Nelly Perazzo
Group Member of National Academy of Fine Arts.

Rosemarie Allers.

Guilles Deleuze marks the difference between that figurative and that which is figural or the Figure, the first, being illustrative or narrative and the second, the moment when that which is pictorial arrives at the pictoric act proper, the creative happening.

It becomes necessary for the painter to set out on the fight against the clichés, the stereotypes and to allow for chance to intervene with disrupting elements in order to make it possible for this chance to happen.

It is on the edge of that dividing line, involving all her capacity to deal with peril, that Rosemarie Allers launches on her venture which materializes in the execution of each of her works.

Without the spirit of system, reinitiating in each one of her works, her own way to sacrificial consummation, the artist fights equally against that hounding of stereotypes on the one hand and against chaos on the other.

The outcome of this fight hits the eye in her work. Turmoil and organisation wage a swift face to face battle, which summons us to make out the meaning of her uproarious pictograhy.

Rosemarie Allers speaks for herself, as of within her own space, within her nature as of belonging to womankind, as of her condition of abiding with different cultural backgrounds.

Her perception of uncertainity and of that heterogeneous, that which is contradictory and that which is incompatible nags her and drives her to paint in an attempt to achieve an answer or otherwise objectivize her quest. It is a necessity dwelled in with urgency as a starting point and urgency put into her act.

The imprint of her gesture, of the impetuous stroke, of a daring contrasting contour, of the rythm, account for her professionalism in detaining chaos just at the extreme moment and also of the imperishability of the way and chosen means.

These traits have awarded her a non classifiable, special but at the same time desolately lonely place within our environment

The present exhibition Pic-nic on the Precipice is suggesting to us a pact with that which is impossible.

It takes up in her the subject of Adam and Eve with their powerful erotism, not at all idilic. Man and woman have been her constant portrayals in her paintings. In non peaceful associations, they appear in state of turmoil or they superpose, they confront each other, they persecute and absorb their context in a spiral dynamic fury.

The woman sometimes fantastically winged, in plastically perilous attitudes, or with Picassian rooted profiles, sometimes defined by an ample curve which dominates the composition, becomes identified with wild, animal primitive nature forces from thence dragging in man, whom at the same time she needs as a resistance point, in order to glorify her inbred reasoning of her being and that ever postponed meeting.

Our artist occupies a space without suggestion of referencial profundity or order. The external borders are powered by fragmented and unexpected apparitions. Graphisms define the shapes, sometimes digressive but never become decoratevely drained.

There exists a series of black and white where, dissimilarly to the other works, all of them oil paintings, is done in charcoal. Strong counterposing with light coloured background canvas stress the rythm, with music like accents, where the painting itself, the graffito, the coming and going of colour and shapes ascertain an enormous force which puts the pictoric act in the presedence of any other reference.

The heading of the exhibition also reveals sense of humour, awareness of precariousness, allows to slip in a cooperating element which always stands as a supplementary plastic happening within itself.

Rosemarie Allers delves into those places where life vibrates with the pulse of contradictory elements, always on the verge of folly, always surviving tragically.
This she does with professional incorruptible skill.

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Nelly Perazzo
Member of National Academy of Fine Arts.

Rosemarie Allers. Inevitable, The woman

The apparition of Eve involves her Fall. As of that event, man and woman would seem to be doomed to live in a world dominated by Eros.
To the various and ambiguous images that society has given to woman through Literature, Art, History or Mythology you may add the problem peculiar to the woman’s situation within the twentieth century.

What aspects, what fragments of that uncountable accumulation of versions interject, as much in that which is conceptual as well as that which is emotional in each woman?

Rosemarie Allers debates with an inheritance of her own because she lives it as a woman and because she belongs to the western culture. She also lives a specific situation. She is of German origin, Protestant of the Lutheran Church cohabiting with a culture alien to her own.

