Workshop EXPERIMENTAL DRAWING: The First Cut Is the Deepest by Andreas Schlaegel

In this two-day experimental drawing course, we will look at collage and at several different artistic concepts related to this very particular medium. We will look at the way how changes in the production and distribution of images influenced the ways images themselves came to be regarded as source material for a new kind of images in a new medium, papier collé – glued paper.

At the heart of this there is an interesting question: what can artists achieve when producing a new image of disassembled previous imagery? The question is not interesting for itself, but because the answers change all of the time and we are in the fabulous situation that we can not only observe at our leisure answers that artists have come up with over time, we can also come up with our own answers.

In this sense the workshop has three goals. First the workshop is very basically about cutting up and putting together again, and the stories to be told in this process. The second is to reflect on the stories of artist using the media through history: how and why did artists such as Hannah Höch, Richard Hamilton, John Stezaker, Lorna Simpson and Kirstine Roepstorff arrive at this medium, how do they use it in their work and what can we as artists take from that? Beyond that this could be the place to address how the story of collage itself changed and shape-shifted from history to our time? Just imagine: can we draw a line from spolia (repurposed stones from obsolete structures in classical architecture), to the impact of european medieval iconoclast surges on image culture, to Frankenstein’s
monster, to Dada, to „cut-up“, to „cut and paste“ and finally to today’s AI imagery?

However we look at it, collage is a fantastic way to get started, to surprise yourself and others. Art as such is also social game, this is true particularly for playing with images in collage – it can be played fast and slow, it’s about intuition, wit, but also about knowledge, training the eye, the hand and the mind to find connections and create combinations the mind cannot come up with on its own.

But be warned: it’s not an innocent game, as it delves deep into the individual subconscious. And you only recognize what you already know, but in a group you can use the eyes of the others. And, as always, be generous: one person’s trash is another person’s treasure.

Duration: Dates will be published soon

Hours: Each day from 10 AM – 12:30 PM

Seats: Max. 20 | Language: English

Fees: The participation fee is €90 per person including material (without accommodation).

The fee is VAT-exempt by the Governing Mayor of Berlin – Senate Chancellery Higher Education and Research pursuant to Paragraph 4 No. (21) (a)(bb) UStG (German Value Added Tax Act).

An introduction to deceivingly simple exercises on cutting and pasting is more than taking existing images apart and reassembling them, this course will introduce the participants to the subtle shifts inherent in different collage concepts and techniques. These cuts not only give pre-existing motifs a different spin, but open up paths to the creation of new and unforeseeable imagery, challenging individual visual imaginaries, pushing combinatory intelligence and strengthening conceptual thinking.

Day 1

10 am – 10.15 am
Presentation of a short lecture on the history of collage, looking at the four steps of collage: source materials, disassembly, shuffle, reassembly, presentation. Also a presentation of five distinct artistic strategies in relation to collage.

10.15 am – 10.45 am
We will begin with selecting potential source materials. You are welcome to bring your own images, but also a large amount of printed images from magazines will be made available. Peruse, select, share.

10:45 am – 12.00 noon
First Crunch Time. This will be an hour of work, in your own time. I encourage you to work collectively, make it interesting. Don’t edit the results, just make and have fun.

12 noon – 12:30 pm
A quick presentation of the outcome. A discussion, sharing of finds, observations, technical problems, solutions, etc…
And an advance warning: there will be homework (t.b.a.)

Day 2

10 am – 10.30 am
A quick run through of the images found, and what to do with them. A second look at the work from
the day before.

10.30 am – 12.00 noon
Second (and extended) Crunch Time. Back to the table and a second round of working, this time with a
focus on producing a finished project for presentation.

12.00 noon – 12:30 pm
A quick exhibition and final round of show and tell. An outlook on the future.

Andreas Schlaegel (born 1966 in Kinshasa, DRC) is a critic, curator and artist, based in Berlin. His critical writing is published regularly by international art magazines, such as Flash Art International (Milano), Frieze (London), Kunstkritikk (Kopenhagen/Oslo), /100 (Berlin) and in arts publications by renowned art institutions such as the UCLA Hammer Museum, Los Angeles; MUSAC, Leon; Aspen Museum, Colorado; Schirn Kunsthalle, Frankfurt/Main; Thyssen Bornemisza Contemporary, Vienna; Kunsthalle Düsseldorf; Julia Stoschek Collection, Düsseldorf to just name a few. Last year he co-edited Lucid Knowledge, the critical reader, accompanying Hamburg Phototriennial.

His artwork is invested in creating collaborative formats, oscillating between sculpture, painting, drawing and musical performance and has been exhibited in museums and galleries around the world. Most recent projects include the exhibition ACO-DEMO at Kindl Kulturzentrum, Berlin, in November 2023, celebrating the 20th anniversary of his band Art Critics Orchestra. The upcoming year will see releases of new records by his band projects Van Urrgh and Die!Landschaft

More information on the Andreas Schlaegel Instagram Account.