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Jana Schröder
Spontacts and Kinkrustations

Schroeder Cover

Jana Schröder has developed a utterly independent position within her generation as well as in an international context. In columns, lines, grids, or delicately rhythmised webs she notes down the elusive movements of her hand. Single letters, at first, initials maybe, clearly marked and decipherable, yet illegible.

€28.00

  • Editors

    Christian Malycha, Inci Yilmaz

  • Texts

    Christian Malycha, Clemens Rathe, Inci Yilmaz

  • Design

    Studio Martin Steiner

  • Language

    German/English

  • Details

    Paperback in transparent PCV-jacket, 24 x 30 cm, 192 pages, 161 ills.

  • ISBN

    978-3-903228-63-4

About the product

Based on the conceptual practice of her teacher Albert Oehlen, Jana Schröder has developed a utterly independent position within her generation as well as in an international context. In columns, lines, grids, or delicately rhythmised webs she notes down the elusive movements of her hand. Single letters, at first, initials maybe, clearly marked and decipherable, yet illegible.

These notations, her »Spontacts« (2011–2017) are scriptural records but no transcriptions, neither communicative transfer nor explicit message. Not words stating something but the hand drawing a written body, bringing it into attendance, making it present. These oscillating corporeal traces situate themselves between the dissolving emblems and their own gesture-like seismographic amplitudes or ›semiographic‹ strings. Her ›writing‹ overwrites itself towards mere gestures. And text becomes texture.

It might be reminder of Hanne Darboven’s undulantly or Cy Twombly’s jaggedly written images, of the late Klee’s brash cyphers of shapes or of the airy figures of Miró, yet painting after painting Jana Schröder invents more and more individual signs of her very own experience. Within the polarity of open- and closeness, movement and stasis, thought and sentiment, outburst and order, Jana Schröder measures the fading traces of human presence, claiming and asserting them in a sensuously corporeal relation to space and time.

On the occasion of her first institutional solo exhibition at Kunstverein Reutlingen, this book is a complete, even though preliminary catalogue raisonné of Jana Schröder’s paintings and paperworks from 2011 to 2017: an indexical register which, in its chronological austereness, presents the seriality as well as the non-interchangeability of her individually found painterly figures.