Tegning 1977

Curator: Immediately, I see this dynamic line carving across a vast white plane—what a simple, but effective composition! Editor: Indeed! Here we have Jan Groth’s "Tegning," created in 1977. It’s a drawing executed with graphite on paper. Looking at the process, it feels like a quick, almost impulsive act. The contrast of the graphite against the paper is quite stark, forcing one to contemplate its making. Curator: It feels almost industrial, the foldings I mean. Reminds me of textiles, or corrugated cardboard, both ubiquitous in daily life. Groth worked a lot with tapestries didn’t he? Editor: Yes, you're right, he is very well known for that! He even embraced the imperfections and visible seams that testified to the laborious process of textile production. Considering his shift to graphite drawing, the 'Tegning' presents itself almost as a direct, unmediated gesture from the artist’s hand. What strikes you about it culturally? Curator: Its simplicity echoes a larger historical move away from ornamentation. I mean think of minimalist art of the 1970's which embraced essential forms—very aligned with the period this artwork was produced! Yet, because it's a line drawing, the piece seems so preliminary, provisional. What kind of symbolism are we looking at here? Editor: Well, Groth often talked about his lines as existing beyond the purely formal; to him they represented human encounters. That folded, architectural element can perhaps suggest shelter, vulnerability. But also maybe resilience through structural strength! Curator: Fascinating—thinking about Groth’s emphasis on labor, it invites viewers to think about how art is made but also who is given a platform and who is not. Editor: Precisely, a discussion about art can involve how it interacts with socio-political and economic dimensions that define visibility and worth in culture! Well, I have some notes on how we might present all of this… Curator: Splendid, I'm curious about what else we may reveal…