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Ann Course
At first sight, the artwork of Ann Course provides the opponents of contemporary art with all the easy arguments.

Both her drawing skills and animation technique appear far from sophisticated. Her films look crude, simple and always very much the same. Ann Course makes her film works with the most modest means: drawing with a pencil or a pen on A4-paper, shooting with a simple video camera and often editing, rather than really animating. When things do move, it's usually in short cycles. Her filmPrince (1999) actually consists of just one such repeated movement, the very rudimentary whisking of a dog's tail. This approach is a strategy, rather than a system. Ann Course does not operate by a carefully composed set of rules. She is happy to corrupt the coherency of any film or sequence with an image that disrupts the chain of black lines on white paper. This can be a photograph, a collage; even a glimpse of computer animated movement, like the sudden choreography of autumn leaves in Untitled (2004).

Criteria like' original', 'daring', 'innovative' or 'revelatory' do not really apply to this artist's agenda. Authentic, provocative, archetypal and unconditional are already more appropriate terms. The first thing that hits the eye is the pure or downright brutal honesty that emanates from these simple, but very strong configurations. Superficially, the powerful, bold contours she uses to put her figures down on paper resemble the doodles of a bored schoolboy, who vents his boredom and frustrations in an exercise book or on a school desk. Explicit sexual fantasies, mutilation scenes, grotesque faces, ridiculous transformations and the occasional line or two of cryptic text. And sometimes an abstract figure appears from nowhere. The drawings are apparently made without a purpose in mind, certainly not to please, more as an outlet for Ann Course's own feelings of uneasiness and restlessness. And yet something doesn't quite add up. The drawings transcend their explicit brutality. They express compassion just as much as they conjure up violence.

Still from Untitled by Ann Course in collaboration with Paul Clarke, 2004
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