Der Plan 1991

Editor: This watercolor by Jurgen Partenheimer, titled "Der Plan" from 1991, features stacked, uneven geometric shapes in orange, blue and purple. The composition is stark, but there’s something almost playful about the imperfection of the shapes. What do you see in this piece? Curator: Immediately, I'm drawn to the title, "The Plan," and how it clashes with the apparent simplicity and slight awkwardness of the composition. It makes me think about the grand narratives we construct around progress and order, and how easily those can be destabilized. Editor: Can you elaborate on the destabilization? Curator: Sure, look at the uneven color blocks, the handmade feel. The piece almost seems to question the authority behind any singular "plan". Consider its historical context: created shortly after the fall of the Berlin Wall, a monumental "plan" collapsing, so to speak. Perhaps Partenheimer is subtly commenting on the instability of systems and the inherent human element that defies perfect organization. Editor: That's a great point. I didn't immediately connect it to that specific historical moment. Curator: Think about the power dynamics inherent in planning, the exclusion that often comes with it. The artist might be prompting us to consider whose plan are we talking about? Who is included, and who is left out? Editor: This makes me rethink the whole piece, not just as a collection of shapes, but as a silent commentary on political ideologies. Curator: Exactly! And the beauty is that the abstraction invites multiple interpretations, opening a space for dialogue about power, control, and representation in the post-Cold War era. It gives us the space to acknowledge the "plans" and systems we live in today. Editor: Thank you. It's fascinating to consider artwork as a critique of historical events. Curator: Art acts as a great mirror to view events and societal issues; through dialogue like this, the reflection becomes that much clearer.