Does this circumstance have anything to do with the turbulence of her commitment to the Art of Painting?
With her irrepressibly creative will?
With the fact of being trapped into the necessity of self assertion?
With that which is fragmentary, unfinished, the harassment of living should seek a resolution by means of the imposition of the act of painting as a needs for life?

It is that initial point of reference that presses her to remain outside of the trends in vogue, to be transgressive without intending to be so, to assume her creation as a risk. Her operative traits shall always be a total commitment to the art of painting which is, as well, her total commitment to life. An unshackled force underlies the establishment of the theme, to the variances of her obsessive and reiterated theme: woman and her relationship with man and the world within its contemporarity. All around this setting, she likes to perturb, to raise questioning thoughts. The feminine figure that appears in her works is no more the vampire-woman of the late nineteenth century, but is still the stigmatised woman with a problem unsolved. The woman begins to appear in a society of overwhelming masculine sway or in contact with nature, which is voracious, devouring too. Both of them ferocious.

The stereotyped and banal woman, the object-woman. The masculine characters refer to the force of power and sex conflicts. They seem not to be able to withdraw from an interminable succession of dramatic situations. It is a passionate and agitated world. An environment where sensuality has to do with dominance, cunning, cynicism.
The titles seem to go with this sense: “Taming”, “The Woods”, “The Cat”, “Insect I”, “Bird with Stockings”, “Tumbled”.

In order to show, in her own way, a sophisticated and perverse world of contemporary eroticism, Rosemarie Allers uses a violent painting manner, in appearance very spontaneous but nonetheless, very elaborate. In a vigorous expressionist attitude she opposes background and figure without destroying their mutual protagonism. The coloured spots are so tempestuous that they need to be enhanced by graphic superposition for the shapes not to be lost in the impetuosity of the gesture. This graphic art also plays out as a contrasting song, such as a choir made up of two voices.

Out of the dedication to her theatrical activity performed throughout the 1960’s, she preserves her taste for stage design presentations to which she adds - as though it were in the movies – gigantic and almost parodic foregrounds.

There is a moment in which compulsion, creative ecstasy, encounter organisation before which chaos comes to a stop, but remain nevertheless active, on the border, always on the point of invasion.

After all, exacerbation almost romantic, that denudation, that disclosure of dark interweaving areas but also a keen analytic, penetrating look of an artist who does not make concessions.

Those schematised, pregnant eyes, do they belong to the one who looks at, to the one who is being looked at? They are no doubt the unhesitant unshackling eyes of an artist who observes and takes sides.

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Raúl Santana

Rosemarie Allers: a remarkable metaphor of that which is feminine

Establishing contact with the most recent works of Rosemarie Allers means immediately becoming aware of the extent to which her German origin is present in her figuration: that expressionist trend, that way of conjuring up the world as if it were a sign to be perpetually puzzled out. By means of gesture and matter, Allers’ art of painting , appears as an exceptional way of searching into human nature.

Rosemarie has been unfurling on her canvases an ambiguous and variagated universe where woman, main protagonist, debates with grace, within her varied transfigurations, so as to establish an exceptional metaphor of the feminine being. Her women suddenly possess wings, they are dragonflies, birds or insects who are always performing a secret ritual or some mysterious ceremony. But this apparent taking of feminist sides expressed in Allers’ works, does not respond to a previous conceptualisation, it arises as a potent imagery where world and artist become entwined making of that within and that without a continuous landscape; there, that which is masculine and that which is feminine, are ambiguous signs, not yet elucidated.

In a small text written by the artist, it says: “My painting is born with an image that all of a sudden, excites me emotionally. I treasure this within myself until the time comes to cast it out onto the canvas with urgency, in rapid fulfilment, without pondering. Sometimes risking it all”.

