1964-09-01 Left Hand Corner, Flat Signature, … from left to right: Untitled (Left Hand Corner) 2005 felt pen on paper, 42 x 29.7 cm Flat Signature (Signature without End), 2005 felt pen on paper, 29.7 x 42 cm Crystal (Whiteboard Series), 2004 felt pen on paper, 100 x 142.9 cm collection CMC agnès b. Chart (Whiteboard Series), 2004 felt pen on paper, 100 x 140.5 cm private collection Crystal Lake, 1999 pencil on paper, 75 x 110 cm shown in: “Theorem 4. Aesthtic Agency and the Practices of Autonomy. Part II: Der Prozess / The Trial”, Corner College, Zurich, Switzerland (2017) “New Sundays”, Galerie du Jour agnès b., Paris, France (solo show, 2008) “Robert Estermann. Manor Kunstpreis Luzern 2007”, Museum of Art Lucerne, Switzerland (solo show) “Werkbeiträge Bildende Kunst 2005 Kanton Zürich”, F+F, Zurich, Switzerland (2005) Fiac, with Galerie du Jour agnès b., Paris, France (2002) Art Forum Berlin, with Galerie du Jour agnès b., Berlin, Germany (2002) “Robert Estermann”, Galerie du Jour agnès b., Paris, France (2002, solo show) “drawings”, Jan van Eyck Academie, Maastricht, The Netherlands (2001) “Drawing a Line”, Total Museum of Contemporary Art, Seoul, South Korea (1999) Bibliography: Kunstmuseum Luzern, “Robert Estermann, Pleasure, Habeas Corpus, Motoricity. The Great Western Possible”, exhibition catalogue, Edition Fink, ISBN 978-3-03746-105-1, 2007, Zürich (monographical) “Voici un dessin suisse – Swiss Drawings 1990-2010”, jrp|ringier (publisher), ISBN 978-3-03764-100-2 (english edition), ISBN: 978-3-03764-101-9 (french edition), ISBN: 978-3-03764-102-6 (german edition), 2010, Zurich, pp. 129-132, 248, 252 Excerpt from Robert Estermann, Blue Rider by Elisabeth Lebovici in: Robert Estermann. Pleasure, Habeas Corpus, Motoricity. The Great Western Possible Ed. Susanne Neubauer, Kunstmuseum Luzern, Museum of Art Lucerne, edition fink, Zurich, 2007, ISBN 978-3-03746-105-1 The drawings of Robert Estermann, whether they are strokes, lines or writing, are not so much gestures as journeys: a route across the page; a flattened script running horizontally in a kind of ribbon Flat Signature ( Signature without End ); a left-hand corner decentred towards the middle of the paper Untitled ( Left Hand Corner ); a sketch for a leaning construction (Construction for an Acute Plane), the sequence of three superimposed lines Untitled ( How a Single Horizon Line . . .) Excerpt from Drawing Desire, or How I Feel Much Better Today Than Tomorrow by Adrian Luca in: Robert Estermann. Pleasure, Habeas Corpus, Motoricity. The Great Western Possible Ed. Susanne Neubauer, Kunstmuseum Luzern, Museum of Art Lucerne, edition fink, Zurich, 2007, ISBN 978-3-03746-105-1 Arrivo domani. Happiness is either an announcement, arrivo domani, of its coming tomorrow, or the lingering memory of its visit to us yesterday. The happiness of anticipation is dreamy and aerial, like a wind; the happiness of remembering is reassuring and watery, like the waves on a beach. The happiness in the works of Robert Estermann is of the anticipatory kind, there is a suggestion that something is coming, that something will be happening, perhaps a Left Hand Corner. The sentiment is less that of the event of événement, than the coming of avènement. Like the authors of fairy-tales and romances, the artist succeeds in keeping his audience pregnant with anticipation. By this effect, the artist addresses the child within us, for it is the child who is happiest the day before, in anticipation of what will come; the parent is happiest the day after, in the satisfaction that disaster was averted. In matters of art, everything must look perfect, by unknown rules; such is the sentiment of avènement.