Janine Magelssen - Wall Objects

Extended Drawing

Tegnerforbundet Gallery, The Drawing Art Association of Oslo, Norway announces the exhibition Extended Drawing from August 18th to September 19th 2011. Extended Drawing will feature the work of nine established, international artists, including six from the United States, who use drawing to explore our process of perception and our expectation of the functions of drawing.

Extended Drawing will be a continuation of a 2009 exhibition at New York’s Drawing Center titled Apparently Invisible. Drawing Center curators Nina Katchandourian, Joanna Kleinberg and Rachel Liebowitz selected artists Elana Herzog (USA), Marietta Hoferer (USA), Chris Nau (USA), Michaela Frühwirth (NE), Anne Lindberg (USA), Janet Passehl (USA), Sarah Kabot (USA), Susan Collis (UK) and Janine Magelssen (NO) from The Drawing Center’s Viewing Program list of more than 2000 international artists working with drawing as their primary medium. Apparently Invisible explored the ethereal and the sublime while questioning our act of seeing and challenging our definition of drawing. The upcoming exhibition Extended Drawing will further these ideas in a new venue and present new works by the artists to the public of Oslo in a free exhibition.

Extended Drawing builds on the theme created in Apparently Invisible; through the artists approach to his/her works, the choice of material and shaping of the works the viewers comprehension is challenged, an uncertainty can arise through the meeting with these works. Drawing meets textile, object and installation. The artists work in a reduced language that spans from the quiet to the brutal. The reduced language meets sensuous and tactile materials and the pieces can be experienced as both physical and present. Several of the art works that will be shown in Extended Drawing will be specially made for The Drawing Art Association exhibition space. Our accustomed notion and our interpretation will be challenged, inviting viewers to experience a slower form of perception and question their own grasp of a language that does not require words.

Elana Herzog (USA). Herzog is best known for installations in which textiles are aggressively stapled to wall surfaces and then deconstructed to produce residual drawings consisting of shredded fabric and perforated plaster in some areas, and densely stapled and built-up materials in others. These pieces are often site-specific, and sometimes includes architectural forms that Herzog builds within the exhibition space. Herzog will do a site-specific work at Tegnerforbundet Gallery.

Marietta Hoferer (USA). Hoferer creates grid-like formations and abstract compositions with faint pencil and thousands of small hand-cut pieces of transparent tape, inspired by the rhythms of architecture and weaving. Although subtle, the geometric patterning reveals a luminous surface that changes with the light and differing vantage points. She will bring new work to the exhibition.

Chris Nau (USA). Nau cuts abstract line drawings directly into the gallery walls, reminding us of the destructive elements of any constructive act. His large wall drawings ripple, crumble and bulge out of the wall surfaces, creating a tension between the flatness of a typical line drawing’s relationship to representation and the physicality of the real, of the object. Each of his wall drawings are destroyed at the end of an exhibition, undermining the preciousness of the art piece. Nau will construct a new piece at Tegnerforbundet.

Anne Lindberg (USA). Lindberg makes sculpture and drawings that tap into our non-verbal place, provoking emotional, visceral and perceptual responses – an awareness of the sublime. These non-representational works are subtle, rhythmic, and abstract and often manic. The large scale drawings are fields of marks in a variety of linear media, each developed as a system that slowly accumulates to create an abstract matrix of perceptions. Lindberg will show new work at Tegnerforbundet.

Janet Passehl (USA). Passehl will exhibit work that most clearly pushes the boundaries of what may be considered drawing. She will exhibit her folded ironed cloth at Tegnerforbundet. Formally, these works challenge pre-conceived ideas about mark-making. Ironing is a way of making an invisible, or silent, mark. Folds, creases and edges, furthermore, must first be seen as a variety of lines: soft, hard, thick, thin. Then, surface is addressed, as the layering of fabric affects the translucency of the material. Stains, soil, or the natural variations that occur in cloth are also part of the phenomena, acting as chaotic elements against the controlled process of cutting and pressing. Passehl will present her ironed work on a constructed table in Tegnerforbundet.

