Bewegung im Raum: Die Skulptur »Dreigesicht« (Hl. Dreifaltigkeit), Süddeutschland (?), 17. Jh.
1995 Monika Bartholomé
Mid-September to November 1995
Monika Bartholomé – Drawings
Cabinet Exhibition in the window
Following the string quartet by Carola Bauckholt, the window installation by Olaf Eggers and the panel paintings by Thomas Kemper and Horst Antes, the fifth activity in the series of the latest artistic positions takes place with an exhibition by Monika Bartholomé in the Diözesanmuseum’s window room. Her series of drawings arise out of reflection, which follows the most varying influences in an unstructured manner and without any specific points of emphasis. As a playful variation on a motif, an object, a relation or a mental state, each series may be interpreted as documenting a movement in the head. The reason why the head is round is that thinking can change its direction. The immediacy of her ideas is converted with the absolute simplicity of her means. She draws in pencil on loose, white sheets of paper smaller than an exercise book. Her pencil stroke is, so to speak, the extension of her thoughts: it grows with them. Monika Bartholomé’s series of drawings “In the Academy” (1992) holds a key position in the transition from the single sheet to the series. The second series exhibited in four parts “Orientation towards the Individual Case” was preceded by a visit to the Diözesanmuseum which in 1993 was for the first time presenting the main works of its collection in a new arrangement in Part 1 of the series “Reencounter with the Unknown”. The experience of the unavoidable museum situation led to the playful drawing of the determinant elements – rooms, paintings and guards – and it was during this visit that “The Three Faces of the Triune God”, standing in the hall at the time, and now on display again after a year of restoration, apparently first triggered her idea for movement in the head.
Monika Bartholomé – Drawings
Cabinet Exhibition in the window
Following the string quartet by Carola Bauckholt, the window installation by Olaf Eggers and the panel paintings by Thomas Kemper and Horst Antes, the fifth activity in the series of the latest artistic positions takes place with an exhibition by Monika Bartholomé in the Diözesanmuseum’s window room. Her series of drawings arise out of reflection, which follows the most varying influences in an unstructured manner and without any specific points of emphasis. As a playful variation on a motif, an object, a relation or a mental state, each series may be interpreted as documenting a movement in the head. The reason why the head is round is that thinking can change its direction. The immediacy of her ideas is converted with the absolute simplicity of her means. She draws in pencil on loose, white sheets of paper smaller than an exercise book. Her pencil stroke is, so to speak, the extension of her thoughts: it grows with them. Monika Bartholomé’s series of drawings “In the Academy” (1992) holds a key position in the transition from the single sheet to the series. The second series exhibited in four parts “Orientation towards the Individual Case” was preceded by a visit to the Diözesanmuseum which in 1993 was for the first time presenting the main works of its collection in a new arrangement in Part 1 of the series “Reencounter with the Unknown”. The experience of the unavoidable museum situation led to the playful drawing of the determinant elements – rooms, paintings and guards – and it was during this visit that “The Three Faces of the Triune God”, standing in the hall at the time, and now on display again after a year of restoration, apparently first triggered her idea for movement in the head.