Jochen Lorenz

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Jochen Lorenz, Eberhard Göschel and Bernhard Theilmann (from left to right) 1993

Jochen Lorenz (born October 2, 1949 in Dresden ; † November 5, 2012 there ) was a German printer and graphic artist . With Eberhard Göschel , Bernhard Theilmann , Peter Herrmann and AR Penck , he founded the Obergrabenpresse in 1978 , which existed until 2008.

Life

Lorenz was born in Dresden in 1949. His brother Bernd Lorenz is a photographer. Lorenz completed an apprenticeship as an offset printer and initially worked for the Deutsche Reichsbahn . Here he was responsible for printing timetables for the notice board. Lorenz began to print etchings for the first time in the 1960s as part of evening school courses at the Dresden University of Fine Arts . Lorenz was friends with the poet Bernhard Theilmann, who had lived in Dresden since 1974. When Theilmann and the painter Eberhard Göschel had the idea in 1976 to publish their poetry and etchings as a work, Theilmann contacted Lorenz, who became part of the group as a printer. A proofing press from JG Mailänder Druckmaschinenfabrik from 1908, owned by painter Peter Herrmann and repaired by Theilmann, was available for printing. In 1977, Lorenz made the first test prints with etchings by Göschel and Herrmann in Göschel's former studio in Gostritz . In addition, test prints were made for a first "graphic lyric" folder. As early as 1978, the printing workshop moved to an apartment at Obergraben 9. The individual rooms of the apartment served as an etching room, printing room and paper store. The printing workshop was finally called "Obergrabenpresse" in 1978. In addition to Lorenz, Theilmann, Herrmann and Göschel, one of the founding members was the artist Ralf Winkler (later pseudonym AR Penck). Winkler "found in Jochen Lorenz a congenial printer who made his growing skills available to the artist's wishes."

The Obergrabenpresse saw itself as a "self-managed workshop, printing house, publishing house, gallery" and was "an unheard of and therefore unique company for GDR standards". Looking back, Jochen Lorenz stated: “We never did anything secretly. We just made it. ”The first publication of the Obergrabenpresse in 1978 was the edition grafiklyrik 1, limited to 50 copies, with poems by Theilmann and aquatint etchings by Göschel. It was published with official permission to print. Jochen Lorenz printed the etchings, while the poems were set and printed by the printer Lutz Wolfram. In order to be able to finish the edition in time, Lorenz had taken sick leave. Shortly thereafter, he quit the Reichsbahn to work on the second art portfolio of the Obergrabenpresse, grafiklyrik 2 . As an artist without a job and a tax number, he was considered by the state to be "anti-social". When the Association of Visual Artists decided to found a new section for printers of graphic workshops, Lorenz became a member of the Association of Visual Artists in 1979 and thus legitimized as an artist. In the following years he worked as a freelance printer. For grafiklyrik 2 Lorenz printed woodcuts by Peter Herrmann in 1979.

The third edition of the Obergrabenpresse was planned for 1980 and should contain etchings and poems by Ralf Winkler under the title grafiklyrik 3 - Bars and Bar Texts . The Obergrabenpresse did not receive a printing permit, so that Winkler "dodged his sayings with the needle into the zinc" and thus the printing permit. Before pubs and pub texts could be published, Winkler was expatriated in 1980; the graphics therefore remained unsigned. On the advice of Werner Schmidt , at the time head of the Kupferstichkabinett Dresden and sponsor of the Obergrabenpresse, Lorenz authorized the work in the imprint. It appeared with the addition "printed: Jochen Lorenz". The portfolio of poems (1982) of the Obergrabenpresse, limited to 30 copies, with works by Theilmann, Michael Wüstefeld and Sascha Anderson, as well as the portfolio that would understand war with poems by Theilmann were completely implemented as etchings that Lorenz printed. From 1982 Lorenz had a copper printing press in addition to the proof press, which Eberhard Göschel had organized.

The portfolio poems were reviewed in the magazine Die Welt in 1984 , with the volume being portrayed by the author Siegmar Faust as the first illegal work in the GDR and the makers as opponents of the "principles of the GDR constitution". From the state side, this led to the Schreckenstein operational plan, which was implemented on May 14, 1984: Göschel, Lorenz, Wüstefeld and Theilmann were arrested and interrogated at the Volkspolizeikreisamt on Schießgasse. According to the plan, they were “fed” “from their places of residence or work” with the aim of isolating the individual members at their workplaces. In her absence, the new rooms of the Obergrabenpresse on Ritzenbergstrasse 5 were equipped with eavesdropping technology. A preliminary investigation into "subversive agitation" was discontinued after a short time, but the Obergrabenpresse experienced state impediments to its work until the fall of the Berlin Wall.