Sarah Kabot (USA). Kabots works examines the act of artistic production within certain conceptual boundaries of contemporary art concerning the nature of reality and perception. Through close reproduction and manipulation of an object the work calls into question the significance of that object and emphasizes the shift between original and reproduction. Her sculptures and installations respond to quotidian objects and commonplaces spaces, taking visual clues and materials from these forms to create a secondary experience of an object or an entire location. The pieces use systems of copying, mirroring, and amplification to thoroughly analyze the structures of a chosen object or space. These techniques of repetition create visual tension between the original and the intervention, between the existent object and the imagined object. Kabot will do a sitespecific work at Tegnerforbundet.

Susan Collis (UK). Collis' practice involves a subversion of time frame and visual perception through the manipulation of everyday objects. In the piece 'Paint Job', what initially seems like a collection of careless splashes and stains upon the fabric of utilitarian worker's overalls are, on closer inspection, meticulously stitched marks replicating the accidental and spontaneous moment. Further to this, Collis enjoys playfully positioning the works in overlooked areas of an exhibition space, to heighten the potential for an initial misreading. We, the viewer, are then forced to rewire our visual and mental understanding of a particular mark, thus elegantly extending our viewing experience.

Michaela Frühwirth (NE). Frühwirths drawings are derived from actual locations. When drawn, the image begins to operate as a screen or a membrane on which the view of a surrounding condenses and congeals. Here the picture plane acts to extend the delay within which sensations begin to take hold, prolonging the flicker between a moment before-ness and a meaning-reflex. These drawings, wedged between 'abstraction' and 'place', engage the viewer in a patient perceptual movement within the presented space by in-forming the threshold within which our surroundings always unfold as 'making sense'.

Janine Magelssen (NO). Magelssens wallconstructions are site specific. The starting point is a dialogue with the space, a quiet examination of protrusions, lines, irregularities and lighting conditions. Magelssen then engages via her unspectacular objects, composed mostly out of white, comparatively small, geometrical formed elements. They appear as something that is organically fused with the wall, revealing itself only gradually. Magelssen’s three dimensional wall drawings draw energy and a sensual seductive force directly from their radical reduction. Magelssen will make wall construction # VII in Tegnerforbundet Gallery.


