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statement / 04 Marc DESGRANDCHAMPS / 06 Uwe KOWSKI / 28 Neo RAUCH / 44 Titus SCHADE / 68 David SCHNELL / 86 Kristina SCHULDT / 104 Ulrike THEUSNER / 120
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M ar c DESG R ANDC H AMP S | Un t i t l e d ( 2 0 2 1 | 7 ) | G o ua c h e o n p ap e r | 4 0 x 3 0 c m | 2 0 2 1
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statement 六 月 在 也 趣 ， 「 A w a lk in th e pa r k 」 歐 洲 藝 術 家 聯 展 將為台灣觀眾帶來一股清涼旋風。本展集結 7 位當代藝 術 先 鋒 ，以 精 簡 洗 鍊 的 創 作 手 法 ，演 繹 人 生 的 奇思謬想， 從引領潮流的德國新萊比錫畫派到法國超現實具象藝 術 ， 邀 請 大 家 輕 鬆 走 入 藝 術 家 嚮 往 且 重 構 的 精 神 世 界， 沉浸平行宇宙感官體驗。 共感時代的詭譎變遷，新萊比錫畫派為首的藝術大師尼 奧 ． 勞 赫 ( N eo R A U CH ， b . 1 960-) 描 繪 社 會 寫 實 主 義 下的人文處境，帶有魔幻超寫實的氛圍，將歷史的多元 面 貌 展 現 在 世 人 面 前 。 烏 威 ． 寇 斯 基 (U w e K O WSKI ， b.1 9 6 3 - ) 以 交 響 樂 般 的 磅 礡 結 構 ， 細 緻 描 繪 人類與環境 的 共 融 縮 影 。大 衛 ．施 奈 爾 (D a vid S CH N E L L ，b .1971-) 以數據加密、數位像素的線條畫面層疊交錯出未來無限 的 城 市 空 間 ， 類 比 世 界 更 迭 異 動 的 狀 態 。 馬 克． 帝 格 朗 尚 ( M ar c D ES G R A N D CH A MPS ， b . 1 960) 以 多元探索的 視角，描繪幾近透明的人物和環境交融，重構心中的宏 景 。 提 圖 斯 ・ 夏 德 (Titus S CH A D E ， b. 1 984-) 將 腦 海 中的城市建築與現實環境互動，組裝重構出嶄新的世界 樣 貌 ， 展 現 獨 特 話 語 權 。 克 里 斯 蒂 娜 ． 舒 特 (Kri s ti n a S C HU L D T 德 國 ， b. 1 982-) 拼 貼 片 段 記 憶 的 碎 片， 融 合 過 往 創 作 畫 面 和 時 尚 雜 誌 的 符 號 語 言， 訴 說 對 女 性 的 身 分 認 同 與 掌 握 世 界 的 宣 言 。 烏 麗 柯 ． 托 斯 納 (Ul ri ke T HEUS N ER ， b .1 9 82-) 創 造 一 個 世 界 劇 場 ， 扮 演 各 類 角 色的人得以剖析內在的晦暗與光明。 藝術家們以顯而易見的繪畫方式帶領大家探索萊比錫畫 派的廣度與深度，並以輕快步伐踏入藝術家們為觀者所 描繪的故事中，重塑心中的宇宙。
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Neo R A UC H | Der Bl i n d e T u r m e r | T hr e e - c ol ou r e d lit h o g r ap h o n h and mad e p a p e r | Ima g e 2 3 x 3 3 c m | S h e e t 2 9 x 3 7 cm | 2019 | ed . 10 / 3 5
“A walk in the park", a group exhibition of European artists, will bring a cool breeze to Taiwanese audiences this June. From the trendsetting New Leipzig School to French Figurative Surrealism, this exhibition brings together seven pioneers of contemporary art to interpret the artists' spiritual reconstruction of the world, inviting you to immerse yourself in a parallel universe of sensory experiences. Sharing the eccentricities of the times, Neo Rauch (b.1960-), the leading artist of the New Leipzig School, depicts the human condition under social realism with a surreal atmosphere. Uwe KOWSKI (b.1963-) is interested in the situation in which the
painted frees itself of the object in favour of colour composition. His works depicts the symbiotic relationship between humans and nature like classical symphony movements. David SCHNELL (b.1971-) as a member of the New Leipzig School, his works features colourful geometric landscapes. By intersecting representational space with bars of colour, playing with viewing perspectives and emerging architectural elements with the natural environment. Marc DESGRANDCHAMPS (b.1960) plays with the notions of opacity and transparency to question the limits of a medium and figuration. Through reconstructing memories, the realism in his paintings is fully compatible with the
representation of fantasy. Titus SCHADE (b.1984-) interacts with the urban architecture and the environment in his mind, reconstructing a new world to presenting a unique discourse. Kristina SCHULDT (b.1982-) makes a statement about female identity and gender expectations by collaging fragments of images from her symbolic works and fashion magazines. Ulrike THEUSNER (b.1982-) creates a world stage where people in various roles are able to dissect the inner darkness and light. We invite you to step into the art of New Leipzig School to French Figurative Surrealism and to reconstruct a new world in this surreal world.
