1962-08-31 Black Boy Licks Xsomes Ice Lolly, Snakes Girls Boys, … Black Boy Licks Xsome Ice Lolly, 2002 pencil and ink on paper, 29.7 x 42 cm private collection Zurich Group of Single Drawings Black Boy Licks Xsome Ice Lolly, 2002 pencil and ink on paper, 29.7 x 42 cm private collection Zurich Untitled (Shelf: Snakes Girls Boys), 2006 color pencil on paper, 70 x 100 cm collection CMC agnès b., Paris Smoke, 2006 pencil and ink on paper, 29.7 x 42 cm Black Boy Licks Xsome Ice Lolly, 2002 pencil and ink on paper, 29.7 x 42 cm private collection Zurich Untitled (Shelf: Snakes Girls Boys), 2006 color pencil on paper, 70 x 100 cm collection CMC agnès b., Paris shown in: “New Sundays”, Galerie du Jour agnès b., Paris, France (2008) “Robert Estermann. Manor Kunstpreis Luzern 2007”, Museum of Art Lucerne, Switzerland (solo show) “PARA…SIGNS”, Elisabeth Kaufmann, Zurich, Switzerland (2003) 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) Gallery of Contemporary Art, “11th Biennial of Visual Arts VALUES”, exhibition catalogue, ISSN 1451-804X, 2004, Pancevo, pp. 102-103 see also: Scenic Tongical, 2014–2015 Sissy Circus Announcement, 2010 Ausschnitt aus Uneigentliche Politik von Daniel Kurjakovic in: Robert Estermann, Pleasure, Habeas Corpus, Motoricity. The Great Western Possible, ed. Susanne Neubauer, Kunstmuseum Luzern, edition fink, Zurich, 2007, ISBN 978-3-03746-105-1 Black Boy Licks Xsomes Ice Lolly inszeniert eine überraschende Begegnung über an sich getrennte Wirklichkeitsbereiche von sozialem Subjekt und biologischem Code hinweg. Excerpt from Improper Thinking by Daniel Kurjakovic 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 Black Boy Licks Xsomes Ice Lolly stages a surprising encounter, across divided spheres of reality, of social subject and biological code. 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 movement of the drawing, here, really inscribes its own journey. Two diagonals cross, two double lines divide into three similar and superimposed levels on which are written, respectively, the words “Snakes”, “Girls”, “Boys” [Untitled ( Shelf: Snakes Girls Boys ). Absolute realism? Robert Estermann finds a way of undoing – through drawing, thanks to drawing – definitions. It’s contrary to the very definition of drawing, it’s drawing against the grain.