		Extended Drawing Tegnerforbundet Gallery, The Drawing Art Association of Oslo, Norway announces the exhibition Extended Drawing from August 18th to September 19th 2011. Extended Drawing will feature the work of nine established, international artists, including six from the United States, who use drawing to explore our process of perception and our expectation of the functions of drawing. Extended Drawing will be a continuation of a 2009 exhibition at New York’s Drawing Center titled Apparently Invisible. Drawing Center curators Nina Katchandourian, Joanna Kleinberg and Rachel Liebowitz selected artists Elana Herzog (USA), Marietta Hoferer (USA), Chris Nau (USA), Michaela Frühwirth (NE), Anne Lindberg (USA), Janet Passehl (USA), Sarah Kabot (USA), Susan Collis (UK) and Janine Magelssen (NO) from The Drawing Center’s Viewing Program list of more than 2000 international artists working with drawing as their primary medium. Apparently Invisible explored the ethereal and the sublime while questioning our act of seeing and challenging our definition of drawing. The upcoming exhibition Extended Drawing will further these ideas in a new venue and present new works by the artists to the public of Oslo in a free exhibition. Extended Drawing builds on the theme created in Apparently Invisible; through the artists approach to his/her works, the choice of material and shaping of the works the viewers comprehension is challenged, an uncertainty can arise through the meeting with these works. Drawing meets textile, object and installation. The artists work in a reduced language that spans from the quiet to the brutal. The reduced language meets sensuous and tactile materials and the pieces can be experienced as both physical and present. Several of the art works that will be shown in Extended Drawing will be specially made for The Drawing Art Association exhibition space. Our accustomed notion and our interpretation will be challenged, inviting viewers to experience a slower form of perception and question their own grasp of a language that does not require words. Elana Herzog (USA). Herzog is best known for installations in which textiles are aggressively stapled to wall surfaces and then deconstructed to produce residual drawings consisting of shredded fabric and perforated plaster in some areas, and densely stapled and built-up materials in others. These pieces are often site-specific, and sometimes includes architectural forms that Herzog builds within the exhibition space. Herzog will do a site-specific work at Tegnerforbundet Gallery. Marietta Hoferer (USA). Hoferer creates grid-like formations and abstract compositions with faint pencil and thousands of small hand-cut pieces of transparent tape, inspired by the rhythms of architecture and weaving. Although subtle, the geometric patterning reveals a luminous surface that changes with the light and differing vantage points. She will bring new work to the exhibition. Chris Nau (USA). Nau cuts abstract line drawings directly into the gallery walls, reminding us of the destructive elements of any constructive act. His large wall drawings ripple, crumble and bulge out of the wall surfaces, creating a tension between the flatness of a typical line drawing’s relationship to representation and the physicality of the real, of the object. Each of his wall drawings are destroyed at the end of an exhibition, undermining the preciousness of the art piece. Nau will construct a new piece at Tegnerforbundet. Anne Lindberg (USA). Lindberg makes sculpture and drawings that tap into our non-verbal place, provoking emotional, visceral and perceptual responses – an awareness of the sublime. These non-representational works are subtle, rhythmic, and abstract and often manic. The large scale drawings are fields of marks in a variety of linear media, each developed as a system that slowly accumulates to create an abstract matrix of perceptions. Lindberg will show new work at Tegnerforbundet. Janet Passehl (USA). Passehl will exhibit work that most clearly pushes the boundaries of what may be considered drawing. She will exhibit her folded ironed cloth at Tegnerforbundet. Formally, these works challenge pre-conceived ideas about mark-making. Ironing is a way of making an invisible, or silent, mark. Folds, creases and edges, furthermore, must first be seen as a variety of lines: soft, hard, thick, thin. Then, surface is addressed, as the layering of fabric affects the translucency of the material. Stains, soil, or the natural variations that occur in cloth are also part of the phenomena, acting as chaotic elements against the controlled process of cutting and pressing. Passehl will present her ironed work on a constructed table in Tegnerforbundet. Sarah Kabot (USA). Kabots works examines the act of artistic production within certain conceptual boundaries of contemporary art concerning the nature of reality and perception. Through close reproduction and manipulation of an object the work calls into question the significance of that object and emphasizes the shift between original and reproduction. Her sculptures and installations respond to quotidian objects and commonplaces spaces, taking visual clues and materials from these forms to create a secondary experience of an object or an entire location. The pieces use systems of copying, mirroring, and amplification to thoroughly analyze the structures of a chosen object or space. These techniques of repetition create visual tension between the original and the intervention, between the existent object and the imagined object. Kabot will do a sitespecific work at Tegnerforbundet. Susan Collis (UK). Collis' practice involves a subversion of time frame and visual perception through the manipulation of everyday objects. In the piece 'Paint Job', what initially seems like a collection of careless splashes and stains upon the fabric of utilitarian worker's overalls are, on closer inspection, meticulously stitched marks replicating the accidental and spontaneous moment. Further to this, Collis enjoys playfully positioning the works in overlooked areas of an exhibition space, to heighten the potential for an initial misreading. We, the viewer, are then forced to rewire our visual and mental understanding of a particular mark, thus elegantly extending our viewing experience. Michaela Frühwirth (NE). Frühwirths drawings are derived from actual locations. When drawn, the image begins to operate as a screen or a membrane on which the view of a surrounding condenses and congeals. Here the picture plane acts to extend the delay within which sensations begin to take hold, prolonging the flicker between a moment before-ness and a meaning-reflex. These drawings, wedged between 'abstraction' and 'place', engage the viewer in a patient perceptual movement within the presented space by in-forming the threshold within which our surroundings always unfold as 'making sense'. Janine Magelssen (NO). Magelssens wallconstructions are site specific. The starting point is a dialogue with the space, a quiet examination of protrusions, lines, irregularities and lighting conditions. Magelssen then engages via her unspectacular objects, composed mostly out of white, comparatively small, geometrical formed elements. They appear as something that is organically fused with the wall, revealing itself only gradually. Magelssen’s three dimensional wall drawings draw energy and a sensual seductive force directly from their radical reduction. Magelssen will make wall construction # VII in Tegnerforbundet Gallery.