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"Albrecht Schnider tackles the question of the nature of reality by means of the brush drawing, painting and sculpture. In doing so, his works form surprising analogies to physical, mathematical and musical strategies of appropriating reality."
Katja Blomberg, Albrecht Schnider, “On the event horizon”, Haus am Waldsee, Verlag der Buchhandlung Walther König, Berlin, 2011
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PORTRAITS
“Schnider’s head are called portraits. Although (or because?) the artist has outsourced the individualization. They are portraits and anti-portraits at once. They are about people who have stepped outside themselves. [...] In his head paintings, the artist personifies the emptiness by outlining it. He draws the contours as designations of what cannot be designated.”1
We might perhaps think of Schnider’s words here: “I constantly look at the picture. I am searching for the moment when the picture looks at me... a moment when the picture returns my gaze.” Though for Schnider, this gaze does not necessarily come from an eye, as the planes and lines of his images do not necessarily refer to anything specific or tangible—often, they are more like suggestions, an allusion to portraiture rather than a portrait of someone.1 Simon Maurer: “A New Paradise or Shades of Things That Don’t Exist”, Translation by Catherine Schelbert. In "Albrecht Schnider", Simon Maurer, Peter Zimmermann, Helmhaus Zürich Verlag für modern Kunst, Zürich, 2014
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DRAWINGS
“The drawing is the place where the artist loses consciousness. Where things come to light with unadulterated immediacy, even freedom. Albrecht Schnider consciously keeps drawing for such a long time and with such distraction (by music, for example) until he loses consciousness.”
Simon Maurer: “A New Paradise or Shades of Things That Don’t Exist”, Translation by Catherine Schelbert. In Albrecht Schnider, Simon Maurer, Peter Zimmermann, Helmhaus Zürich Verlag für modern Kunst, Zürich, 2014
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“In dance, you could speak about elevation. Arabesques playfully sweeping across the page, breaking out, first on one side, then on the other. And yet still concentrated on the middle, on the stem. The arabesque, this ambivalent hybrid between plant and abstraction: extremely suitable to the territory Schnider carves out between art and nature – engrossed, forgiving.”
Simon Maurer: “A New Paradise or Shades of Things That Don’t Exist”, Translation by Catherine Schelbert. In Albrecht Schnider, Simon Maurer, Peter Zimmermann, Helmhaus Zürich Verlag für modern Kunst, Zürich, 2014 -
SPRAY PAINTINGS