upcoming: artist talk with Ulrike Seyboth & Ingo Fröhlich
and wine presentation of the Chianti Classico 2020 by Nittardi with artist label by Ulrike Seyboth
on Wednesday, 30 November 2022, 7 pm
For more than ten years, the two artists have lived and travelled side by side and exhibited together. "The joint change of location leads ... to Ulrike Seyboth and Ingo Fröhlich concentrating all the more not only on their own work, but equally on that of their partner. ... One work functions as a reference for the other, whereby the painter and the draughtsman work so differently at the same time that they do not so much influence as resonate with each other. Therefore, in spite of all the freedom that their spatial flexibility allows them, both do not have to fear non-commitment, even arbitrariness; rather, in comparison and dialogue with the work of the other, they are encouraged all the more to reflect on their own work. ... Artistic works such as those by Ulrike Seyboth and Ingo Fröhlich, developing under changing conditions, ultimately become independent of location. ... Their already mobile paintings and drawings can therefore be sent from exhibition to exhibition without hesitation - and with full curiosity. They will be just as at home in a 'white cube' as ... outdoors as well as in a living room and demonstrate their aesthetic power wherever they are presented to an audience. Yes, what has been created in the name of the 'Atelier vagabond' method certainly has what it takes to be at home anywhere in the world."
Wolfgang Ullrich, 2022
Click here to read the full text on the "Atelier vagabond" method.
"I draw time, you paint the moment," is Ingo Fröhlich's slogan for his collaboration with Ulrike Seyboth. The starting point is the same for both of them, the white surface, although not in the same sense as for other painters. The departure from the widespread custom of perceiving the white canvas or the white sheet of paper merely as a surface, as a two-dimensional support for a picture, is the first decisive preliminary decision of their working relationship. White is not merely a neutral primer. The radiance of this color lends the material image carrier a very specific, literally "shallow" spatiality in each case: empty, yet opaque; dense, yet open; uniform with complete instability. One can draw solid dimensions into this shallow space, project forms, construct a figure-ground ambivalence, and the like. But one can also regard the emptiness, density, and fluidity of the white pictorial surface itself as something malleable, as a plastic medium, as Ingo Fröhlich and Ulrike Seyboth do. Then every stroke is a trace that cannot stand on its own, and every spot a mark that has yet to find its place, that is: the beginning of a kind of dialogue with an uncertain outcome.
Robert Kudielka, Berlin, 2021