It is enough to observe any of Allers’ works to prove that that urgency is permanently present in them; it is felt in the lack of repose of the images which the artist extricates from herself, images that do not only abide in her but also seem to besiege her. In this sense, Rosemarie allows herself to be carried away by that dynamism that at times leads her visions to the verge of their very disintegration and it is precisely due to this, that she has to resort to drawing the outline of the matter with the stroke of a sudden counterpoint. Those enveloping lines, sometimes true stripes of contention that here and there define the shapes, prevent the set up to succumb in the rushing power and impetus with which the matter was laid on; the outcome is that abstractions, signs and configurations fuse into that spontaneous deed of these works so as to make us participate in the lying in wait, frustrations, fears and joys with which the artist, with the solvency of her gesture, engaging it all, expresses inevitable pleasure.

But these women who always occupy the scene, though in some pictures appear as the female with her carnal attributes, at most times they appear as swift signs of an extreme spirituality. Might it be the version of a woman drawing nigh?

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Fermín Fèvre

Rosemarie Allers’ Bird-Woman

With vitalism and tenacity Rosemarie Allers has developed a pictorial work that possesses identity and originality. Her language is the paint which she uses under a strong gestural casting. There she pours out everything, with a great intensity, entrapped by the dynamic of gesture. Her expressionism is vigorous, vital. There is in her drive an effect of catharsis. Rosemarie leaves in her painting all her contained vitality. It is all there, within those gestural rhythms of her drawing, within that expressive urgency she puts into the colour.

The image she builds with that expressive mechanism quietens down in the figure of the bird-woman that she has been developing throughout time. It is an emblematic figure. If all symbols are a material means to translate into an image something of immaterial nature, these feminine figures of Rosemarie Allers are the manifestation of feminine performance in this instance of Humanity, at the end of the millennium.

Rosemarie’s bird-women play out, not devoid of conflict, their histories, within a fragmented narrative that reaches its peaks of intensity by virtue of expressive employment of colour.

The artist administers her gestural impulses thanks to a constructive sense of image very much incorporated to her creativity. Without impairing her elaborate spontaneity, within each of her works, a solid communicative composition structure.

Due to all this, Rosemarie Allers’ paintings are sustained on the equilibrium placed between intuition and rationality, making of visual expression a full imaginative creation, charged with deliberate intention and from that set of revelations and concealment befitting to art alone.

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.
Edward Shaw

Transformations

Rosemarie Allers is at the height of her transformation. Her strong determination begins to calm down and her painting to free itself from being solely an act of her will. Her voluptuous women now sprout wings. They are no longer birds of prey, they rather come closer to that which is angelic. Her figures are lithe and slender; even their men already broken in, less depraved. Her palette also reflects this modification of the spirit. The colours are less primary and their shades more blended. Rosemarie’s world became more ample; the spirit already shares the scene with the flesh.

The artist comments, “I wish to come to an abstraction within realism”. The process begins with an unconscious disenchantment with the characters that come populating her work. There already exist figures of a certain ethereal nature: one, for example, is called “Extraterrestrial Being”. The process goes through the application of the paint, in which figure other ranges of intensity, of the texture of the surface, more cleverly handled. Rosemarie calls it “an interior wisdom- the necessity to purify colour”. This new way to approach the canvas produces moments of peace, ponds of repose, where the observer discovers new dimensions within Allers’ proposal.

“These are not carnal, true women, but transfigurations of them, but nevertheless, they are women after all”, the Artist explains, “I cannot destroy the women as I destroy the men”, Rosemarie proceeds, talking about painting, of course. If Allers is a feminist, she is so by intuition, because she does not proclaim this doctrine in a loud voice. And if the man she is in the habit of painting is rapacious and rough, the harem that surrounds him seems to be accomplice to the offence, incapable in the same way of inciting to the true delight.

These new figures are yet in the stage of investigation. My favourite is exactly the one called “Extraterrestrial Being”; a spectacular sky dominates this picture, where the stars leap towards the gaze like those that you see on your own from a sailing boat in a moonless night on the high seas. This is one of the few times that the landscape achieves protagonism in a picture by Rosemarie. The winged figure that poses next to the sea is enigmatic; it is a part of the landscape and at the same time no part of it. Allers begins to measure out her voice; to quieten the colours, extend the rhythm of the strokes.

