until 30.06. | #3067ARTatBerlin | KLEINERVONWIESE currently presents the solo exhibition IST HIER EIN NASHORN IM RAUM? (> IS A RHINON IN THE ROOM?) with works by the artist FRANEK.
This is the fourth exhibition at the gallery’s new refuge in the so-called “Triangle” at Checkpoint Charlie in Berlin-Mitte. Since the dawn of the Corona Age, which has taken everyone by surprise with its various private and social trials of all kinds, the gallery’s continued activity at Friedrichstrasse 204 has only been possible thanks to the generous offer of this shelter.
FRANEK is a painter, draughtswoman and graphic artist. Sculptures, photos, films and recordings complement her work.
“She is one of the most imaginative and idiosyncratic visual artists of the present day.”
The solo exhibition on the occasion of the Berlin Gallery Weekend 2021 shows, among other things, works from the artist’s Corona Diary. Here and in general, FRANEK nonchalantly puts the old controversy of visibility and perception to the test: when you look at pictures, you see things that are visible and yet exist nowhere else. Every picture carries the paradox of a visible absence. Every picture is a disturbance, an undermining of normality. …
Animals, elf creatures, coyotes play and act out their stories, with open endings. The image ciphers never solidify into a single-minded view – as with Wittgenstein, the question remains more important than the answer.
But the artist’s fantasy, her power of imagination, always finds its echo in the viewer who is gifted with imagination – the gift of fantasy is the bridge that connects the two, fanning out and widening the interstices of action. …
Being in the image is a process that mobilises and activates the imagination and the most secret moments of the self-understanding of the one who engages with the image.
“At the beginning of the 20th century, a famous debate arose between Bertrand Russel and Ludwig Wittgenstein: the discussion about the rhinoceros in space questioned the possibility of objectively valid statements. In this controversy, Wittgenstein used all kinds of semantic tricks to convince the empirically thinking Russel that he could not prove the presence or absence of the animal.
In FRANEK, the rhinoceros is there. Dancing on a multiply layered, indeterminate pictorial space, it charges towards a girl with a magic wand emerging from the painting. Quite
Franek nonchalantly puts the old controversy of visibility and perception to the test here and in general: when you look at pictures, you see things that are visible and yet exist nowhere else. Every picture carries the paradox of a visible absence. Every painting is a disruption, an undermining of normality. Since time immemorial, art has put our perception to the test, played, played out the ambivalence between reality and deception, between object and imagination. It is quite a peculiar finding that the work of art creates a vivid absence, that something is shown that is not (there) at all. Appearance and being form a strange liaison in the work of art. In art, presence and absence are at once in dialogue and in conflict.
Developed entirely from painting, FRANEK’s pictures nevertheless keep the relationship to critical reflection present at every moment, subcutaneously as it were, leading into art, into its imaginative space, which brings something unprecedented to view and at the same time to the world: these pictures invite us to make our own picture. When, in FRANEK’s Corona Diary, wondrous encounters of distance between different animals, between human beings, take place in cheerful yellow-lit pictorial spaces, watched by the hovering virus, the question of evidence, of images in the mind, of visibility and invisibility is posed differently and anew. The reality of these images is then the actualisation of the virtuality of every pictorial representation, if we remember that actualitas means effectiveness: reality as effectiveness.
FRANEK’s pictures are always about the productive power of images, about the magic power of magic, of imagination, about the power of bringing forth and disappearing. These works are narrative fields of association, fantastic constructions composed of various particles of memory, from life, literature or film. FRANEK allows herself to be affected, to be seduced into productive mesalliances. Her things develop between Influence and Influenza – and give the wandering eye many things: things seen, unseen, never thought of, wickedness and innocence, becoming or perishing, exquisite colours, wondrous forms. Animals, elfin creatures, coyotes play and act out their stories, with open endings. The image ciphers never solidify into a single-minded view – as with Wittgenstein, the question remains more important than the answer. But the artist’s fantasy, her power of imagination, always finds its echo in the viewer who is gifted with imagination – the gift of fantasy is the bridge that connects the two, fanning out and widening the interstices of action. Being in the image is a process that mobilises and activates the imagination and the most secret moments of the self-understanding of the one who engages with the image.”