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Marc DESGRANDCHAMPS M arc D ES G R A N D CH A MPS (b. 1 960) 生 於 法 國 朗 什， 畢 業 於 Éc o l e n at i o n a le s upé r ie ur e d e s B e a ux-A r t s (E NSBA)， 現 居 里 昂 。 D ES G R A N D CH A MPS 作 為 法 國 當 代 畫 家 中 最 重 要 的 人 物 之 一 ， 以 獨 特 浪 漫 的 繪 畫 語 言 去 勾 勒 回 憶與虛實。 他將自己視為一個考古學家，將不同形式的影像從過往的生 活 片 段 中 擷 取、 試 圖 重 組 記 憶 和 記 憶 的 背 景 。 在 提 倡 不 具 敘 述性繪畫的表皮底下，透過主體和顏料的穿透性去詮釋時間 所 造 成 的 變 形 ， 並 以 變 形 的 形 式 去 探 究 自 我 的 內心世界。 他 曾 在 不 同 的 國 際 舞 台 中 展 覽 過， 其 中 包 括 巴 黎 市 現 代 藝 術 博 物 館 ( M u s é e d ' A r t Mod e r ne d e la V il l e de P a r i s) (2011)、Musée Baron Martin, Gray (2007)、Kunsthalle Budapest, Budapest (2005)、Muzeul National de Arta al R o man i ei , B uk a r e s t (2005)、 法 國 里 昂 現 代 藝 術 博 物 館 (Mu s ée d 'art c onte m por a in d e L y on) (2004) a nd 巴 黎 龐 畢 度 中 文 ( C en t re G e or g e Pom pid ou) (1 995).
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M arc D ES G R AND C H AM P S | U nt i tl ed ( W V Nr. 2 0 9 0 ) | Oi l on ca nva s | 1 6 2 x 1 3 0 cm | 2 0 1 8 - 2 0 1 9
Marc DESGRANDCHAMPS Marc DESGRANDCHAMPS (b.1960) was born in Sallanches, France, graduated from École nationale supérieure des Beaux-Arts (ENSBA). He lives and works in Lyon, France. DESGRANDCHAMPS is one of the leading figurative painters of the French art scene uses a unique romantic artistic language to depict memory, fantasy, and reality. He sees himself as an archaeologist that collects different form of images from the living experience in the past and tries to reconstruct the memory. He plays with the notions of opacity and transparency to question the limits of a medium and figuration. Through reconstructing memories, the realism in his paintings is fully compatible with the representation of fantasy, and it has become more complex over the years. His works have been displayed in numerous international exhibitions, including Musée d'Art Moderne de la Ville de Paris, Paris (2011), Musée Baron Martin, Gray (2007), in the Kunsthalle Budapest (2005), Muzeul National de Arta al Romaniei, Bukarest (2005), Musée d'art contemporain de Lyon, Lyon (2004) and Centre George Pompidou (1995).
