Bertram Hasenauer

Bertram Hasenauer

Bertram Hasenauer (b.1970 in Saalfelden, Austria) studied from 1992 to 1997 at the Academy of Fine Arts in Vienna and at the University of the Arts in Berlin and from 1997 to 1998 at Central Saint Martins College of Art and Design in London. He lives and works in Berlin. Hasenauer's works mainly deal with portraits, landscapes and everyday objects. His characteristic monochrome color palette is characterized by black, white and shades of grey, but also intense red, blue and yellow. The strong contrast of colors gives his works a smooth surface that makes his painting appear abstract, although figurative. Images from magazines and the internet serve as templates for his characters. The figures in his works are in a timeless space and seem introspective. They often disappear into the background or half dissolve into it. Hasenauer's depictions seem familiar and strange at the same time, and it is precisely this contradiction that makes his works so appealing.

Solo exhibitions include (Upcoming) Cheek by jowl, Kristin Hjellegjerde Gallery, London, UK (2024)'; Eight Minutes, Kristin Hjellegjerde Gallery, London, UK (2023); Solo Show: Bertram Hasenauer, Kunsthalle Memmingen, Germany (2023); Shared Memory, Thomas Fox Gallery, Stuttgart, Germany; Fine Delay, Galerie Anja Knoess, Cologne, Germany (2022); Tandem Distiller, Galerie Anja Knoess, Cologne, Germany (2021);Fine Delay, Galerie Anja Knoess, Cologne, Germany (2022); Other days, Galerie Schloß Wiespach, Hallein, Austria (2019); Betram Hasenauer, Das Bilderhaus Sammlung Dr. Neumann, Bad Aibling, Germany (2019); Untitled, Artist in Residence Helvetica Basel, Switzerland (2017); & Kunstpreisträger Salzburg, DOK für moderne Kunst, St Pölten, Austria (2012); Súlur, Museum of Modern Art Salzburg, Rupertinum, Salzburg, Austria (2010); Georg Eisler Preis für Malerei 2008, Bank Austria Kunstforum Tresor, Wien, Austria (2009); Ivied, ÖsterreichischesKulturforum Berlin, Germany (2008); Don't try so hard to be different, Österreichisches Kulturinstitut, Krakau, Poland (2001); MSFXOE, Institut fürGegenwartskunst, Wien, Austria (1997).

Selected group exhibitions include Mirror Mirror, Kristin Hjellegjerde Gallery, London, UK (2024); Himmel and Erde, Galerie Thomas Fuchs, Stuttgart, Germany(2024); Darkness is called darkness, Ebensperger, Vienna, Austria (2023); Modebilder-Kunstkleider Fotografie, Malerei, Mode, Berlinische Galerie, 1900 bis heute, Berlin, Germany (2023); Freedom and Independence, EPENSPERGER, Vienna, Austria (2023); Tomorrow is Tomorrow is Tomorrow, Kristin Hjellegjerde Gallery, London, United Kingdom (2023); Kunst. Leben, Leidenschaft, Museum Angerlehner, Wels, Austria (2022); Fashion images/ Art clothing. Photography, Painting and fashion 1900 till now, Berlin, Germany (2022); ‘Wilde Kindheit’, Kunstmuseum Lentos, Linz, Austria (2021); Drawn City, Berlinische Galerie, Berlin, Germany (2020); The Tip of the Iceberg, Museum of Modern Art Salzburg, Salzburg, Austria (2019); Reliqte, reloaded: Zum Erbe christlicher Bildwelten heute. steirischer Herbst in Koproduktion mit Kulturzentrum bei denMinoriten in Graz, Austria (2015); FIGURATION between Dream and Museum Angerlehner, Wels, Austria (2015); Dear Artists, draw me! Part 2: Figuration, Illustration, Notation und Zeichen SEMJON CONTEMPORARY GALERIEFÜR ZEITGENÖSSISCHE KUNST, Berlin, Germany (2014); Dear artist, draw me! Part 1: Abstraktion, Konkretion, Notationund Struktur SEMJON CONTEMPORARY GALERIE FÜR ZEITGENÖSSISCHE KUNST, Berlin, Germany (2014); Let yourself be blown away by nature, landscape drawings of romanticism and contemporary art, Kunsthalle Bremen,Bremen, Germany (2013); CROCE CROSS KREUZ curated by Davide Sarchioni Nuova Galleria Morone, Milan, Italy (2012); London – Berlin, kuratiert von Andrew Hewish, Centre for Recent Drawing (C4RD), London, United Kingdom (2011); UOMINI ILLUSTRI / DONNE SUPERBE, Austrian Cultural Forum Belgrad Salzburger in Wien, Galerie im Traklhaus, Salzburg, Austria (2011); THE NEW DIMENSION: CONSTRUCTED, Stadtgalerie Lehen, Salzburg, Austria (2011); Kunst in Parlament, kuratiert von Stella Rollig und Gerald Matt, ParlamentWien, Austria (2010).

Cheek by Jowl

Faces appear caught in blinding bursts of white light or slip into dark silvery shadows. Cheek by Jowl, Bertram Hasenauer’s latest solo exhibition at Kristin Hjellegjerde Gallery, Wandsworth presents a new series of captivating portraits rendered in graphite and coloured pencil on paper. Each image is the result of an intense and exacting process in which the facial features are slowly built up through layers to create what Hasenauer calls ‘an idea of a figure’ rather than a portrait of a specific individual. Yet, somehow, these works still feel close, intimate. How much of an image or line do we need to be given to complete the picture? At what point does perception end and imagination begin?

While Hasenauer originally trained as a jewellery maker and a sculptor, he now typically works with paint. This recent shift to drawing has not only required a period of experimentation, but also brought about an even more concentrated way of working that relies on him using only the weight of the pencil to create a balance between light and dark, softness and precision. In the ‘light’ drawings, especially, this process seems to unfold before us. In You somehow slip away (2), for instance, a spectral female figure appears to simultaneously come into focus and dissipate back into white. Concrete, tactile details – the strands of her fair, the brightness of her eyes and texture of lips – emerge from a hazy cloud of white, like a snow storm blowing in from the bottom left-hand corner. This creates a curious feeling of precarity and longing whereby we find ourselves wanting to hold on to the image as if it were a memory: to make it whole, to pull it out from the past.

By contrast, the ‘dark’ drawings draw us deeper into the surface of the image. Here, facial features – the outline of a nose, the arch of an eyebrow – appear in silvery glimpses as if illuminated by candlelight. In these works, the luminosity comes from the material itself – the graphite – through a process that Hasenauer likes to hammering metal to the point where it becomes bright and smooth. Yet a sense of mystery remains: some details are clear and precise while others remain buried in the shadows.

The title of the exhibition – Cheek by jowl – alludes both literally to the close crop of the drawings and the way in which they fill the paper as well as to a feeling of discomfort that comes from recognising but not being able to full envision the figures that Hasenauer depicts. It is this discomfort that invites us to look more closely, to not just perceive but to actively engage with each image.

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Bertram Hasenauer : Cheek by Jowl