Bettina Krieg | Women Three | by Mark Gisbourne 2014 | EN

By contrast the untitled drawings of Bettina Krieg have a thoroughly integrated sense of pattern and loosely associative topographical presence. This said there is often no actual sense of fixed starting point for a given drawing, no immediately asserted sense of a pre-di-rected beginning. For while the drawings have an initial feeling and emotionally decentred aspect – a rhizome – based discontinuous appearance – nonetheless each drawn and articulated interior element almost naturally enfolds into the next through the artist`s use of dense interwoven lines, which in turn relate to a clearly delineated and highly developed hatching system. In this they have a strangely organic visual presence, and sometimes lattice-like sense of pictorial-horticultural landscaping. But it is nothin like the representative use of landscape we are commonly familiar with, or, can easily pin down and visually identify, and in this respect is a use of landscape far removed from the cartographic descriptive functions traditionally associated with the origins of topographical forms of depiction. For as quickly realised Krieg`s drawings carry a welter of differentiated compositional and perceptual viewpoints, and these can at different times suggest anything from a transverse view of a series of open interlapping motifs within a contradictoryand dovetailed sense of spatial enclosure. When assimilated from another potential visual viewpoint, the viewer has a feeling that they are looking at the drawing as if from an overviewed askance or aerial perspective. In his particular spatial aspect Bettina Krieg has achieved a masterful control oft the inherent liquidity that may exist within the potential of any given line to create a sensory feeling of optical space, a fluidic linearity that she has thoroughly integrated into her accomplished vocabulary of mark making. The result is a powerfully evocative linear language uniquely her own, a language expressing the delicacy of filigree at one moment, or, through its related complementarity, the flatness of dense blocked out areas as propositional openings and/or spatial voids in the next instance. Most often working in black and white, and by using various inks, pen and pencil on paper, we find a remarkable consistency of adopted and consummate means. This being said recent examples have expanded the artist`s approach into the use of colour, but in doing so she has consistently followed a monochrome approach that retains a singular internal focus. In explaining Krieg`s works in these terms, we come to understand by inference and natural consequence, the obvious intuited ralationship and affinity she has with engraving and etching, and a diversity of printmaking techniques that are closely attuned to her extended use of drawing practice. And printing is commensurate with the further principle of pattern, repetition, and its reproduction in terms to be understood as discourse in psychological ordering and a compulsive human desire for linear forms of patterning.* I add hastily that this is not to suggest that the drawings of Krieg be considered in any respect as a form of contemporary decorative art. The opposite is in fact the case, since each drawing`s evolution (particularly in her larger scale drawings) is unpredictable at the outset, and this undermines an idea of their being pre-or-dained systems of odering in her work. On the contrary and in this particular respect, they stand as open images of pictorial discontinuity – discontinuous images that operat within the wider continuities of Bettina Krieg`s developed drawing practices.


* Ernst H. Gombrich (Sir), The Sense of Order; A Study in the Psychology of Decorative Art, London, Phaidon, 1994 (second edition)

Bettina Krieg | How long is a piece of string | by Lisa Sintermann | 2016 | EN

The Martin Mertens art gallery is showing in How long is a piece of string recent works by the artist Bettina Krieg. Her drawings are in black and white, as well as flat blue and silky golden tones. Fine lines, drawn with a paintbrush and ink, a quill and a fineliner, stretch over large and small sheets of paper. For the first time the artist is showing her latest works – more abstract and reduced than ever before.

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Bettina Krieg : How long is a piece of string | Von Lisa Sintermann | 2016

Die Galerie Martin Mertens zeigt in How long is a piece of string aktuelle Arbeiten der Künstlerin Bettina Krieg. Zu sehen sind Zeichnungen in Schwarz-Weiß, matten Blau- und seidenen Goldtönen. Feine Linien, gezogen mit Pinsel und Tusche, Feder und Fine Liner, spannen sich über große und kleine Papierbögen. Zum ersten Mal zeigt die Künstlerin ihre jüngsten Werke – abstrakter und reduzierter denn je.

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Grundsatztext: Bettina Krieg | von Kai Horstmannshoff

Krieg findet die figurativen Bausteine ihrer Bilder in ihrem täglichen Umfeld. Mit ihrer Kamera hält sie verrostende Fahrräder, kahle Bäume, Ruinen und andere Objekte, die sich im Prozess des Vergessen-werdens und der Zersetzung befinden, fest, und katalogisiert sie in einem stetig wachsenden Archiv, auf das sie in der Komposition ihrer Arbeiten zurückgreifen kann.

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Introduction: Bettina Krieg | by Kai Horstmannshoff

Krieg finds the figurative building blocks of her paintings in her everyday surroundings. With her camera she files rusting bikes, naked trees, ruins and other liminal objects in order to archive them in an ever-growing catalogue of forgotten form and aesthetic potential that she can draw from in composing her works.

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Bettina Krieg: Die Utopie der Skizze | von Simon Elson

Seit langem ist die Zeichnung auch eigenständiges Kunstwerk, das, wenn nicht Welten, dann doch große Szenarien entfaltet. Sieht man sich bei aktuellen Zeichnern um, reicht das Spektrum von dunklen Vergangenheits-Fiktionen (Marcel van Eeden) bis zu feiner Niemandsland-Kartographie (Jorinde Voigt). Aber es gibt relativ wenige Künstler und Künstlerinnen, die das Zeichnen zu ihrer Hauptbeschäftigung machen. Zu diesen Wenigen gehört Bettina Krieg

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Bettina Krieg's Narrative Clouds: A Closer Look | By Christian Ganzenberg

In the beginning was the octopus. Topographic clouds made up of plants, animals and morbid branches, fragments of human existence in the process of disappearing, industrial parts, architectural elements and machine components grow into living ‘drawing organisms’– powerful and determined yet at the same time transitory and fragile.

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Take Off mit Flechtwerk und Labyrinth | von Ursula Panhans-Bühler | 2013

Zwei verblüffende Eigentümlichkeiten fallen zunächst im zeichnerischen Werk von Bettina Krieg auf. Obwohl die Künstlerin ihre Motive einem Wust an Informationen verdankt – eigenen Fotos, Materialien aus Printmedien und dem Netz – und obwohl es sich in ihrer vergnügten hintergründigen Aufzählung dieser Bestände ihres Archivs überwiegende um Strandgut unserer Zivilisation handelt, von zerfallenden Gebäuden bis zu Schrottplätzen, frönt sie mitnichten einem melancholisch-romantischen Kult des Ruinösen.

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Konzeption | von Andreas van Dühren

Es gibt wohl keine ursprünglichere Weise bildnerischen Ausdrucks als die Zeichnung. Weit vor jeder Kunst, vor Zivilisation und primitivster Zusammensetzung einer Gesellschaft, noch vor der Sprache regt sich etwas zum Entwurf, und ein Finger genügt, der nicht einmal den Grund braucht, um etwas aufzutragen; die spurlose Geste ist ihr erster Ansatz. Das Elementare der Zeichnung setzt sich darin fort, daß sie fast ein Sinnbild des Technischen ist; schon in ihrer rudimentären Ausführung artikuliert sich das Wesen jeder Übertragung einer Vision ins Manifeste, ein Umsetzen in die Tat.

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