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M arc D ES G R AND C H AM P S | U nt i tl ed ( W V Nr. 2 1 1 6 ) | Oi l on ca nva s | 6 1 x 5 0 cm | 2 0 1 9
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Marc Desgrandchamps MOMENT Galerie EIGEN + ART Berlin 2022
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Marc Desgrandchamps Die blaue Stunde Galerie EIGEN + ART Leipzig 2019
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Marc Desgrandchamps Spuren Galerie EIGEN + ART Leipzig 2016
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photo: Tristan DaGalerie Cunha EIGEN courtesy Galerie EIGEN + ART Leipzig/Berlin photo: Tristan Da Cunha courtesy + ART Leipzig/Berlin
Marc DESGRANDCHAMPS Untitled on xcanvas x 114 cm 2015 Marc DESGRANDCHAMPS Untitled Oil on canvasOil162 114 cm162 2015
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Marc DESGRANDCHAMPS Marc DESGRANDCHAMPS
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COVER STORY
MEDIA COVERAGE 封面故事
COVER STORY 封面故事
馬克．帝格朗尚 Marc Desgrandchamps ： 敘事是貫穿作品的主軸 就像車窗外被玻璃壓得扁扁的人與物 文 / 劉亭君
圖片提供 / 也趣藝廊
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Marc DESGRANDCHAMPS Untitled 46 x 55 cm Oil on canvas 2019 photo: Studio Julien Bouvier
courtesy Galerie EIGEN + ART Leipzig/Berlin
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第一眼看到馬克．帝格朗尚的畫作，心裏或許都會有個疑問，他的作品 不完全的具象，也不完全地抽象，就如同他所有的作品都以〈無題〉命名， 神秘、卻又引人入勝，想要窺探那若有似無的片段，那或許是一段回憶，又 或許是一塊記憶。 馬克．帝格朗尚出生於 1960 年的法國薩朗士，現居里昂，是法國當代 藝術最重要的藝術家之一。作品曾在巴黎現代藝術博物館、北京對畫空間畫 廊、布達佩斯藝術廳、國立羅馬尼亞藝術博物館、里昂現代藝術博物館、龐 畢度中心等法國與世界各知名博物館及畫廊展出。明年 1 月也將在德國萊比 錫的知名畫廊Galerie EIGEN+ART Leipzig/Berlin舉辦個展，並且在2022至
2023年間在法國馬賽的當代美術館，以及位於法國東庇里牛斯省的塞雷現代 藝術博物館雙雙舉辦展覽。 層層疊加色塊，在透明與不透明之間自在穿梭，就像個如魚得水的玩 家，這就是馬克．帝格朗尚。他的作品發想來自多個領域，從藝術史、電 影、照片，再到文學及音樂，試圖挑戰媒介特殊性的需求；他的作品總是在 具象的極限邊緣徘徊，「我畫的是懷疑的畫。對人的懷疑、對物體的懷疑、 對存在的懷疑，甚至是對繪畫本身的懷疑」，我們能試圖從片面的角度看出 藝術家呈獻的人體與景色，卻被扭曲的視角與空間暫緩思考，變得不是那麼 的肯定。馬克．帝格朗尚的畫作看似透過一面窗戶望出去的景色，物體與顏 色之間的交互融合，就像因快速行駛的火車、汽車而模糊了眼前的視線，他 的藝術會讓你在腦中按下慢速鍵，開始細細品味在畫作中靜止的那一瞬間。
人物對馬克．帝格朗尚的重要性 廣闊的田野景色、遠眺的山形變化、靜謐悠閒的海灘，當你看到馬克． 帝格朗尚的畫作，這些景緻總是率先躍入眼簾，而後拉近視線，開始找尋出 現在畫作中的近物細節，可能是殘枝、落葉，可能是意義不明鐵鍊，又或是 某一人家的小房子，這些畫作中似乎都在紀錄著某個人的故事。當你意識到 這些細節時，你會發現他們似乎都被一條線串起來，「生活」，它們似乎都 與人的日常生活有所關聯，一些總是出現在每一天，並且你已不覺得特別， 因此未察覺的事物。 馬克．帝格朗尚曾在 2014 年的採訪中說到『我對人有種迷戀，時常將 女性的身影放進作品裡，而其他作品就算是沒有實際的人物出現，你依舊能 從畫中感受出人物的存在』。他進一步地以海灘的畫作舉例，海灘是自然形 成，而後經由人的規劃以及到訪，成為了現在的海灘景色。「存在，總是從 虛無中誕生」人存在的證據跟隨著一些乍看平凡的物體，一個鐵製垃圾桶、 房子、馬廄，甚至是一個出現在畫中一角的小小路標，亦或是成堆在旁邊的 閒置躺椅。這些在畫中出現的物體本身的存在即代表了人在世界的到訪，儘 管畫作並未對這些物品的來源加以敘述，也看不出有人正在使用，但就像超 現實主義大師—達利的著名〈軟鐘〉，不用說明白，自身便擁有著強烈的存 在感，讓人無法忽視。
