room for humour
Press Archive 1983
Fürther Nachrichten, 1983, VOLKER DITTMAR
Renate Höllerer’s current exhibition in the Galerie am Theater is unsettling
"In satire, the contradiction between reality and ideal is made subject, as contrasted with the reality of the ideal as highest reality," has Schiller defined those ancient artistic intentions, which is expressed in exaggeration, sarcasm and irony. Satire has painter Renate Höllerer of Fürth named her now already traditional exhibition in October. She has that title well chosen and the term "cartoon" consciously avoided. In her work she wants to go deeper then the grotesque exaggeration of the cartoon alone can possible testify. For that reason the spectator also will look in vain for answers to pressing contemporary issues such as defence and the environment.
Renate Höllerer’s gouaches and etchings rather more require a view that is far more subtle. There fore it’s all about the relationship between reality and categorical imperative that is according to Schiller characterising the satire. The gallery owner Höllerer, she is currently in the twelfth term at the Academy of Fine Art in Nuremberg studying, tried to get this into grip in the phenomenon of wealth. The spirit of A. Paul Weber and Georg Grosz caricatures hounds in the feisty faces of the fatties of her pictures. These lousy figures are so abominable that they sometimes seem almost ornamental. Through their involvement in scenes of everyday life - admittedly only imaginary – reality before the ideal corrective is led to absurdum
The artist did let guide herself in her work by the conviction that we have it, despite all the doomsday predictions about economic crisis and unemployment still "too good". She tries to show with which narrow-mindedness the "masses"follow their low desires and self-imposed constraints. Renate Höllerer emphasised from the delicate technique of her early insect cartoons to bold statements. The works on display: a cycle of "time off", the triptych "Joy", beach scenes and mass gatherings, are all of her this year’s creative period. They are still marked by an interest in the human figure, which Renate Höllerer has deepend at nude-drawing courses with Professor Clemens Fischer.
In a way this show could mark a turning point in her artistic development, because her analysis of the welfare society and its human products, the artist deals already for a long time. Her graphical development seems to be pushed to a limit that allows no more development. Renate Höllerer sees mainly in the oil technique still room for enhancement of expression. One therefore may already look forward to her next exhibition.
The collection of satire provides a comprehensive overview of the aesthetic settings of one of the most prestigious artists in Fürth. There is nothing to be desired in the clarity of statement. Of course, the products were in a time-critical work such as printed magazines of Kladderadatsch or Simplizissimus better off than at the walls of an art gallery, but these magazines have become rare.