Obergrabenpresse

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The Obergrabenpresse was a free printing workshop, printing press, gallery and publishing house in Dresden . It was founded in 1978 by the painters Eberhard Göschel , Peter Herrmann , Ralf Winkler (A. R. Penck), the printer Jochen Lorenz and the poet Bernhard Theilmann and existed until 2008.

House Obergraben 9, namesake of the Obergrabenpresse

Locations

Before it was officially founded in 1976, the Obergrabenpresse was initially located in Eberhard Göschel's former studio on Gostritzer Straße 92 in Gostritz . It was a two-story low-rise building in the rear area of ​​the property: At the time, there was a plumbing shop on the ground floor; the Obergrabenpresse used several rooms on the second floor. After the Obergrabenpresse moved, Siegmar Faust first moved into the apartment; Ralf Winkler then used it as a living studio until 1980.

In 1978 the Obergrabenpresse moved to an apartment on the first floor of Obergraben 9 in the Inner Neustadt , which had previously been Göschel's studio. In 1982 the Obergrabenpresse expanded and moved into a two-room apartment in the Obergraben 9 building. When Obergraben 9 was to be renovated, the Obergrabenpresse moved to Ritzenbergstrasse 5 in Wilsdruffer Vorstadt at the end of 1982 . From September 1997 to summer 2008 the Obergrabenpresse used the building at Eisenbahnstrasse 2 on the site of the former Leipzig train station .

history

Beginnings

Jochen Lorenz, Eberhard Göschel and Bernhard Theilmann (from left to right), 1993
AR Penck, 1994. Portrait of Oliver Mark .
Peter Herrmann, 2012

The founders of the Obergrabenpresse were Eberhard Göschel, Peter Herrmann, Ralf Winkler, Jochen Lorenz and Bernhard Theilmann. Theilmann and Göschel were friends since early childhood, Herrmann and Winkler had known each other since their youth and had been friends with Göschel since 1968 and Lorenz was part of Theilmann's closer circle of friends. As early as the summer of 1976, the group had the idea of ​​combining Göschel's graphics and Theilmann's poems and printing them. The group had a press from JG Mailänder Druckmaschinenfabrik from 1908, which belonged to Peter Herrmann and which was repaired by the printing machine builder Bernhard Theilmann. The trained printer Jochen Lorenz, who at the time worked as an offset printer for the Deutsche Reichsbahn and had also printed etchings as part of evening school courses at the Dresden University of Fine Arts , made the first test prints with etchings by Göschel and Herrmann in Göschel's former studio in Gostritz in 1977 . In addition, test prints were made for a "graphic lyric" folder. As early as 1978, the printing workshop moved to the apartment at Obergraben 9. The individual rooms of the apartment served as an etching room, printing room and paper store. The printing workshop was named after Ralf Winkler's credo "From the underground to the upper ground" and the location finally in 1978 "Obergrabenpresse".

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, Bernhard Theilmann summed up: “Founding a private printing workshop was a bit anarchistic. We only created space for ourselves and artist friends to work, exhibit and publish - but without legal permits ”. In an interview in 2004 he summarized: "Everything was not forbidden - and everything was not allowed."

Editions from 1978

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, which was published with official printing permission. Jochen Lorenz printed the graphics, while printer Lutz Wolfram set and printed the poems. grafiklyrik 1 was self-marketed and sold out quickly. The cost of a folder was 150 marks. Since the Obergrabenpresse was not an official publisher and was therefore not allowed to make a profit, the income went to the artists whose works were sold; a small part was allocated as material costs or helped as a donation to pre-finance new projects. As early as 1979, the second art edition of the Obergrabenpresse appeared with grafiklyrik 2 , this time combining woodcuts by Peter Herrmann and poems by Michael Wüstefeld . The edition, limited to 50 copies, had also received official permission to print. Both printing permits were described in 1985 by the Dresden District Council , Culture Department, as "granted in ignorance ..." because only "institutions of socialist trade, publishers and the cultural association " were allowed to print graphic editions.

The Obergrabenpresse was noticed early on in the art business, as Lothar Lang mentioned the group in 1979 in the publication Der Graphiksammler . Werner Schmidt , whose "integrity helps to legalize the anarchist activities of the Obergrabenpresse", regularly acquired graphic portfolios and individual prints for the Dresden Kupferstichkabinett . Printer Jochen Lorenz was accepted into the Association of Visual Artists in 1979 and was able to officially pursue his artistic work. In addition to its own publications, the Obergrabenpresse also realized exhibitions, usually by artists who had them printed in the Obergrabenpresse.

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. Kneipen und Kneipentexte was published in 1980, printed by Jochen Lorenz in an edition of 50 copies; Graphic prints were free of approval up to a number of 99 copies. At the time of publication, Winkler had already been expatriated and moved to the Federal Republic; In 1983 Peter Herrmann left the GDR and went to Hamburg.

The Obergrabenpresse expanded in 1982 and also moved into a two-room apartment in the Obergraben 9 building. In addition to the proof press, the group now also had a copperplate press that Eberhard Göschel had organized and which was installed in the new premises. In addition to the volume of poems with etched poems by Sascha Anderson , Bernhard Theilmann and Michael Wüstefeld, the volume of poetry, the normal understanding would be war , was published in 1982 with works by Bernhard Theilmann, which he implemented as etchings in asphalt varnish.

