Brushstroke, Red, 1998
Mobile acrylic paint
variabel, ca. 10 x 4 cm
Edition of 100
Photo © Studio Karin Sander

Brushstroke, Red, 1998
Mobile acrylic paint
variabel, ca. 10 x 4 cm
Edition of 100
Photo © Martin Lauffer

Brushstroke, Red, 1998
Mobile acrylic paint
variabel, ca. 10 x 4 cm
Edition of 100
Photo © Stefan Micheel

Brushstroke, Red, 1998
Mobile acrylic paint
variabel, ca. 10 x 4 cm
Edition of 100
Photo © Studio Karin Sander

Brushstroke, Red, 1998
Mobile acrylic paint
variabel, ca. 10 x 4 cm
Edition of 100
Photo © Martin Lauffer

Brushstroke, Red, 1998
Mobile acrylic paint
variabel, ca. 10 x 4 cm
Edition of 100
Photo © Stefan Micheel

Pinselstrich, rot

1998

Pinselstrich, rot (Brushstroke, rot): the title of the series begun by Karin Sander in 1998 succinctly names what you see: a brushstroke in green acrylic paint in a small folder. The information included with this piece describes it as “mobile.” Although this may be initially confusing, this painted gesture — which generally stands for artistic handwriting itself — was actually conceived as a mobile work. Devoid of its own support, it is a painting without a substrate. Collectors of this “painting” are thus encouraged to apply it to a surface of their choice, such as a wall or a window. Rather than the artist it is the collectors who define the painting’s background and hence also the setting in which it is exhibited and viewed. Conversely the background also determines the perception and even the interpretation of the work. This possibility of displacing the gesture in Pinselstrich, rot consciously takes the relationship of figure and support in classical painting to absurd lengths, since ultimately the latter is understood as interchangeable. The artistic gesture serves to direct the view to the world and it is also integrated in the outside world. […]

Text: Konrad Bitterli

Presented in exhibitions

Base Progetti per l´Arte, Florence, 2020