Tagesspiegel articles about the exhibition:
FRANEK is a painter, draughtswoman and graphic artist. Sculptures, photos, films and recordings complement her work. After studying at the Hochschule für Bildende Künste (now Universität der Künste) with Fred Thieler, she worked in the 70s and 80s in the Indian cultural field: Mexico, Guatemala, Honduras – Maya Project. In the Nazca desert (Peru) she assisted the mathematician Maria Reiche in measuring spirals – Nazca project. Among the Lakota (Sioux), Rosebud Reservation USA, she recorded the rituals for the Overseas Museum Bremen. FRANEK taught at the Hochschule der Künste Berlin, Academy of Industrial Design and Art in Helsinki and Lahti, at the Hochschule für Künste Bremen.
His first solo exhibition took place in 1968 at the legendary Pels-Leusden Gallery in Berlin. Others followed, among others, at the Übersee-Museum Bremen, the Neuer Berliner Kunstverein, Märkisches Museum Witten, Heidelberger Kunstverein, Goethe – Institut Los Angeles, Museum Junge Kunst Frankfurt (Oder), Kubus and Galerie vom Zufall und vom Glück Hannover, Schloss Salder Salzgitter, Kunstraum Potsdam, Kommunale Galerie Berlin, Kunstmuseum Mülheim an der Ruhr, as well as in galleries and art associations in Germany, Austria, France, Finland, Hungary and the USA. FRANEK was married to the artist Eduard Franoszek (1935 – 1995 +), with whom she had a daughter and a son. Her daughter Nina Franoszek lives as an actress in Berlin and Los Angeles, her son Tobias Franoszek is a software developer in the USA. FRANEK lives in Berlin and Radegast (Saxony-Anhalt).
Works in public ownership and collections
FRANEK’s works have been shown in various museum exhibitions and are represented in many collections. Works by the artist hang in the German Bundestag in Berlin, are to be found among others in the Collection of the Federal Republic of Germany, the Collection of Prussian Cultural Heritage, Kupferstichkabinett Berlin, Auswärtiges Amt Berlin, Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur Berlin, Märkisches Museum Berlin, Sprengel Museum Hannover, Märkisches Museum Witten, Haus der Kunst München, Kunsthalle Bremen, Museum für Junge Kunst Frankfurt/Oder, Städtische Kunstsammlungen Salzgitter, Städtisches Museum Mülheim an der Ruhr, Kunstsammlung des NDR, Hamburg, Bezirksregierung Lüneburg, Land Niedersachsen Hannover, DePfa-Bank AG, Wiesbaden, Kreditanstalt für Wiederaufbau, BHF Bank (Hannover, Frankfurt, Zürich), Berliner Volksbank, Sparkasse Lüneburg, VGH Hannover, Kulturstiftung Lüneburg, Sammlung Haniel Duisburg, Sammlung Iduna Nova, Hamburg, Lahden Taidemuseo Lahti Finland, Djerrassi Foundation USA and in private collections in Europe, Australia and USA.
Exhibition period: Saturday, 1st May to Wednesday, 30th June 2021, Sat + Sun / 3 – 6.00 pm and by arrangement
WHERE? Am Triangel, Friedrichstraße 204, 10115 Berlin-Mitte
Further Exhibition: FRANEK – Unter der Feste des Himmels, summer exhibition in the church Am Hohenzollernplatz, 18 June to 30 October 2021To the Gallery
To the Showroom
Exhibition Franek – KLEINERVONWIESE | Zeitgenössische Kunst – Contemporary Art – Exhibitions Berlin Galleries | ART at Berlin