Fernando Bryce

*1965, lives in Berlin and Lima

Like Perjovschi, Fernando Bryce also focuses his drawings on political events and contexts. This involves media-historical analyses that are directly inscribed into his drawings. Every one of his complexes of works is preceded by extensive research in archives. This is also the case in the context of “Revolución” (2004), that consists of 214 drawings. “Revolución” literally draws a picture of the media history of the revolutions of the 20th century – first and foremost the Cuban Revolution. Here, Bryce operates on the borderlines between reproduction and interpretation, between graphics and installation. “Revolución” is based on photos and photocopies of title pages of various newspapers – particularly the Cuban newspaper “Revolución” – that he painstakingly “copied” in ink. By means of these transfers between the newspaper, photo/photocopy and drawing media, he creates a new texture and narrative. One key factor for the conceptual basis of Bryce’s “mimetic analyses” is the tableau-style hanging of his drawings, with which he both prescribes and opens up multiple interpretations.