5.11.07

Recent works @ Galerie Eric Dupont 13 Rue Chapon 75003 Paris Oct 27th to December 22nd 2007





















To K from P with Love @ Markus Winter, Berlin, Oct 26th - Dec 22nd 2007



















Text written by Franz Dahlem for and published in limited edition artist book accompanying the show in Berlin -To K From P with Love-

DADURCH

THE STATION OF THE CROSS (1958-1966) von Barnett Newman, habe ich zuletzt wieder in Washington, D.C. in der Nationalen Gallerie gesehen. Zum Format seiner Bilder (198 x 154 cm) sagte Barnett Newman: "A human scale for the human cry."

Der Schmerz erscheint. Die Unendlichkeit, die durch den Weg des Schmerzes erreicht wird ist Ruhe. Dieses grossartige Werk der Ruhe von Barnett Newmann vermittelt den Verzicht. Die Trostlosigkeit beinhaltet, dass es keinen Verzicht gibt. Dadurch aber auch das Wunder. Mein Schmerz hat mir gezeigt, was ich nicht gewesen bin.

Wenn das durch die Kunst dargestellt werden kann, eruebrigt es sich von abstrakter oder gegenstandsloser Kunst zu sprechen!

Denn das Wunder, dass es das Wunder gibt, beruht auf dem Bericht und nicht auf der Tatsache! Tatsachen bedeuten nichts. Kunstwerke berichten ueber die Gefuehle des Menschen in seiner Zeit, die jedes Jahr mit 8.760 Stunden unterteilt ist. Die Aufforderung Auskunft zu geben, betrifft beide Hemisphaeren, also rund um die Uhr, Tag und Nacht! Die Rufmoerder und Totschweiger koennen nicht verhindern, dass der Leidensweg Jesus in den 14 Stationen dargestellt, einen heiligen Weg zeigt, den noch viele Menschen gehen werden.

So viel, lieber Paul, zu meinem Kunstverstaendnis.

Franz Dahlem,

New York City 10013,
9. October 2007

THROUGH IT

The last time  I saw “THE STATION OF THE CROSS” (1958-1966) by Barnett Newman again was in the National Gallery in Washington, DC.  Barnett Newman said about the format of his paintings (198 x 154 cm) that it is, "A human scale for the human cry."

Pain appears. The infinity, which is attained through the path of pain, is quiet. This magnificent work of quiet by Barnett Newman conveys renouncement. The inconsolability implies that there is no renouncement. However, because of this there is also the miracle. My pain has shown me
what I have not been.

If this can be represented through art, it is unnecessary to speak about abstract or realistic art!

The miracle that there are miracles, is based on the report and not on the fact! Facts mean nothing. Pieces of art speak about the feelings of the person in his time, which is divided each year into 8760 hours . The demand to provide information, concerns both hemispheres, i.e. around the clock, day and night! The character assassins and those who ostracize others with deadly silence cannot prevent Jesus' path of suffering  - represented by Barnett Newman in its 14 stations – revealing a holy path which many people will yet take.

This much, dear Paul, about my understanding of art.

Franz Dahlem

New York 10013,
October 9th 2007

translation by Hannah Porat

Lexicon and Aftermath @ Moti Hasson Gallery 535 West 25th Street NYC February 21 March 24 2007


















21.5.07

Lexicon series 88 oil/tempera on linen 26" x 25" 2006










Ink, 9h pencil and oil pastel on paper 9"x 8" 2006









Lexicon series 84 oil/tempera on linen 27" x 26" 2006












Ink, 9h pencil water color and oil pastel on paper 15"x 14" 2006









Lexicon series 86 oil/tempera on linen 27" x 26" 2006









Graphite, 9h pencil and ink on paper 30 x 22 inches 2004









Tonight at noon oil on linen 64" x 74" 2003










Ink, 9h pencil and oil pastel on paper 10" x 11" 2006









Istance oil on linen 74" x 78" 2003










Ink, 9h pencil and oil pastel on paper 9"x 8" 2006









Fixtion oil on linen 74" x 78" 2003










Graphite, 9h pencil and ink on paper 30 x 22 inches 2004










Ink, 9h pencil and oil pastel on paper 12 x 13










Graphite, 9h pencil and ink on paper 30 x 22 inches 2004









Four triangles oil & enamel on linen 74" x 74" 2000





Link oil on linen 65" x 74" 2004






Land 1976 oil on linen 2000







Here, over and around about oil on linen 65" x 74" 2001/04






I was several thousand miles away when I found this page. I knew the name of course. But the hand. I forgot how well I knew the hand. There was a period of my life in New York when I had the privilege of meeting Mr Pagk. I can't remember the precise span of time this was but there was defintely a hot summer involved, the summer of love we may have called it. There was a generous Cuban-American with handsome manners, a beautiful French-Vietnamese doctor with a wonderful partner, some acupuncture in there too. There were hot New York streets, Brazilian dancing in Central Park on a Sunday, melting toffee-like tarmac, a tireless Welshman with a hug of genius, the smell of turpentine, exiles, exiles. The turpentine was Mr Pagk's. We were in a room on the lower west side, some tennis on the TV, a piano maybe, shoes, lots of shoes, the US Open I believe on the TV, soft waters lapping like a million Marlon Brando's outside the windows, the sun's reflection like a pot of gold. Consistently, persistently, kind of innocently too, Mr Pagk played and played - a musical instrument? - with form in space, his form, his space, a tilt here, a blast of noble blue or black there, sometimes pinned down by red, and often against white, often with something white, very white, melting ice-cap white, to settle not only the guest shape, the visiting form, but somehow your thoughts as well, as if this man with Anglo-Czech certainty continued to defy - I remember saying - anyone to stop him painting. (He was also always expertly anti-fashion.) So to see this man's work again, to wander through the 'studio' again, brings so much back to me. Except of course the smell of turps.
Peter Bach
April 26th 2006









 "Lexicon series"40 oil/tempera on linen 2005




Aftermath oil on linen 78" x 74" 2002








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Graphite, 9h pencil and ink on paper 30 x 22 inches 2004





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 Ink, graphite and oil pastel on paper 16.5 x 11.5 2003




 
Ink, graphite and oil pastel graph paper 16.5 x 11.5 2003


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