47 cm
Christian Denzler, «o.T.», 2018, Bleistift auf Papier, 59 x 48 cm
Christian Denzler, «o.T.», 2018, Bleistift auf Papier, 75 x 55 cm
Christian Denzler, «o.T.», 2018, Bleistift auf Papier, 78 x 64 cm
Christian Denzler, «o.T.», 2018, Bleistift auf Papier, 55 x 68 cm
Christian Denzler, «o.T.», 2018, Bleistift auf Papier, 78 x 60 cm
Christian Denzler, «o.T.», 2018, Bleistift auf Papier, 75 x 58 cm

Christian Denzler, who was born in 1966, lives and works in Bern and Brussels. He draws, paints and creates installations and objects, but ever so often he also writes poems, prose and texts accompanying the works of artist friends.
The body is the theme that threads its way through all his works. The lines are so fine and the transitions from light to dark so subtle that one can never be sure whether the figures are in the process of appearing or disappearing. It is exactly this hard-to-define, elusive realm, this balance between condensing and dissolution.

Christian Denzler has created a large number of new drawings in various formats for the exhibition Bleistift auf Papier. The artist asked himself three questions. Here the answers:

Three years have passed since your last exhibition with us. Why did it take so long?
I wrote above all. Poems, prose, but also lyrics for my friend Simon Hostettler. Together we recorded the CD "Bruxelles", a kind of mood image from the city, in which I now live for almost twenty-five years. And I thought about art. With the last children's drawings form and content break irretrievably apart. Later, art history turns upside down and you lose your innocence a second time. And at some point the art market hits you on the stomach. And the red wine, and the cigarettes, or all together. There are topics that will not let you go, and that are a recurrent theme throughout your work. But basically, it is only a pursuit of that lost unity of representation and expression. And you can despair of that.

Can you say something about the exhibition? How did it come about?
I had a mood in my mind from the rooms. How they should work. Not too heavy and not too light. An idea of the color of the walls. I wished for semi-transparent curtains that would take the exhibition visitor a bit further from the hustle and bustle outside the windows. And I wanted to limit myself to drawings. The most common of all experimental arrangements: pencil and paper. At the same time, I tried to think as little as possible about the exhibition as a whole, not to subdivide it into groups of works, but to let each drawing emerge out of itself. What seems contradictory at first glance is, in fact, different approaches to the same search. To the question of the human appearance.

And the rabbit?
As a child, I got every year for Christmas from my grandmother a ribbon from "Knaur's Tierreich in Farben" as a gift. And in the issue about mammals, I came across a full-page picture of an antelope rabbit. A desert image that has troubled me immensely. Half a year ago, I rediscovered the book in a second-hand bookshop. Iconographically, the hare stands for fertility and rebirth and appears again and again in art history. With Dürer, of course, or as a reminiscence, for example, in an early work by Polke on a colored fabric background. Dieter Roth kneaded rabbits from cow dung and Beuys explained his art to a dead hare in a gallery in Düsseldorf. And he did not just explain the pictures and objects to a lifeless animal. And as a kid, I did not see the hare either, when I went back to that black-and-white shot again and again, but the creature behind it. As a metaphor for ourselves. For what connects us and what attracts us. And what scares us. And what disturbs us.



Archiv Bern/PROGR:
Elsbeth Böniger - Prozesse 2004-2019
Filip Haag - Malerei und Zeichnung 2019
Pascal Danz - Works on Paper 2019
Bodo Korsig - Escape from Memory 2019
Kotscha Reist - Comptoire de Mystic 2019
Martin Kasper
Reto Camenisch 2018
Christian Denzler 2018
Martin Kasper - Im Wechsel 2018
Matchpoint 2018
Andrea Heller / Dominik Stauch 2018
Porter à l'envers 2018
Alfred Hofkunst 2018
Silvia Gertsch - Captured 2018
Winter Story 2017
Böniger / Indermühle 2017
Sereina Steinemann 2017
Xerxes Ach - inside outside 2017
Christian Indermühle - Glarea 2017
Peter Wüthrich 2017
Samuel Blaser - Skip the Pit Stop 2017
Filip Haag - Ins Auge 2017
Kotscha Reist - Painting As Usual 2017
Pascal Danz - Vor der Reise 2016
Laurent Schmid 2016
Freyschmidt/Merkisch/à Wengen 2016
Aquaréelles 2016
Com&Com - New works 2016
Reto Leibundgut - Clementine 2016
Erich Weiss feat. Otto Tschumi 2016
ABOUT PAINTING - PART II 2016
Dominik Stauch 2015
Christian Denzler - Neue Arbeiten 2015
Bodo Korsig - No regrets 2015
Filip Haag - Abrakadie & mehr 2015
Kotscha Reist 2015
Samuel Blaser 2015
Pascal Danz 2015
Elsbeth Böniger - Structures 2015
Catching Moments 2014
Now and Here 2014
(Hi)stories 2014
Summerproject 14
Com&Com - Sky 2014
Katia Bourdarel 2014
Otto Tschumi - Variationen 2014
Lorenz Spring - Spring im Winter 2014
En-lighted 2013
Reto Leibundgut 2013
Patterns 2013
Filip Haag - Oder nach Absprache 2013
Mit dem Körper sehen 2013
Samuel Blaser - Diptycha 2013
Originally Bern 2013
Zwischenspiel: PROGR In-House 2013
Kotscha Reist - Old Ideas 2013
Pascal Danz 2013
Dominik Stauch - Rhinestones 2012
Tiefen Wirkungen 2012
Summerproject 2012
On paper 2012
Com&Com - Clouds 2012
Arno Nollen 2012
Locking glass 2012
Raffaela Chiara - Transformer Kit 2012
X Years 2011
Dominik Stauch - Breathless 2011
Marius Lüscher 2011
Reto Leibundgut - Flora 2011
Kotscha Reist - Painting Life 2011
Microcosmes 2011
Elsbeth Böniger 2011
Laurent Schmid - Rope Tricks 2010
Reto Camenisch 2010
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