The ‘Dürer under you skin: Tattoo art’ exhibition, currently on show at the Albrecht Dürer Museum in Nuremberg, Germany, until 1 September 2024, has the good idea of bringing together the work of the famous 16th-century engraver and the tattoo artists of the 21st century. Their interpretations underline the timeless nature of the work of the genius of the German Renaissance, as well as its inspirational power. As Christine Demele, director of the museum and curator of the exhibition, confirms.
Perhaps we could start with an introduction to Dürer for those who are not familiar with the master?
Albrecht Dürer was the most important Renaissance artist north of the Alps. He lived in Nuremberg from 1471-1528 and created paintings, drawings and prints as well as publishing several books on art theory. Dürer is known as a particularly innovative, technically brilliant artist whose masterly craftsmanship and imaginative visual creations continue to inspire artists all over the world to this day.
How did the idea for this exhibition on Dürer and tattooing come about?
The idea comes from Dr. Thomas Eser, the director of the Nuremberg City Museums and Anna Lisa Schwartz, author of the essay in the catalogue. In the background is the research project duerer.online, funded by the German Research Foundation, which aims to map Dürer's artistic afterlife and the Dürer cult in addition to his complete works.
What was your approach to its conception and what were your intentions?
It was clear at the conception stage that it would be a participatory project and that the Dürer House's social media channels, which had only been set up a year ago, would be an important basis. Because this was the only way to obtain photos of Dürer tattoos from all over the world within a short period of time.
What will visitors discover in the exhibition?
On the ground floor, visitors are first given an insight into the technique and history of tattoos, then there are a few interventions within the permanent exhibition, for example a stand-up display case where an upper body (stomach, back and arms) tattooed with Dürer motifs can be viewed virtually from all sides. As a special highlight, reproductions of Dürer's large-format Adam and Eve paintings are covered with tattoos by Maxime Plescia-Büchi. The main part of the exhibition can be seen on the 3rd floor, where the Graphic Cabinet is located, in which mostly temporary exhibitions of Dürer's original prints can be seen. Here visitors encounter various themed walls and presentation folders (similar to flash books), where printed tattoos and statements by tattoo artists and tattoo wearers are displayed.
How did you go about choosing the artists for this exhibition?
In the beginning, we didn't have a single Dürer tattoo. We then launched a public appeal last autumn and were grateful that we were allowed to use a tattoo based on Dürer's Rhinocerus by LeonKa. We looked for photos of Dürer tattoos, but also asked for the personal stories behind them. Within six weeks, we received over 300 photos. We hadn't expected this success and were overwhelmed by the huge response.
How do you feel about Dürer's works being translated into volumes and proportions that you've never seen before?
I am very impressed by the way tattoo artists transfer Dürer's motifs and compositions into another graphic medium. The two-dimensional template has to be adapted to a three-dimensional, individual body. The tattoo artists often go a step further than Dürer, developing his work further and renewing it with their own artistic style.
Among Dürer's tattooed works, are some more popular than others?
The most popular motiv are Dürer‘s praying hands, which are often tattooed in the traditional style. Among the numerous entries, the majority of the tattoos were in engraving style and dedicated to Dürer's Apocalypse. Other popular motifs were the Rhinocerus, Death and the Landsknecht and the polyhedron from the Melencolia.
What do these appropriations of Dürer's work by tattoo artists have to say? Have they given rise to new thinking and new awareness of the engraver's work?
Yes, we were often told that in the tattoo artists' statements. Many report that they found their own style through Dürer. On the other hand tattoo artists can confidently say that they are helping to bring Dürer's work back to life today.
What do you think the artist would have thought of his work being taken up by the tattoo world?
I think Dürer would be delighted that his work is so alive after 500 years and is being admired all over the world. His dream came true, as this Dürer quote shows: "I believe I am kindling a little flame here. In time, if you all feed with your artistic skill, a fire will be fanned which will light up the whole world." (Draft to the Manual of Painting)
What do we know about his relationship with the body as a visual art object?
As far as his relationship to the human body as an object of visual art is concerned, Dürer spent nearly his whole life dealing with the question of how the human body can be depicted with the correct proportions in graphics and painting. Initially, he was in search of an ideal image, which he wanted to achieve using various methods of consruction. The copperplate engraving Adam and Eve from 1504 (geometrically constructed) and the two painted panel pictures Adam and Eve from 1507 (arithmetically constructed) are an expression of these endeavours. Finally, Dürer worked for around 20 years on his Theory of Proportion, a four-volume work on art theory, which was published shortly after his death in 1528. This is no longer about an ideal image, but rather Dürer presents various body types that stand side by side on an equal footing and attempt to do justice to the diversity of nature.
More broadly, what do you think about tattooing old engravings in the 21st century?
There is a relationship between the historical printmaking techniques that Dürer used and the technique of tattooing, which is also a graphic technique. Dürer's printmaking work was aimed at the widest possible dissemination and it is impressive how successfully Dürer achieved this goal, so that it still reaches people all over the world today and some carry it on their bodies fort he rest of their lives.
It seems to me that this exhibition was also an opportunity for you to go through the process of getting your first tattoo. Can you tell us about it?
I got two small tattoos from Maud and that was like an energy boost for me. I wear them like Hermes' wings and they inspire me: they are two abstract looped lines that Dürer assigned to the two virtues that lead the triumphal chariot for Emperor Maximilian: Sollertia and experientia (skill and experience). Sigmar Polke has cited them already in his “Schleifenbildern” 1986. They will always remind me of this wonderful project, accompany me every step of the way and encourage me for further projects: after all, the 500th anniversary of Dürer’s death is coming up in 2028! My thanks go to Maud Dardeau and all the other tattoo artists and tattooed people who made the project possible and brought it to life. + Albrecht-Dürer-Haus - « Dürer under your skin: Tattoo art » - Until 1 September 2024. https://museen.nuernberg.de/duererhaus
