Accompanying the exhibition Louise Bourgeois x Jenny Holzer is the publication The Violence of Handwriting Across a Page. While the exhibition shows the oeuvre of Franco-American Louise Bourgeois (1911-2010) through the eyes of artist and curator Jenny Holzer (b. 1950), the book sets Bourgeois' works in dialogue with the collection of the Kunstmuseum Basel. In doing so, it takes up themes such as motherhood, cordoning off, violence, and mutilation that are central to the exhibition and to Bourgeois' oeuvre.
The exhibition Körper und Schrift in den Grafikkabinetten presents some of the works used for the Artist Book. The selection is expanded to include drawings and prints that tie in thematically or formally.
The juxtaposition of Bourgeois' works with works from the collection shows, for example, that motherly love can be not only caring but also quite combative. Thus the Madonna in Hans Holbein the Elder's (c. 1460/65-1524) drawing breastfeeds the infant Jesus with a thoughtful gaze, expressing all her care.
In Hans Hug Kluber (1535/36-1578), an unknown woman devotedly bathes an infant; in combination with Bourgeois' written statement "Ne t'occupe pas de toi mème. Occupe toi des Autres" becomes from Hin- Selbstaufgabe.
The selection is expanded to include drawings and prints that tie in thematically or formally. The first cabinet is dedicated to representations of violence that not only bear witness to historical realities, but also demonstrate the power of images.
Urs Graf (c. 1485-1527/28) drew an armless harlot with a stilt leg and thus addressed the manifold mutilations that warlike times could mean for all people.
In the second cabinet, works with (hand-)written traces can be discovered. Inscribed sheets such as a pamphlet from 1593, for example, which describes the events of a night of murder. But gaps for inscriptions in prints can also be found - Die Begrüssung des Meisters M.Z. (active around 1500) is a wonderful example of this. Together with works such as Karl Schmidt-Rottluff's (1884-1976) written page Gott und die Gefahr, in which writing is the image, a diversity of art through the centuries is fanned out.
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.