Hurled forth by this same motive that impels life, Allers admits that she paints to transcend, to give meaning to the act of living. The painting process, such as the one of living, could charge the individual with anxiety. In her case, she finds the resolution of the existential knots in her communion with creativity. She does not intellectualise this proceeding, she has no unfounded explanations on her painting nor for her motivation.

The origin of her works is the impulse. It proceeds from a commitment toward its own self, which expresses with the fury of an unleashed passion, a passion that begins with a certain control until it breaks loose into an explosion, where according to her and Fermín Fèvre, “I risk all so as to achieve the transformation I want”. We are at this example of Rosemarie’s works before the first steps of that transformation.

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Carol Pascal

Fuerza Argentinos

¨Rosemarie Allers' frankly sexual and aggressive woman , demanding their due from men, often unseen but whose presence is always near, needed and threatening, reminds one of her German forbears of the Brechtian 1920's and 30´. Her solo shows in Germay, Holland , Italy and Japan, as well as South America signal the strength and universality of her feminist vision..

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Alejandro Haloua

Strange Beings
A Zenithal Look

Where does it come from, which way does it go
Its journeying throbs like a winged breeze or three sharp edged strokes
run across my nights from side to side.
We happen to be here, from where the “Psyche” contemplates the universe. The prophetic worth of Painting has already been proved as in ever so many visual and non visual disciplines.
It is not strange that an artist devoted to “express” should manifest within her epic her surrounding problem of that which not always happens to be within our reach, to capture and thus manifest without knowing, and imply without defying, the new significance of these values she creates.

From that purely plastic, she contends and deduces with the employment of stroke and distributes the matter with force and suavity at the same time. It is a sacred trance, a strife among the different phases of the mind.
The ritual begins, she paints and nothing nor anybody must stop her.

How can this be defined in a simple manner? Maybe this way: “They are able to manipulate our lives, our minds, but not so our souls”.
The inherent value of all the search, whether it be artistic or not, nourishes itself on the mere and simple fact of discovering. And that is what this expressionist painter does. Allers no doubt constructs as from her creatures, a new mythology in which women cohabit, suffer and govern within a spiritual scheme. Bringing this new world out to light. This artist lets a soul language be discerned in which those cohabit harmoniously the use of matter, guided within a figurative line, only just coming into awareness, with a trend towards abstraction. The light and shadows meet millions of times in order to compose in between the lines a trapped dream, imprisoned within the subconscious. The incidence of that which we cannot see but which does surround us or simply of that which we do see and can hardly register.

In this globalized era in which we coexist in an elated manner, with such a large range of new stimulus, the artist seems to return to us the mysticism of a different dimension. So as to deliver a verdict of her epic we could affirm with conviction that Rosemarie is not alone. Rosemarie Allers also communicates with the universe.

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Alejandro Haloua

Rosemarie Allers: woman, stereotype and genre

To craft such genre out of painter genre is wont to disadvantage, clearly, distance is not here present. Nevertheless, Rosemarie treats and here I lay stress on “treats” the course she follows in such an especially singular manner that her manner is apt to take flight from its own artistic object. When a character breaks away from its art work it always poses a new analysis. This metadiscourse allows a work of art to talk of itself as if it were an artist and an artist as a syncretic movement within its own art. “Picnic on the Precipice” is a dream, a terrible dream which envisions a new rol for Allers’ woman. This portrait, invites you to recall “her” developing progress and her not so candid situation. She is participatory, she is aware of her rights and of her plausible fall into the precipice. Although behind the emerging rational fact of this new temporal space, they coexist and fluctuate with the ornamental laws of the past. All this is true as is the body. Some bodies, have not forgotten the stereotyped clues infused upon their genre. It is not illogical that the habit imprinted on its own cells should cause friction as it goes through the new appropriations of growth. Mothers as well as masculine women put up their fight in the treadwheel that sets cycles in motion. The woman as essential genre shall always turn her fauces towards Olympus. And even then she shall continue dreaming, weaving her archetype.

