Past Exhibitions

With the exhibition, Paco Knöller. mit der Linie ziehen. 1989-2014, Galerie Thomas Schulte is proud to present the first comprehensive and critical overview of the drawings conceived by one of Germany’s most preeminent graphic artists throughout the last 25 years.

 

The concentrated selection is divided into seven chapters, over seven periods, and arranged across seven walls, providing a distinct optical link and showing the affiliation among the works which were created in the long span of more than two decades. It reveals a clearly formulated, artistic conception and practice established over time. The exhibited drawings are the result of an in depth involvement with drawing as a medium. They are taken from great creative potential and form the basis for a long process of searching and experiencing.

 

Already in the 1970’s as a student in the class of Joseph Beuys at the Düsseldorf Academy, Paco Knöller realized that drawing is an “ancient instrument, with which to inquire into the world and simultaneously present one’s own view of the world”. In this sense Knöller composes and constructs his drawings prudently, yet unrestrained. He is aware of the fact that the drawn line should not just serve the means of pictorial illusion or illustration, or contrarily function only as an expression reduced to a mere gesture. His process of drawing much more seems to consciously follow Cy Twombly in his opinion of the line as the sensation of its own fruition, the embodiment of its self.

 

Consequently, in his painterly work, Paco Knöller inquires into not just the symbiotic relationship between the line and color, but also into that of the line and the surface, and in this sense, penetrates the almost opposing force of linearity and image space.

 

In his drawings, specifically this image space acts simultaneously as a kind of (theatrical) set, in front of which the graphic symbols bundle, cross, twist, and burst; turn into surfaces, beams and dots, documenting energetically charged traces of ephemerally uniting and dispersing movements. Lines, dots, and surface alternate and condense into abstract bodies. Fragments suggest a face, eyes, or hands, yet remain abstract and detached from a concrete narrative. Here the Beuysian approach is evident in Paco Knöller’s practiced coalescence with nature, which leads to the translation of experiences and fragments of reality into an abstract handwriting.  His drawings visualize the formation of entities from experience of natural phenomena and show how from something limited, something limitless emerges. Associations of created themes occasionally serve as the title of his series and groups of works, but mostly appear only as a reflexion.

 

Please see here for online catalogue.

bis zum äußersten Ende des Mundes, 2000
pencil on paper
89.3 x 77.3 x 3 cm | 35 1/4 x 30 1/2 x 1 1/4 in
PKNO/GTS 283
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bis zum äußersten Ende des Mundes, 2000
pencil on paper
88.8 x 77.5 x 3 cm | 35 x 30 1/2 x 1 1/4 in
PKNO/GTS 285
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bis zum äußersten Ende des Mundes, 2000
pencil on paper
89.2 x 77.6 x 3 cm | 35 x 30 1/2 x 1 1/4 in
PKNO/GTS 287
Inquire
bis zum äußersten Ende des Mundes, 2000
pencil on paper
89.2 x 77.6 x 3 cm | 35 x 30 1/2 x 1 1/4 in
PKNO/GTS 286
Inquire
bis zum äußersten Ende des Mundes, 2000
pencil on paper
89.5 x 77.5 x 3 cm | 35 1/4 x 30 1/2 x 1 1/4 in
PKNO/GTS 288
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Echos, 1996
pencil on paper
89 x 77.5 x 3 cm | 35 x 30 1/2 x 1 1/4 in
PKNO/GTS 291
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Fremdkörper, 1996
pencil on paper
60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
PKNO/GTS 315
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Fremdkörper, 1994
pencil and pen on paper
60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
PKNO/GTS 316
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Fremdkörper, 1994
pencil and pen on paper
60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
PKNO/GTS 317
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Fremdkörper, 1994
pencil on paper
60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
PKNO/GTS 319
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Fremdkörper, 1994
pencil on paper
60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
PKNO/GTS 320
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Fremdkörper, 1994
pencil and pen on paper
60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
PKNO/GTS 318
Inquire
wenn Zellkerne zu wandernden Planeten werden, 1995
pencil and pen on paper
72.2 x 56.5 x 3 cm | 28 1/2 x 22 1/4 x 1 1/4 in
PKNO/GTS 298
Inquire
wenn Zellkerne zu wandernden Planeten werden, 1996
pencil and pen on paper
72 x 56.5 x 3 cm | 28 1/3 x 22 1/4 x 1 1/4 in
PKNO/GTS 300
Inquire
Echos, 1996
pencil on paper
89 x 77.5 x 3 cm | 35 x 30 1/2 x 1 1/4 in
PKNO/GTS 290
Inquire
Rumoren, 1990
pencil on paper
60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
PKNO/GTS 325
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Rumoren, 1989
pencil on paper
60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
PKNO/GTS 326
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Rumoren, 1990
pencil on paper
60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
PKNO/GTS 330
Inquire
  • Artist Profile
  • Works in Exhibition
  • With the exhibition, Paco Knöller. mit der Linie ziehen. 1989-2014, Galerie Thomas Schulte is proud to present the first comprehensive and critical overview of the drawings conceived by one of Germany’s most preeminent graphic artists throughout the last 25 years.