Following a tip from Wolfgang Petrovsky , Eberhard Göschel acquired a copper printing press from the period around 1900 for the Obergrabenpresse from the holdings of a Bitterfeld cultural center , which was used in the studio at Ritzenbergstrasse 5 from 1990: an exhibition in the rooms of the Obergrabenpresse, large-format aquatint etchings by Göschel printed on the new copperplate press by Lorenz. From 1993 the Obergrabenpresse had the status of a society under civil law and was officially called Obergrabenpresse GbR Göschel Lorenz Theilmann ; it kept the legal form until 2004.

In addition to editions of the Obergrabenpresse, Lorenz also printed on the premises for external artists and students from the Dresden University of Fine Arts , for example Lutz Fleischer , Ralf Kerbach , Hans Scheib , Christine Schlegel , Katrin Süss and Cornelia Schleime had their prints printed here. For Regina Kempin Lorenz printed "[the] he particularly important series of the [...] Pieschener Schabaquatten", with Andreas Dress he created the Selbader printing experiment , in which Lorenz created four works Dress' on a large-format sheet using different etching techniques - in aquatint, mezzotint, open etching and drypoint - printed. Lorenz's students included graphic designer Friederike Aust.

An exhibition in Calcutta in 1992 , in which Eberhard Göschel was also involved, gave rise to the idea of ​​a collaboration between the Obergrabenpresse and the ArtsAcre artists' colony , which in 1995 resulted in an exhibition in the Dresden City Hall and Edition Shuttle . It brought together 14 graphic artists and poets from Germany and India. The exhibition was shown in Dresden, Leipzig and Berlin and opened in Calcutta in the summer of 1995 in the presence of Bernhard Theilmann and Jochen Lorenz. The Kupferstichkabinett Dresden honored the Obergrabenpresse on the occasion of its 20th anniversary with the special exhibition Under Pressure - 20 Years of Obergrabenpresse Dresden , which took place from May 5 to August 6, 1999 in the Dresden Kupferstichkabinett and then in the Kulturbrauerei Berlin (until September 1999) and the municipal Galerie Albstadt (February to April 2000) was shown. Lorenz brought printing processes closer to the public, for example, in the context of printing workshops and the day of the open studio, in which the Obergrabenpresse was still involved in 2006. The Obergrabenpresse was closed in the summer of 2008 when the premises were unexpectedly terminated and another move was no longer an option due to the large printing machines. Lorenz continued his work as a printer in a studio on Gehestrasse. He died in Dresden in 2012.

Works

Editions

  • 1978: grafiklyrik 1 - aquatint etchings by Eberhard Göschel, poems by Bernhard Theilmann, 50 copies
  • 1979: graphic lyric 2 - woodcuts by Peter Herrmann, poems by Michael Wüstefeld, 50 copies
  • 1980: grafiklyrik 3 pubs and pub texts - etchings and poems by AR Penck, 50 copies
  • 1982: poems - poems as etchings by Sascha Anderson, Bernhard Theilmann, Michael Wüstefeld, 30 copies (reprint 1984: 50 copies)
  • 1982: normal understanding would be war - texts as etchings by Bernhard Theilmann (as Jakob Richard Bernhard Theilmann), 5 copies (reprint 1999: 5 copies)
  • 1983: grafiklyrik 4 Ritze - graphics by Dieter Goltzsche, Michael Morgner, Strawalde, Max Uhlig, Claus Weidensdorfer, Ralf Winkler and poetry by Adolf Endler, Elke Erb, Eberhard Häfner, Uwe Hübner, Bert Papenfuß, Rüdiger Rosenthal, 40 copies
  • 1986: Quicksand I - graphics by Jürgen Drei 30, Tobias Ellmann, Clemens Gröszer, Angela Hampel, Klaus Hähner-Springmühl, Andreas Hanske, Michael Hengst, Wolfgang Henne, Udo Lenkisch, Werner Liebmann, Akos Novaky, Reinhard Sandner, Wolfram Adalbert Scheffler, Christine Schlegel, Wolfgang Smy, Michael Wirkner, Karla Woisnitza, 40 copies
  • 1989: Quicksand II - graphics by Sándor Dóró, Michael Freudenberg, Ellen Fuhr, Andreas Garn, Bernd Hahn, Petra Kasten, Manfred Kloppert, Maja Nagel, Frank Seidel, Gudrun Trendafilov, Sonja Zimmermann, 40 copies
  • 1989: grafiklyrik 5 - drypoint etchings by Claus Weidensdorfer, poems by Lutz Rathenow, 40 copies
  • 1989: Rust and Rouge - aquatint etchings by Eberhard Göschel, poems by Bernhard Theilmann, 30 copies
  • 1992: Zinc - etchings by Petra Kasten, with text by Yuri Winterberg, 30 copies
  • 1992: Naked Facts - drypoint etchings by Reinhard Sandner, 30 copies
  • 1992: Lavater or the gentlemen of society - etchings by Sonja Zimmermann, 4 copies
  • 1993: Score - aquatint etchings by Eberhard Göschel
  • 1995: Shuttle graphics by Lutz Fleischer, Eberhard Göschel, Peter Herrmann, Reinhard Sandner, Max Uhlig, Claus Weidensdorfer, Sonja Zimmermann and Dip Banerjee, Shipra Bhattacharya, Kinkar Ghosh, Shakti Karmakar, Somenath Maity, Munindra Rajbongshi, Shuvaprasanna; Poems by Lothar Barth, Andreas Hegewald, Uwe Hübner, Lothar Koch, Gregor Kunz, Bernhard Theilmann, Michael Wüstefeld and Sakti Chattopadhyay, Alokeranjan Dasgupta, Sunil Gangopadhyay, Sankha Ghosh, Joy Goswami, Dibyendu Palit, Mallika Sengupta
  • 1998: Single sheet edition 20 years Obergrabenpresse - graphics by Lutz Fleischer, Eberhard Göschel, Peter Herrmann, Petra Kasten, Michael Morgner, AR Penck, Reinhard Sandner, Strawalde, Claus Weidensdorfer, Sonja Zimmermann, 10 copies
  • 2001: grafiklyrik 6 The old age, voilà - etchings by Lutz Fleischer, poems by Adolf Endler, 40 copies

