Jessica Abel, Monika Baer, David B., Steve Bell, Tatjana Bergius, Peter Blegvad, Bernard Buffet, David Collier, Alice Creischer, Erich Dittmann, Alberto Giacometti, Wolfgang Grunwald, Constantin Guys, Hokusai, Ben Katchor, Max Klinger, Friederike Klotz, Fritz Koch-Gotha, Tünde Kovács, Willibald Krain, Ulli Lust, Theo Matejko, Henry Moore, Stephan Mörsch , Ri Tong Chan, Harvey Pekar, Kai Pfeiffer, Inna Poltorychin,Alexander Roob, Joe Sacco, Salon de Fleurus, Alfred Schmidt, Dierk Schmidt, Jim Shaw, Andreas Siekmann, Emil Stumpp, Susan Turcot, Rick Veitch , Amelie von Wulffen , Robert Weaver, Stephen Wiltshire, Eric Wunder, He Youzhi, Florian Zeyfang
TAUCHFAHRTEN (DIVING TRIPS) is a thematic exhibition project that intends to examine the relationship between visibility and invisibility in contemporary art based on the medium of drawing. This discussion based on the perspective of the drawing has proven itself to be fruitful because its basic ambivalence between being a preparatory work, usually a sketch, that remains invisible to the viewer, and a valid, autonomous work that encompasses the above mentioned balance between disappearance and presence. In addition, the exhibition, the concept of which is being prepared by Clemens Krümmel (Texte zur Kunst) and the draughtsman Alexander Roob, will not just present a conventional panorama of the various aspects of drawings, but rather has the goal of also clarifying traditional positions of drawings, which has previously remained in the dark. In this regard, the historical development of the international link between drawing and reportage will play a decisive role in the exhibition. This also encompasses, aside from autobiographical and/or historical news coverage drawings that approach the narrative structure of comic strips, such heterogeneous fields as court sketches, social utopian design sketches, dream protocols and complex origami. Historical as well as contemporary examples will be included so that an abundance of art historical as well as current links to the concept of reportage drawings can be illuminated. Reportage serves here as term implying a large number of artistic practices that are explicitly related to experiences, which can be recovered from normally unseen and hard-to-reach and sites, “divings” from places where photography is forbidden, like prisons, hospitals and courtrooms, or from inner spaces of the imagination, in which planning-abstract or concrete-utopian thought can be formed.