     

    The concentrated selection is divided into seven chapters, over seven periods, and arranged across seven walls, providing a distinct optical link and showing the affiliation among the works which were created in the long span of more than two decades. It reveals a clearly formulated, artistic conception and practice established over time. The exhibited drawings are the result of an in depth involvement with drawing as a medium. They are taken from great creative potential and form the basis for a long process of searching and experiencing.

     

    Already in the 1970’s as a student in the class of Joseph Beuys at the Düsseldorf Academy, Paco Knöller realized that drawing is an “ancient instrument, with which to inquire into the world and simultaneously present one’s own view of the world”. In this sense Knöller composes and constructs his drawings prudently, yet unrestrained. He is aware of the fact that the drawn line should not just serve the means of pictorial illusion or illustration, or contrarily function only as an expression reduced to a mere gesture. His process of drawing much more seems to consciously follow Cy Twombly in his opinion of the line as the sensation of its own fruition, the embodiment of its self.

     

    Consequently, in his painterly work, Paco Knöller inquires into not just the symbiotic relationship between the line and color, but also into that of the line and the surface, and in this sense, penetrates the almost opposing force of linearity and image space.

     

    In his drawings, specifically this image space acts simultaneously as a kind of (theatrical) set, in front of which the graphic symbols bundle, cross, twist, and burst; turn into surfaces, beams and dots, documenting energetically charged traces of ephemerally uniting and dispersing movements. Lines, dots, and surface alternate and condense into abstract bodies. Fragments suggest a face, eyes, or hands, yet remain abstract and detached from a concrete narrative. Here the Beuysian approach is evident in Paco Knöller’s practiced coalescence with nature, which leads to the translation of experiences and fragments of reality into an abstract handwriting.  His drawings visualize the formation of entities from experience of natural phenomena and show how from something limited, something limitless emerges. Associations of created themes occasionally serve as the title of his series and groups of works, but mostly appear only as a reflexion.

     

    Please see here for online catalogue.

    Works in Exhibition

    bis zum äußersten Ende des Mundes, 2000
    pencil on paper
    89.3 x 77.3 x 3 cm | 35 1/4 x 30 1/2 x 1 1/4 in
    PKNO/GTS 283
    Inquire
    bis zum äußersten Ende des Mundes, 2000
    pencil on paper
    88.8 x 77.5 x 3 cm | 35 x 30 1/2 x 1 1/4 in
    PKNO/GTS 285
    Inquire
    bis zum äußersten Ende des Mundes, 2000
    pencil on paper
    89.2 x 77.6 x 3 cm | 35 x 30 1/2 x 1 1/4 in
    PKNO/GTS 287
    Inquire
    bis zum äußersten Ende des Mundes, 2000
    pencil on paper
    89.2 x 77.6 x 3 cm | 35 x 30 1/2 x 1 1/4 in
    PKNO/GTS 286
    Inquire
    bis zum äußersten Ende des Mundes, 2000
    pencil on paper
    89.5 x 77.5 x 3 cm | 35 1/4 x 30 1/2 x 1 1/4 in
    PKNO/GTS 288
    Inquire
    Echos, 1996
    pencil on paper
    89 x 77.5 x 3 cm | 35 x 30 1/2 x 1 1/4 in
    PKNO/GTS 291
    Inquire
    Fremdkörper, 1996
    pencil on paper
    60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
    PKNO/GTS 315
    Inquire
    Fremdkörper, 1994
    pencil and pen on paper
    60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
    PKNO/GTS 316
    Inquire
    Fremdkörper, 1994
    pencil and pen on paper
    60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
    PKNO/GTS 317
    Inquire
    Fremdkörper, 1994
    pencil on paper
    60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
    PKNO/GTS 319
    Inquire
    Fremdkörper, 1994
    pencil on paper
    60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
    PKNO/GTS 320
    Inquire
    Fremdkörper, 1994
    pencil and pen on paper
    60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
    PKNO/GTS 318
    Inquire
    wenn Zellkerne zu wandernden Planeten werden, 1995
    pencil and pen on paper
    72.2 x 56.5 x 3 cm | 28 1/2 x 22 1/4 x 1 1/4 in
    PKNO/GTS 298
    Inquire
    wenn Zellkerne zu wandernden Planeten werden, 1996
    pencil and pen on paper
    72 x 56.5 x 3 cm | 28 1/3 x 22 1/4 x 1 1/4 in
    PKNO/GTS 300
    Inquire
    Echos, 1996
    pencil on paper
    89 x 77.5 x 3 cm | 35 x 30 1/2 x 1 1/4 in
    PKNO/GTS 290
    Inquire
    Rumoren, 1990
    pencil on paper
    60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
    PKNO/GTS 325
    Inquire
    Rumoren, 1989
    pencil on paper
    60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
    PKNO/GTS 326
    Inquire
    Rumoren, 1990
    pencil on paper
    60 x 50 x 3 cm | 23 2/3 x 19 2/3 x 1 1/4 in
    PKNO/GTS 330
    Inquire

    Inquire

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