More prints (selection)

  • 1979: Landscape fragments - etching by Ralf Winkler, single copy
  • 1981: Fürstenauer Blätter - woodcuts by Peter Herrmann, 15 copies
  • 1981: the lust of the artists - two-tone etching by Bernhard Theilmann, single copy
  • 1987: Ascent of Mount Etna - aquatint etchings by Eberhard Göschel, 30 copies
  • 1988: Backlight - etchings by Eberhard Göschel, 50 copies
  • 1988: Carnival spook in Wallgäßchen - aquatint etchings by Hans Körnig , 50 copies
  • 1994: The bird with a child's head - drypoint etching by Reinhard Sandner, single copy
  • 1995: Big and Small Animal - Etching by Petra Kasten, single copy
  • 1995: Proofs for copper stories, couples and passers-by - etchings by Max Uhlig
  • 1998: Aeolian elective affinities - 3 etchings by Sonja Zimmermann, single copy
  • 1998: Dancing society in front of a city silhouette - drypoint etching by Claus Weidensdorfer

Web links

Individual evidence

  1. ↑ Obituary notice on sz.trauer.de
  2. ^ A b c Detlef Krell: Independent artist workshops in Dresden . In: Günter Feist, Eckhart Gillen and Beatrice Vierneisel (eds.): Art Documentation SBZ / GDR 1945–1990. Articles, reports, materials . DuMont, Cologne 1996, p. 743.
  3. ↑ Birgit Grimm: Popular prices for elitist graphics. 20 years Obergrabenpresse Dresden - an exhibition on the art of printing . In: Sächsische Zeitung , May 5, 1999, p. 13.
  4. ^ Bernhard Theilmann: Under pressure and over water . In: Frank Eckhardt, Paul Kaiser (Ed.): Without us! Art & alternative culture in Dresden before and after '89 . efau-Verlag, Dresden 2009, p. 89.
  5. ^ Bernhard Theilmann: Under pressure and over water . In: Friends of the Kupferstichkabinett e. V., Obergrabenpresse GbR (Hrsg.): Under pressure. 20 years of Obergrabenpresse Dresden . Stoba-Druck, Dresden 1999, p. 74.
  6. ^ AR Penck, Bernhard Theilmann: AR Penck: cursed far away . Ed. Galerie Michael Schultz, 2003, p. 43.
  7. ↑ a b Detlef Krell: Modern second hand. Art work versus state security: The Albertinum in Dresden shows works by Eberhard Goeschel . In: taz. the daily newspaper , August 29, 1994, p. 17.
  8. ↑ Jeannine Wanek: “We never did anything secretly. We just did it “: Obergrabenpresse and Leitwolfverlag - two artistic self-publishers in Dresden . In: Siegfried Lokatis (Ed.): Secret readers in the GDR: Control and distribution of illegal literature . Links, Berlin 2008, p. 67.
  9. ↑ a b Bernhard Theilmann: Under pressure and over water . In: Friends of the Kupferstichkabinett e. V., Obergrabenpresse GbR (Hrsg.): Under pressure. 20 years of Obergrabenpresse Dresden . Stoba-Druck, Dresden 1999, p. 78.
  10. ↑ a b J. R. Bernhard Theilmann: Moments of a land grab . In: Ulrich Bischoff (Ed.): E. Göschel: Paintings, gouaches, terracottas . Staatliche Kunstsammlungen Dresden, Dresden 1994, p. 103.
  11. ^ Quote from Bernhard Theilmann. In: Bernhard Theilmann: Under pressure and above water . In: Friends of the Kupferstichkabinett e. V., Obergrabenpresse GbR (Hrsg.): Under pressure. 20 years of Obergrabenpresse Dresden . Stoba-Druck, Dresden 1999, p. 77.
  12. ^ Secret readers in the GDR: Control and distribution of illegal literature, p. 69.
  13. ↑ Stasi - Deposed . In: Stern , No. 19, May 6, 1999.
