About

In his work, Egon Schrick reflected, among other things, on the process of increasing international interdependence between business, politics, and culture.

In large-scale drawing installations, which he often opened and completed live, he critically examined the consequences for individuals and societies.

Also noteworthy are his works on the German past, such as his performances on the so-called "Spear Axis" in Berlin and the reconstruction of Berlin's inner city planned by the National Socialists.

Egon Schrick is still considered one of Germany's best draftsmen and performance artists.

As a former architect, drawing soon became the basis of his artistic practice, with the suffering of war and persecution and protest against "global madness" becoming the central themes of his work.

Driven by the horrific daily news, he sought to shake the public out of their dull comfort zone and their dull, inactive attitude. He thus addressed topics such as "Bosnia 1993," "Mölln 1992," and "Grenade Strikes in Sarajevo," based on the war diary of a resident of the city.

His works, with their dark poignancy and political explosiveness, were hailed by the press as outstanding. He is "truly an artist who fights with his finger where the fist rules." In one of his actions, he exposed himself before beginning to insert himself into his drawing in the context of "figure and landscape" in front of the partly shocked spectators, who then left the gallery. The reference to the helplessness and insignificance of human beings when horror and arbitrariness prevail was the true message of this act and has timelessly sad validity.

Egon Schrick died in Berlin on April 30, 2015.