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Marc DESGRANDCHAMPS Untitled 200 x 300 cm (each 200 x 150 cm) Oil on canvas, diptych 2012 photo: Uwe Walter, Berlin
courtesy Galerie EIGEN + ART Leipzig/Berlin
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遊走在抽象與具象之間的獨特創作魅力 馬克．帝格朗尚被定義為具象藝術家，但他的藝術又像一個虛無、飄渺又 夢幻的二度空間，當觀者凝視他的作品，會突然發覺自己身處於一個平面的空間 中。然而，畫作中的廣闊的山稜線與海平面，卻又總是讓觀者清楚明白，那裏存 在著一條深層的地平線。他說「矛盾存在於這兩個感受之間，兩個都是現實，卻 也永遠相伴，永遠沒有解答」。平面與立體確確實實地並存於他的畫中，對此馬 克．帝格朗尚說「這也許與我矛盾的內心有關。我對現代主義抽象非常感興趣， 但同時也對具象藝術深深著迷」。雖平面與立體；抽象與具象，我們總是將它們 定義於對立的兩面，但放到馬克．帝格朗尚的作品上，似乎成為一個既衝突，又 相互和諧的產物，他的畫作總是自行散發一種特有的氛圍，當觀者掉入他創造的 空間，就像穿梭到了一個充滿柔和色彩的世界，在那平行時空中，你將會自行降 低呼吸的音量，悄悄地漫步走在沙灘上、草地上，在馬克．帝格朗尚給予的世界 觀，走走、晃晃，並且試圖從中發現些什麼。
以攝影作為靈感 他的畫作可以說是記憶的零碎片段，就像是玻璃破裂後的一小碎片，不完 全真實，還有點虛幻。他擅長在合乎常理的背景前，從自己的一些攝影紀錄，或 是他從電影裡曾看過的片段，將作品添加些許圖像、形狀、以及幻影的元素，這 些元素的出現輕輕地擾亂我們的認知，從而開始感到好奇。 攝影是馬克．帝格朗尚紀錄靈感的工具，他在採訪中說到『我並沒有想成 為一個優秀的攝影師，我所拍攝的照片都是在日常隨手的拍攝，當我看到一個感 興趣的東西，就拿起我的相機拍下來，那是個我紀錄生活，紀錄靈感的方式』。 攝影在他的創作中留下許多痕跡，你可以從他的畫作中，看到許多框架式的構 圖，就像是透過窗戶、玻璃，或是鏡頭看出去的場景，這種穿透的視覺處理，讓 人物與物體都變成平面的，就像他幼年時期，偶然的一次望向窗外，發現行人與 景色「都被玻璃壓得扁扁的」一樣。 而馬克．帝格朗尚畫作中特有的移動既視感，也與相機的延遲曝光拍攝似 乎有些相關聯，對於這一點，馬克．帝格朗尚表示「的確，我的畫有一種時間 延遲的效果在裡頭，這也是常見於攝影的拍攝手法。我稱呼它為『拍攝時間』， 這是一種融合正在進行與不動之事物的結果」。若以攝影解釋，馬克．帝格朗尚 的作品就像移動中的相機，輕按快門，將遠處不動景色與正在移動的本體相互交 合，互相黏著，以至於產生出「靜」與「動」之間的張力。「繪畫與攝影都是紀 錄以及呈現時間流逝的方式，在我的畫作裡，人物模糊的效果代表著時間正在推 進，事情正在發生」，「在行進的車上，窗外的人與物不斷出現，又消失，不停 的循環著。每個人都有自己的故事，但我給你故事，我給你元素，給你想像的空 間，讓你用這些元素自己訴說一段故事」。馬克．帝格朗尚的作品就像童話故詩 書的其中一頁，那一頁可以發展出幾百種的後續故事，你只需要仔細探索畫作的 各個角落，並且大膽地提出可能。「敘事是貫穿我作品的主軸，但絕對不是個有 開頭與結尾的那種故事，我給予故事的元素，但我不給一個解答」。
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Marc DESGRANDCHAMPS Untitled 162 x 114 cm Oil on canvas 2018 photo: Studio Julien Bouvier
courtesy Galerie EIGEN + ART Leipzig/Berlin
Marc DESGRANDCHAMPS Untitled 162 x 97 cm Oil on canvas 2020
photo: Studio Julien Bouvier
courtesy Galerie EIGEN + ART Leipzig/Berlin