When the ailing house Obergraben 9 was renovated, the Obergrabenpresse moved in late autumn 1982 to the ground floor rooms of a former shop apartment in house Ritzenbergstrasse 5. The first work created in the new rooms was called Ritze and appeared in 1983. The fourth edition of graphic lyric poetry brought together graphics by Dieter Goltzsche , Michael Morgner , Strawalde , Max Uhlig , Claus Weidensdorfer and Ralf Winkler, and poetry by Adolf Endler , Elke Erb , Eberhard Häfner , Uwe Hübner , Bert Papenfuß and Rüdiger Rosenthal . In order to circumvent the ban on printing, the poets copied their poems by hand for all 40 printed copies. In 1983 , foreign artists also worked in the premises of the Obergrabenpresse during the Dresden International Graphics Workshop , which was tantamount to a state toleration of the Obergrabenpresse.

State Security pursuit and development until 1989

House Ritzenbergstrasse 5, seat of the Obergrabenpresse from 1982 to 1997

The anthology poems , which appeared in 1982, was intended as the first edition of a book series. Theilmann had sent a copy of the book to writer Siegmar Faust , who had left for the Federal Republic in 1976. Faust reviewed the volume of poems on March 1, 1984 in the newspaper Die Welt under the title Falke überm Schreckenstein and presented it as the first illegal work ( samizdat ) of the GDR and the authors as "people who question the constitutional principles [of the GDR]" This led the state to the operational plan Schreckenstein , which aimed to "destroy the role models Göschel, Theilmann and Wüstefeld for the oppositional / negative young people from the fields of visual arts and writers". Sascha Anderson, who was also involved in poetry , was already working as an unofficial employee of the Ministry of State Security and was not persecuted.

The operational measure Schreckenstein was implemented on May 14, 1984, during which Göschel, Lorenz, Wüstefeld and Theilmann were interrogated in 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 rooms at Ritzenbergstrasse 5 were equipped with eavesdropping technology. A preliminary investigation into "subversive agitation" was discontinued after a short time. In the period that followed, there were further attempts by the state to obstruct: Among the etchings published in the Ritze portfolio from 1983 there was also a work by Ralf Winkler, which - in addition to a printed imprint for which no printing permission was available - led to a renewed procedure at the council of the district. Göschel was instructed for the last time to adhere to state requirements; The Obergrabenpresse is officially only an “artist's own printing company”, which is neither registered nor registered and which is therefore prohibited from “bringing out graphics in the form of editions”. In retrospect, journalist Tomas Petzold called the Obergrabenpresse "an institution that was officially not allowed to be until 1989". From 1988 the Ministry for State Security tried to portray Eberhard Göschel as an unofficial employee in order to disrupt the group of artists, but this failed because of the close cohesion of the group and the associated basis of trust.

From 1986 the Obergrabenpresse realized the large-scale project quicksand , an anthology with graphics by 29 young artists, which was continued and completed in 1989 with quicksand II . This was followed in 1989 by the graphic portfolios Rost and Rouge with works by Göschel and Theilmann, as well as grafiklyrik 5 with works by Claus Weidensdorfer and Lutz Rathenow.

Development from 1990

Eisenbahnstraße 2, seat of the Obergrabenpresse from 1997 to 2008

After a tip from Wolfgang Petrovsky , Eberhard Göschel acquired a copper printing press from the period around 1900 for the Obergrabenpresse from the inventory of a Bitterfeld cultural center , which was used in the studio at Ritzenbergstrasse 5 from 1990 onwards. As early as the spring of 1991, an exhibition in the rooms of the Obergrabenpresse showed Göschel's large-format aquatint etchings made on the new copperplate printing press. In 1992 the Obergrabenpresse published the editions Zink ( Petra Kasten , Yuri Winterberg ), Nackte Tatsachen ( Reinhard Sandner ) and Lavater or the Gentlemen of Society ( Sonja Zimmermann ) in short succession . From 1993 the Obergrabenpresse had the status of a civil law company and was officially called Obergrabenpresse GbR Göschel Lorenz Theilmann . In addition to its own editions, the Obergrabenpresse also served as a printing workshop for external artists and students at the Dresden University of Fine Arts . From 1994, for example, the artist friend Lutz Fleischer worked together with the Obergrabenpresse and realized etchings here. Other artists who had the Obergrabenpresse printed included Ralf Kerbach , Hans Scheib , Christine Schlegel and Cornelia Schleime .

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 1995 in the presence of Bernhard Theilmann and Jochen Lorenz. From the beginning of September 1997 the Obergrabenpresse was part of the exhibition Boheme & Dictatorship in the GDR (exhibition area counter-pressure. Self-published books and magazines ) in the German Historical Museum in Berlin .