  14. ↑ See plan for safeguarding measure "B" on the operational material "Schreckenstein" . Printed in Bernhard Theilmann: Under pressure and above water . In: Friends of the Kupferstichkabinett e. V., Obergrabenpresse GbR (Hrsg.): Under pressure. 20 years of Obergrabenpresse Dresden . Stoba-Druck, Dresden 1999, p. 79.
  15. ↑ JR Bernhard Theilmann: Moments of a land grab . In: Ulrich Bischoff (Ed.): E. Göschel: Paintings, gouaches, terracottas . Staatliche Kunstsammlungen Dresden, Dresden 1994, p. 106
  16. ↑ See security plan for the implementation of measure "B" of Section 26 in the operational material "Schreckenstein" . Printed in Bernhard Theilmann: Under pressure and above water . In: Friends of the Kupferstichkabinett e. V., Obergrabenpresse GbR (Hrsg.): Under pressure. 20 years of Obergrabenpresse Dresden . Stoba-Druck, Dresden 1999, p. 79.
  17. ^ Detlef Krell: Independent artist workshops in Dresden . In: Günter Feist, Eckhart Gillen and Beatrice Vierneisel (eds.): Art Documentation SBZ / GDR 1945–1990. Articles, reports, materials . DuMont, Cologne 1996, p. 747.
  18. ↑ Oliver Batista-Borjas: Pressure on the upper ditch . In: Zeitzeichen. Journal of regional politics and history . Issue 4, 2004, p. 11.
  19. ^ Detlef Krell: Independent artist workshops in Dresden . In: Günter Feist, Eckhart Gillen and Beatrice Vierneisel (eds.): Art Documentation SBZ / GDR 1945–1990. Articles, reports, materials . DuMont, Cologne 1996, p. 749.
  20. ↑ a b c Jens-Uwe Sommerschuh: Sting in rotten meat . In: Sächsische Zeitung , June 14, 2008, p. M3.
  21. ^ Henrik Busch: Back pressure in two systems. Observations on the Obergrabenpresse as a model of artistic self-organization before and after 1989 . In: Frank Eckhardt, Paul Kaiser (Ed.): Without us! Art & alternative culture in Dresden before and after '89 . efau-Verlag, Dresden 2009, p. 348.
  22. ↑ Gregor Kunz: Actually I would have preferred to become a bird. Portrait of Lutz Fleischer . In: Sächsische Zeitung , May 20, 1998, p. 18.
  23. ↑ Jeannine Wanek: “We never did anything secretly. We just did it “: Obergrabenpresse and Leitwolfverlag - two artistic self-publishers in Dresden . In: Siegfried Lokatis (Ed.): Secret readers in the GDR: Control and distribution of illegal literature . Links, Berlin 2008, p. 72.
  24. ↑ Ursula Rimkus: Side by Side - Beyond Life. Works by Christine Littwin and Regina Kempin can be seen in the gallery at the blue wonder . In: Dresdner Latest News , March 6, 2003, p. 13.
  25. ↑ Jens-Uwe Sommerschuh: In eternity now. Long-lasting and spontaneous picture stories at Andreas Dress in Dresden's Galerie Mitte . In: Sächsische Zeitung , May 31, 2005, p. 8.
  26. ↑ Uwe Salzbrenner: But I live from impatience. The graphic designer Friederike Aust between longing and home . In: Sächsische Zeitung , December 15, 2003, p. 25.
  27. ↑ Detlef Krell: Biographical Notes - Bernhard Theilmann . Text booklet as a supplement to Hanna-Rose Theilmann, Lothar Sprenger, Bernd Lorenz, Sonja Zimmermann, Eberhard Göschel (eds.), Bernhard Theilmann: The secret of bridges . Poems. SchumacherGebler, Dresden 2019, p. 12.
  28. ↑ Thomas Morgenstern: We are a good team . In: Sächsische Zeitung , February 12, 2003, p. 9.
  29. ↑ Look, be amazed, try out . In: Sächsische Zeitung , November 18, 2006, p. 21.
personal data
SURNAME Lorenz, Jochen
BRIEF DESCRIPTION German printer and graphic artist
DATE OF BIRTH October 2, 1949
PLACE OF BIRTH Dresden
DATE OF DEATH 5th November 2012
Place of death Dresden