2017
kunst galerie fürth

15 January to 26 February in Fürth

 

The fact that art in the second half of the 20th century has become increasingly self-reflexive is something we all most likely know. But what Monika Bartholomé has instigated with her Museum für Zeichnung (Museum for Drawing) is quite unique and original.

She is a wonderfully “suggestive” drawer, but the reason for introducing her to the metropolitan region under the auspices of the “Biennale der Zeichnung (Biennial of Drawing)” is the fact that she integrates her works in the Museum für Zeichnung, which she has set up and continually expands. The Museum is not really a museum and yet somehow − it is. A museum with no permanent address or original works of art is not a museum.  A museum is a place to encounter the sciences (cultural or aesthetic), however, a place where visitors can linger and enjoy themselves while becoming enlightened on their own. A museum should have a library, maybe even a reference library. It should have an individual character. You do not want to find anything there that you anyway find everywhere else. Even today the original notion of the curiosity cabinet lives on in the museum.

Monika Bartholomé writes: “Discover, linger, and create your own new references: With its holdings of drawing reproductions that span all fields of expertise, the Museum für Zeichnung would like to invite you to do just this.”

These days a museum also needs special exhibitions. Each time the Museum für Zeichnung is presented, it is new. This time around, the Museum founder and director Monika Bartholomé deals with the ornament and its history. The ornament is inextricably linked with drawing. But above all, it is the product of an anthropological constant, a human need. The ornament has been celebrated and demonized. Monika Bartholomé does not include the self-reflexiveness in her works, but rather deposits it, so to speak, in the environment, in the form of pieces she has found, in documents and snippets of thought.

Hans-Peter Miksch