Open: Tuesday—Friday, 12—16 h and by appointment
Admission free, wheelchair accessible

Schedule

Opening: Wednesday, 17 October 2018 (19—21)
Opening workshop for children with (grand)parents: Sunday, 21. October (13—15)
Artist’s Talk with Heinz Handschick and Kathleen Krenzlin (Galerie Parterre Berlin): Sunday, 18. November 2018 (11.30—12.30)
Sunday matinee: 21. October, 18. November, 16. December (11—14), guided tour 11.30 (3 €/person)
workshops and guided tour, information und registration: kunstvermittlung@herr-hegenbarth-berlin.de

Brush drawings on canvas and paper from the years 2008-2018

Heinz Handschick’s drawings betray not the slightest fear of contact with the new — neither in terms of visual language nor in technique. Full of artistic curiosity, the almost 90-year-old is still producing striking paintings as well as painterly drawings that are not based merely on pure handwork. Handschick pixelates the world, fearlessly, like Pippi Longstocking, and wisely like Cronos. The exhibition shows brush drawings on paper and canvas that have been created from script-like doodles and heightened to become monumental. Thus, as abstracts, they are liberated from the restraints of instant gratification. Surprising commonality can be seen in the individual comparisons to the works of Josef Hegenbarth.

 The artist, born in the Brandenburg region of Schlepzip, completed his studies at Berlin’s Fachschule für Grafik, Druck und Werbung (Technical School of Graphics, Printing and Advertising) (1951-1955), before beginning his artistic career at the Mosaik-Verlag (publishing house) in East Berlin. Heinz Handschick (*1931) was part of Hannes Hegen’s drawing team (actually Johannes Hegenbarth), one of Josef Hegenbarth’s nephews. From 1960 onwards he worked as a freelance artist in East Berlin, gaining international recognition as a multi-award-winning film poster designer. Via the painter Brigitte Handschick (1939—1994) he is very much associated with the Berlin School centred around Lothar Böhme and Wolfgang Leber, among others. In 1990, after re-unification, the artist and draughtsman — already in his sixties — adopted a radically new style. For this new work, he was awarded the Egmont-Schaefer Prize in 2010, in connection with an exhibition in the Galerie Parterre in Berlin.