The last time the Obergrabenpresse moved was in September 1997, as the house on Ritzenbergstrasse 5 had become dilapidated. The new home was the building at Eisenbahnstrasse 2 on the site of the former Leipzig train station in Dresden. It offered better space than the rooms on Ritzenbergstrasse and, for example, allowed the copper printing press to be used more extensively. In 1998 the Obergrabenpresse celebrated its 20th anniversary and on this occasion published a single sheet edition with works by Lutz Fleischer, Eberhard Göschel, Peter Herrmann, Ralf Winkler and Strawalde, among others. The Kupferstichkabinett Dresden honored the group with the special exhibition Under Pressure - 20 Years of Obergrabenpresse Dresden , which was shown in the Kupferstichkabinett Dresden from May 5 to August 6, 1999 and then in the Kulturbrauerei Berlin (until September 1999) and the Städtische Galerie Albstadt (February until April 2000). The Obergrabenpresse gave up its GbR status in 2004, but remained a constant within the Dresden art scene. Printing processes were shown to the public, for example, during the open studio day, 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. The copperplate printing machine was then set up in the graphic workshop of the Technical Collections Dresden . The Obergrabenpresse was part of the exhibition Without Us! on art and alternative culture in Dresden before and after 1989, which could be seen in the Prague lace from 2009 to 2010 .

Prints and editions of the Obergrabenpresse are in the inventory of the Kupferstichkabinett Dresden, the graphic collection of the SLUB , the Kupferstichkabinett Berlin and the Albertina Vienna .

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

literature

  • Friends of the Kupferstichkabinett e. V., Obergrabenpresse GbR (Hrsg.): Under pressure. 20 years of Obergrabenpresse Dresden . Stoba-Druck, Dresden 1999.

Web links

Individual evidence

  1. ^ 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. 88.
  2. ↑ JR Bernhard Theilmann: Moments of a land grab . In: Ulrich Bischoff (Ed.): E. Göschel: Paintings, gouaches, terracottas . Staatliche Kunstsammlungen Dresden, Dresden 1994, p. 88.
  3. ↑ 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. 73.
  4. ↑ 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. 74.
  5. ↑ 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. 104.
  6. ^ 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. 742.
  7. ^ 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. 346.
  8. ↑ a b Birgit Grimm: Popular prices for elite graphics. 20 years Obergrabenpresse Dresden - an exhibition on the art of printing . In: Sächsische Zeitung , May 5, 1999, p. 13.
  9. ^ A b 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.
  10. ^ 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.
  11. ^ Rudolf Scholz: Farewell to Bernhard Theilmann . In: Signum. Sheets for literature & criticism . Volume 19, Issue 1, 2018, p. 28.
  12. ↑ 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.
  13. ↑ a b Bernhard Theilmann: History of the Obergrabenpresse on obergrabenpresse.de, accessed on April 14, 2019.
  14. ↑ Oliver Batista-Borjas: Pressure on the upper ditch . In: Zeitzeichen. Journal of regional politics and history . Issue 4, 2004, p. 12.
  15. ^ A b 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. 744.
  16. ^ 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. 76.
  17. ↑ See memorandum from the Council of the Dresden District, Department of Culture, from May 10, 1985. Printed in Bernhard Theilmann: Unter Druck und über Wasser . In: Friends of the Kupferstichkabinett e. V., Obergrabenpresse GbR (Hrsg.): Under pressure. 20 years of Obergrabenpresse Dresden . Stoba-Druck, Dresden 1999, p. 82.
  18. ↑ a b c 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.
  19. ^ 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.
  20. ^ A b 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. 745.
  21. ↑ 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. 106.
  22. ↑ Stasi - Deposed . In: Stern , No. 19, May 6, 1999.
  23. ↑ cit. according to 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. 80.
  24. ↑ cit. According to Birgit Grimm: Popular prices for elite graphics. 20 years Obergrabenpresse Dresden - an exhibition on the art of printing . In: Sächsische Zeitung , May 5, 1999, p. 13.
  25. ^ Tomas Gärtner: Sascha Anderson and the unofficial Dresden art scene . In: Dresdner Latest News , April 18, 2002, p. 14.
  26. ↑ 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.
  27. ↑ 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.
  28. ^ 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.
  29. ^ 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. 82.
  30. ↑ Tomas Petzold: “Under Pressure” - exhibition on 20 years of Obergrabenpresse in the Kupferstich-Kabinett . In: Dresdner Latest News , June 30, 1999, p. 9.
  31. ^ 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. 83.
  32. ^ 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. 347.
  33. ↑ Oliver Batista-Borjas: Pressure on the upper ditch . In: Zeitzeichen. Journal of regional politics and history . Issue 4, 2004, p. 11.
  34. ^ 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.
  35. ^ 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.
  36. ↑ Gregor Kunz: Actually I would have preferred to become a bird. Portrait of Lutz Fleischer . In: Sächsische Zeitung , May 20, 1998, p. 18.
  37. ↑ 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.
  38. ↑ Exhibition text on the Obergrabenpresse on dhm.de.
  39. ↑ a b Jens-Uwe Sommerschuh: Sting in rotten meat . In: Sächsische Zeitung , June 14, 2008, p. M3.
  40. ↑ Look, be amazed, try out . In: Sächsische Zeitung , November 18, 2006, p. 21.