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以白色作為陰影 那段童年的記憶，一直留存在他心中。直到他接觸到攝影後，才發現這兩者之間的異曲同工之妙，並且將這種「畫面稍 縱即逝」的手法添加在他的畫作上。在他的畫中可以看到空間尺度扭曲，以及一些不合乎常理的現象。例如在寬廣的背景之 中，總有個不太顯著的建築或是家具等物品加強整幅畫作的重量；大部分出現在畫作的人物都被模糊了特徵，只留下一個人 形的輪廓。這些都在暗示著速度的加快、維持，以及減慢，直至一個慣性的狀態。他聰明地把速度的運動性與透明連接在一 起，你可以看出，縱使他的每幅作品都各自擁有不同的色彩，卻都或多或少蘊含白色的元素在其中。馬克．帝格朗尚以白色 作為陰影，在視覺上體現出透視感，營造人物與物體正在因快速行進的畫面而模糊了自己本身的輪廓。 在他的眾多作品當中，又以海灘為主題的畫作最凸顯此手法，海灘之作可以說是擁有「最動態」與「最靜態」表現的 一幅畫。在海灘畫作中，可以看到白色的色塊圍繞著正中央的女性人物，相較於馬克．帝格朗尚的其他作品，這幅畫使用的 白色更加地飽和，並且也擁有更大的面積，「這是一種重申人物穩固性的方式，為人物創造出獨立的層次。這也是我口中所 謂的孤獨，畫中的女性與她背後的海灘背景並不相容在一起，他們是另一種獨立存在的個體」，「這使得人物開始產生出看 似正在移動的錯覺，但相對應的，在她身後的海灘場境卻是靜止不動的」。馬克．帝格朗尚使用白色作用於區隔遠、近以及 動、靜，而遠處的山巒及海岸線則是使用不那麼飽和的色調，顯現可穿透的視覺作用，讓觀者感受視線鎖定在人物的移動， 使得除了目標以外的人與景色，在眼中相對應的開始模糊⋯。
Marc DESGRANDCHAMPS Untitled 55 x 46 cm Oil on canvas 2019 photo: Studio Julien Bouvier
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courtesy Galerie EIGEN + ART Leipzig/Berlin
Marc DESGRANDCHAMPS Untitled 55 x 46 cm Oil on canvas 2019 photo: Studio Julien Bouvier
courtesy Galerie EIGEN + ART Leipzig/Berlin
Marc DESGRANDCHAMPS Untitled 55 x 46 cm Oil on canvas 2019 photo: Studio Julien Bouvier
courtesy Galerie EIGEN + ART Leipzig/Berlin
Marc DESGRANDCHAMPS 37
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Marc DESGRANDCHAMPS B i o g raphy
24
1965
Bor n i n S a l l a n c he s , F r a n c e
1978-81
Ècol e n a t i on a l e s u pé r i e u r e d e s be a ux - ar t s d e P a r is ( E N S B A )
Li ves an d wor ks in L yon , F r a n c e
S o l o E x h i b i t ion s 2022
M OM ENT , Ga l e r i e EI GEN + AR T Be r l in
2020
Bar ce l on a , Ga l e r i e L e l on g , P a r i s , F r anc e
2019
Jar d i n s obs c u r s , Ga l e r i e L e l on g , P a r is , F r anc e
2019
Die b l a u e S t u n d e , Ga l e r i e EI GEN + A R T L e ip z ig , G e r many
2018
Latona , Ga l e r i e L e l on g , P a r i s , Fr a n c e
2018
Stan d bi l d e r , Ga l e r i e EI GEN + AR T L e ip z ig / B e r lin, G e r ma ny
2018
Pin tu r a , Ga l e r í a P i l a r S e r r a , Ma d r i d , S p a in
2017
M ar c De s g r a n d c ha m ps , Mu s é e d e s Bea ux - A r t s d e Cae n, Cae n, F r a nc e
2016
Sou da i n hi e r , Ga l e r i e L e l on g , P a r i s , F r anc e
2016
Spu r en , Ga l e r i e EI GEN + AR T L e i pzi g , G e r many
2015
Om bre s bl a n c he s , Ga l e r i e Zü r c he r , P a r is , F r anc e
2014
Solit u d e s , EI GEN + AR T Be r l i n , Ge r ma ny
2013
Fon da t i on pou r l ’ a r t c on t e m por a i n Cla ud ine e t J e an- M ar c S a lo mo n, A le x , Fr a nc e
2012
M ar c De s g r a n d c ha m ps , C e n t r e d ’ a r t c o nt e mp o r a in d e la v ille d e F o nt aine , Fr a nc e
2012
Palin d r om e s , EI GEN + AR T L a b, Be r l in, G e r many
