Group Member of National Academy
of Fine Arts.
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
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
This she does with professional incorruptible skill.
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Member of National Academy
of Fine Arts.
Rosemarie Allers. Inevitable,
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 womans
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
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
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,
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 1960s, she preserves her taste
for stage design presentations to which she adds - as
though it were in the movies gigantic and almost
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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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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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 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.
Rosemaries 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
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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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. Rosemaries world became more
ample; the spirit already shares the scene with the
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
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
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
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 Rosemaries works before the first steps of
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¨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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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
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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Rosemarie Allers: woman, stereotype
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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Archetypes and Fire…
Someone once said that fire
as an ancestral element is the most difficult to
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
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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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
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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Women and Men. Men Women…Women
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
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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