Please note our special opening hours for DC OPEN:

Friday, 5 September: 6–9 pm (Opening)
With an opening speech by Prof. Elisabeth Holder.

Saturday, 6 September: 1–7 pm
Sunday, 7 September 1–5 pm

The artist and trained goldsmith Dorothea Förster (born 1954) works at the intersections of applied and fine arts. The jewellery and wall objects that form the focus of the exhibition Facetten follow a clear formal language derived from the basic shapes of the square and the circle. In the process of creating, Dorothea Förster uses paper cut-outs, negative and positive forms, which she constantly recombines, almost seeming to declinate them. Her objects (made of gold and silver for the jewellery and laser-cut, powder-coated aluminium for the wall objects) retain the irregularities and blurring resulting from the paper cut-outs. Geometric rigour gives way to a playful, sketch-like lightness. This corresponds with the fact that Dorothea Förster does not develop her formal language from conceptual considerations. She draws inspiration from a collection of photos, newspaper clippings, her own sketches and notes, and writings. It is a process in which the artist proceeds less in a planned and deliberate manner; associative and playful, the process is more like a creative frenzy. This process is documented by paper collages, sketches and documents, which will also be on display in the exhibition. With these, the exhibition space becomes a space for experiencing artistic and creative development, a desire of wanting to do and discover. In her objects, she condenses her experiences and insights from these processes, abstracting, condensing, separating the insignificant from theessen...

The artist and trained goldsmith Dorothea Förster (born 1954) works at the intersections of applied and fine arts. The jewellery and wall objects that form the focus of the exhibition Facetten follow a clear formal language derived from the basic shapes of the square and the circle. In the process of creating, Dorothea Förster uses paper cut-outs, negative and positive forms, which she constantly recombines, almost seeming to declinate them. Her objects (made of gold and silver for the jewellery and laser-cut, powder-coated aluminium for the wall objects) retain the irregularities and blurring resulting from the paper cut-outs. Geometric rigour gives way to a playful, sketch-like lightness. This corresponds with the fact that Dorothea Förster does not develop her formal language from conceptual considerations. She draws inspiration from a collection of photos, newspaper clippings, her own sketches and notes, and writings. It is a process in which the artist proceeds less in a planned and deliberate manner; associative and playful, the process is more like a creative frenzy. This process is documented by paper collages, sketches and documents, which will also be on display in the exhibition. With these, the exhibition space becomes a space for experiencing artistic and creative development, a desire of wanting to do and discover. In her objects, she condenses her experiences and insights from these processes, abstracting, condensing, separating the insignificant from the essential. At the end of this long journey remains a meaning, something lasting, the one sign, the essence.

For the exhibition the book 'Dorothey Förster: 2017 – 2024' will be launched.