Doris Tsangaris: Meuser
There has been a great deal written about outsider art in recent years. Berlin鈥檚 Hamburger Bahnhof dedicated an entire series of exhibitions to the subject, while Massimiliano Gioni reserved a significant part of the Venice Biennale for outsider art. German artist Doris Tsangaris, would have a lot to say about outsider art, having worked now for many years in a studio in Benninghof, one of the largest and oldest institutions for the mentally handicapped in North Rhine-Westphalia. She paints with the residents here twice a week, and has the studio to herself the rest of the time. And yet, the drawing instructor herself is also an outsider artist par excellence. Entirely outside the official art world, she has created an immense and nonetheless precise oeuvre over the last three decades, always working in series, always on paper, usually the cheapest she could find. Three decades in which she created ever larger work series in dialogue with artists such as Richard Tuttle, Raoul de Keyser, Al Taylor, or G眉nther F枚rg, without ever having met any of these like minds. Three decades in which she repeatedly burned entire series of drawings. Room was limited in her cabinets and boxes: and, after all, who would ever want to see all of these works?
In her first Berlin exhibition, indeed, her first ever show in a commercial gallery, three series by Doris Tsangaris encounter three new sculptures by Meuser, the insider artist par excellence and the teacher of several famous students.
There has been a great deal written about outsider art in recent years. Berlin鈥檚 Hamburger Bahnhof dedicated an entire series of exhibitions to the subject, while Massimiliano Gioni reserved a significant part of the Venice Biennale for outsider art. German artist Doris Tsangaris, would have a lot to say about outsider art, having worked now for many years in a studio in Benninghof, one of the largest and oldest institutions for the mentally handicapped in North Rhine-Westphalia. She paints with the residents here twice a week, and has the studio to herself the rest of the time. And yet, the drawing instructor herself is also an outsider artist par excellence. Entirely outside the official art world, she has created an immense and nonetheless precise oeuvre over the last three decades, always working in series, always on paper, usually the cheapest she could find. Three decades in which she created ever larger work series in dialogue with artists such as Richard Tuttle, Raoul de Keyser, Al Taylor, or G眉nther F枚rg, without ever having met any of these like minds. Three decades in which she repeatedly burned entire series of drawings. Room was limited in her cabinets and boxes: and, after all, who would ever want to see all of these works?
In her first Berlin exhibition, indeed, her first ever show in a commercial gallery, three series by Doris Tsangaris encounter three new sculptures by Meuser, the insider artist par excellence and the teacher of several famous students.
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