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Albert Oehlen

Drawings

June 8–July 27, 2012
Rome

Installation view Artwork © Albert Oehlen. Photo: Matteo Piazza

Installation view

Artwork © Albert Oehlen. Photo: Matteo Piazza

Installation view  Artwork © Albert Oehlen. Photo: Matteo Piazza

Installation view

Artwork © Albert Oehlen. Photo: Matteo Piazza

Installation view  Artwork © Albert Oehlen. Photo: Matteo Piazza

Installation view

Artwork © Albert Oehlen. Photo: Matteo Piazza

Installation view  Artwork © Albert Oehlen. Photo: Matteo Piazza

Installation view

Artwork © Albert Oehlen. Photo: Matteo Piazza

Works Exhibited

Albert Oehlen, Untitled, 2010 Charcoal on paper, 39 ⅜ × 27 ⅝ inches (100 × 70 cm)© Albert Oehlen

Albert Oehlen, Untitled, 2010

Charcoal on paper, 39 ⅜ × 27 ⅝ inches (100 × 70 cm)
© Albert Oehlen

Albert Oehlen, Untitled, 2012 Charcoal on paper, 118 ⅛ × 78 ¾ inches (300 × 200 cm)© Albert Oehlen

Albert Oehlen, Untitled, 2012

Charcoal on paper, 118 ⅛ × 78 ¾ inches (300 × 200 cm)
© Albert Oehlen

Albert Oehlen, Untitled, 2012 Charcoal on paper, 78 ¾ × 106 ¼ inches (200 × 270 cm)© Albert Oehlen

Albert Oehlen, Untitled, 2012

Charcoal on paper, 78 ¾ × 106 ¼ inches (200 × 270 cm)
© Albert Oehlen

Albert Oehlen, Untitled, 2012 Charcoal on paper, 78 ¾ × 59 ⅛ inches (200 × 150 cm)© Albert Oehlen

Albert Oehlen, Untitled, 2012

Charcoal on paper, 78 ¾ × 59 ⅛ inches (200 × 150 cm)
© Albert Oehlen

About

Gagosian Rome is pleased to present an exhibition of large-scale recent drawings by Albert Oehlen, following an exhibition of paintings at Gagosian New York earlier this year.

For Oehlen, the practice of drawing, like painting, is a subject in itself. Considering its natural expressionistic requirements and conditions, he reflects on the mark and its inverse, counteracting the gestural intuitiveness that is intrinsic to the act with an artificiality contrived according to parameters known only to himself.

Using elemental charcoal as his only tool, he applies the line vigorously, sometimes doubling on his own trace, smudging the medium, or completely erasing it in parts. Eventually the composition is fixed on the broad expanse of paper. These large works have a raw elegance, composed of apparently informal gestures—bold, sweeping lines, smudges, and swipes—in contrast to sometimes self-consciously awkward capitulations. Nothing coheres in a way that could be said to have substantive narrative dimension or pictorial legibility, except for visible stops and starts that prod the limits of content.

The resulting untitled drawings are thus the opposite of pure sensation, seeming to be impulsive and aleatory while in fact they are highly constructed. It is in this formal paradox or subterfuge of effect that the depth of content resides.

A fully illustrated catalogue of the exhibition is forthcoming and will include an essay by Danilo Eccher.

Gagosian Roma è lieta di annunciare una mostra di recenti disegni di grande formato di Albert Oehlen. La mostra segue un’esposizione di dipinti dell’artista presentata quest’anno presso la Gagosian a New York.

Per Oehlen l’atto del disegnare, come il dipingere, è di per sè oggetto della sua opera. Tenendo conto delle naturali regole espressionistiche del disegno, l’artista riflette sul segno e il suo opposto, contrapponendo l’intuito gestuale dell’atto in sè ad una artificialità concepita secondo suoi criteri personali.

Impiegando unicamente il carboncino, l’artista traccia linee decise, a volte ricalcandole, sbavandole o cancellandole in parte, fissando così la composizione sull’ampia superficie di carta. Questi lavori di grande formato esprimono una eleganza grezza, fatta di gesti apparentemente casuali—linee intense e vigorose, sbavature e strisciate—e di sporadici momenti di consapevole tregua. Nella sue opere nulla sembra partecipare alla creazione di una chiara dimensione narrativa o leggibilità pittorica, fatta eccezione per i visibili punti d’inizio e fine che ne rafforzano il contenuto.

Questi disegni senza titolo sono l’opposto della pura sensazione: apparentemente imponderati, sono in realtà altamente costruiti. É in questo paradosso o inganno che si rivela la complessità del contenuto.

Un catalogo illustrato della mostra è attualmente in fase di preparazione e includerà un saggio di Danilo Eccher.