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Alejandro Haloua

Archetypes and Fire…
Someone once said that fire as an ancestral element is the most difficult to manipulate.
In fact, in order to make use of it, we must always keep a judicious distance.
It is not possible to appeal to tangible measures when the gap of a “dock” has become a “pyroplastsic” gullet most akin to expressive paroxysm.
Rosa María’s paint works are an assignment impossible to undertake, lacking in selfproclaiming references.
It so happens that upon crossing the threshold, all that remains to us is the power of the flowing discharge as assimilating the coordinating junction of motion.
And on revising these impressions of magma, we find ourselves before a bezel of archetypical articulating joints. These archetypes are manifested in such a way that we fall into a stocktaking process.
But may we not let it get us confused, these images are only the enlightened remanent of an inviolable safety lock.
May we be grateful too for our world of ideas has been built upon such minute remanent of fire.

Now, in referring to drawing technique, the drawings’ frenzied strokes, in that practiced ability that exceeds the scope of this approach. Be my guests in following the stroke devoid of the stereotyped fallacy..

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Alejandro Haloua

Your Works are Fetishistic…

“Your Works are Fetishistic” (“Es fetichista tu obra”) is the name chosen. Reasons for giving sense to this gesture abound. It is well known that names give play with the disadvantage of subjectivity of he who designates. No one is less adequate for giving unanimous sense to artistic expression than human being itself. We may ask, Why is it so? Simply because that which is unanimous removes itself from multiplicity offered by subconscious play. Admition of the existense of accurate references means depriving ourselves of unconcsious richness. Never mind if in these pictures it is man or woman who appears subdued! Never mind if there appear shrews, crafty men, ominous females or eminently true perverts! The value set by the stroke, shall not precisely designate that of unconciousness which cannot be grasped.
For such reason, what matters is the exploit itself, the movement, that irreverent impression which precisely does not submit us to conclusions. Are not error, doubt or inexperience the best motives of creation? Let us, in this instance, allow archetypes to rest, shall we not attempt to define them by poetical impossibility means.
As has been expressed many times over, shall we take a look at the work, seeing that it does and will speak to us in different languages. Do you like green? 

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Alejandro Haloua

Two Pavilions

Women and Men. Men Women…Women Men…

The Pavilions structurally represent gender within social humankind life.
The patomime of confronted duality, gains value in some of the hypermarkets of matrimonial course. Marital activity usually happens to be the social antidote to the veiled revelation of our individuality. Who shall be he who shall speak to us when the project does not shine upon the carrousel of its glass showcases?
Speech in regard to ontology of gender proves to me, as unembrasable as the definition of sexual friendship, or the commitment exemplified within superfluous and general order of variables. What supports the enormous diversity of relationship does not only have to do with social order, sometimes liaison possesses a symbolic character which detonates within the chemical sphere of unconsious sexuality.
The problem with these two pavilions of life is the visibility offered to their mediators. Analysis and analysts hereof usually play at typifiying mechanisms without being able to fully articulate the insidence of this symbol. May we not blame them, they are human beings and leads within the sphere of a mechanical culture.
Now, what happens when these pavilions hand out their symbolism within the creation of a painting? Shall there exist poets that might clearly reveal the appointment of the game?
The absolute truth in the matter of gender does not exist, genders are infinite but changeable. Substance in transit leaves marks that streak can synthesize. This is where Allers’ paintings enrol. In the brave myth of undertaking that which is unconcious as a definable universe. Colour fluctuates, the strokes engender strokes with resolute past tense panorama.
You resolved it: This is Expressionism; within the order of dead tidal description of plastic art, it is the reference crediting signature . Impressionism has been the stroke of panorama, surrealism investment of bravery, dadaism active negation. Expressionism on the other hand has resolved the signature credit, the graphism that synthesizes and fuses at one time the emotional presence of the individual within the art work. Thus all that remains for me to say is that Allers is credit to her own signature.

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