![]() “This work restored my faith in painting in these present times, these times of crisis.” In face of the many challenges our world is struggling with, ‘The Jordanian Woman (Die Frau ohne Schatten)’ reminds us that, besides political action, there is room and, indeed, need for an artistic resistance. “It is a project pregnant with expectation, optimism and hope rather than the concept of death in all its finality.” In this work, the painter lends a listenning eye to the demands of the model-her longing to exist, to be looked upon and loved-, as well as to the demands of the material itself-its drips and cracklings, the movements of the brushstroke, accidents in the act of painting-to capture humanity in its fragile and paradoxical beauty. In a time when humanity has largely lost faith in its own capacity to “be human”, Jörg Madlener is keenly aware that the human face is an event never to be taken for granted, and whose existence, in spite of many antagonistic and anonymous forces (political, social, instinctive.), borders on the miracle. In his 1952 interview with André Verdet, Matisse said that “without love there is no longer any criterion of observation, and therefore there is no longer any work of art.” Under Jörg Madlener’s brush, the act of painting is an act of love, where the apparition of a particular face, with its unique history, its longings and its untold sufferings, is approached with respect and patience, and with a fascination that points to the mystery of “the immense and faceless Someone.” They are obviously not descriptive, but the model is not a mere pretext for the painting. “To paint a face is to carress it a thousand times.” The paintings of this exhibition demonstrate eloquently that Jörg Madlener’s work is consistent with his philosophy. So far, these online encounters have resulted in 45 paintings and 120 drawings. During these meetings, the teacher and his Jordanian student would let the conversation flow freely from art to the challenges of Middle-East and to Suhair’s own history, while the painter collected a total of over 1,500 screen-captures of his model’s face. Initiated with posed photographs, his collaboration with Suhair would subsequently blossom via repeated meetings on Skype. However, it was back in Germany, and then from his home in New York, that the painter would find his modus operandi. ![]() ![]() Jörg Madlener met his model, Suhair, while on a teaching residency in Abu Dhabi, from 2010 to 2013. His latest series, ‘The Jordanian Woman (Die Frau ohne Schatten)’ is the fruit of the artist’s years in the Middle-East, an experience which led him to touch the human drama behind the political conflicts. A private student of Otto Dix, Jörg Madlener has remained faithful throughout his long career to his original fascination for the human face. “ Fascination is vision that is no longer the possi bility of seeing, but the impossibility of not seeing.įascination is tied in a fundamental way to the neutral, impersonal presence, the indeterminateįirst Things is pleased to announce the opening of ‘The Jordanian Woman (Die Frau ohne Schatten)’, an exhibition of paintings by Jörg Madlener. The event will be taking place in our offices in New York on Thursday, February 18th. ![]() Please join us for “The Jordanian Woman,” an art opening with artist Jörg Madlener.
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