Conrads: Monika Brandmeier | Ulrike Heydenreich - 23 May 2009 to 31 July 2009
Monika Brandmeier · Lock (Detail) 2009, Säule, verzinktes Stahlrohr, Urethanguss
...und alles Sehnen schließlich geometrisch
..and all longing is in the end geometric
Since the 80s I have been working on drawings and sculptures that have a clear, reduced appearance yet have little to do
with minimalist positions. On the contrary, they pursue the idea of a poetically organised space and subjective conceptualism.
In this way, the works on the whole use their directness as a form of argumentation, and paradoxically it is precisely
this decision not to use external references and sources which in the first instance makes the works so inaccessible, unfamiliar
and also secretive. I perceive my works as facts of the case, which soberly deal with their physical presence and
thereby the presence of the viewer.
In the latest works it is above all about contradictions, which are staged and played off against one another, counteracting
strengths that within the spatial ensemble criss-cross through the empty room. Just as movement and deliberation come
together in the drawings, the viewer experiences this work by looking at it, and is only able to comprehend it by retracing the
constructions. It is the viewer’s gaze that the work captures within its scope. Because “the desire” – as it is called in one of
the works – “ is merely a bearing, like the gaze, and all longing is in the end geometric.”
Ulrike Heydenreich is interested in the human subject as embodied viewer of the visible world.
For her, the constantly shifting water of the ocean serve as a metaphor for phenomena perceived by the senses. Wading into
the water with camera in hand, Heydenreich photographs the surface of the ocean as it surrounds and threatens to engulf
Fascinated by equipment—compass, map, leveling tripod—used by travelers and adventurers to explore and survey the
environment, Heydenreich created drawing devices that enable her to capture a view of the world as it unfolds continuously
around the body. With these devices Heydenreich has developed a mode of drawing panoramas in-the-round. Her Panoramarings
present drawings born that strive to push beyond the limits of two-dimensional pictorial space, displayed in ringlike
“frames” or cases she has built to exhibit them.
Heydenreich’s collages represent a new direction focuses on the idea of landscape as the crystallization of individual memory
and cultural fantasy. Instead of representing images of the material world presented to vision and the body, here she
constructs views that are projections of ideal places. Working with scans of old photographs representing skiparadise (skiing
paradises) woven between pages of transparent paper Heydenreich constructs landscapes drawn equally from
real life, memory, and the projection of her own fantasy.
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