2012
Zü r ch e r S t u d i o, N e w Y or k , US A
2011
M ar c De s g r a n d c ha m ps - R e c e n t P a i n t ing , M us é e d ’ A r t M o d e r ne , P a r is , F r anc e
2011
M ar c De s g r a n d c ha m ps - R e c e n t P a i n t ing , D ialo g ue S p a c e G alle r y , P e k ing , Ch ina
2011
M ar c De s g r a n d c ha m ps - R e c e n t P a i n t ing , M o d e r n A r t M us e um o f P ar is , Fr anc e
2011
Le De r n i e r R i v a g e , C a r r é S a i n t e - An n e v o n M o nt p e llie r , F r a nc e
2010
Fr ag m e n t s d 'u n m od e r n i s m e a l é a t oi r e, G ale r ie Zür c h e r , P ar is , F r anc e
2010
La Ter r a s s e e t L e Mi r oi r , At e l i e r Mi c h ae l W o o lw o r t h , P a r is , Fr anc e
2010
Histo i r e s , C on t e m por a r y Ar t C e n t e r o f Ch ât e lle r a ult , F r a nc e
2010
Œu vre s r é c e n t e s , P i c t u r a Ga l l e r y, C es s o n- S é v ig né , F r a nc e
2009
Zü r ch e r S t u d i o, N e w Y or k , US A
2008
Galeri e Zü r c he r , P a r i s , F r a n c e
2007
M ar c De s g r a n d c ha m ps : g ou a c he s 2 0 0 1 - 2 0 0 6 , M us é e B ar o n M ar t in, G r ay , F r a nc e
2007
Un ét a t d e s c hos e s , L e C r e u x d e l 'e n f e r , Th ie r s , F r anc e
2006
Espac e 3 1 5 , C e n t r e Ge or g e s P om pi d o u, P a r is , F r anc e
2005
Galeri e Zü r c he r , P a r i s , F r a n c e
2005
Stan d d e r Di n g e , K u n s t m u s e u m Bon n , G e r many
2004
M u sée d ’ Ar t Mod e r n e e t C on t e m pora in, P r o j e c t R o o m, S t r a s b o ur g , Fr anc e
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2004
M u sée d ’ a r t C on t e m por a i n , L yon , F ranc e
2004
M u sée d e l ’ Abba ye S a i n t e - C r oi x, L e s S ab le s d ’ O lo nne s , F r anc e
2004
Sain t - Ja c qu e s C ha pe l , S a i n t - Ga u d e n s, F r anc e
2004
M OCA, C on t e m por a r y Ar t Mu s e u m of L y o n, F r anc e
2004
On ac hè ve bi e n l e s c he va u x, Mé t r opo lis G a lle r y , L y o n, F r anc e
2002
Fon da t i on C hâ t e a u d e Ja u , C a s e s d e P è ne , F r a nc e
2002
M ar c De s g r a n d c ha m ps - L e s d é l a i s s e me nt s , Ch a r lo t t e M o s e r G a lle r y , G e nf , S w it z e r la nd
Gro u p E x h i bit io n s 2021
Nel blu, d i pi n t o d i bl u , Ga l e r i e C ha n t a l B amb e r g e r , S t r aß b ur g , Fr anc e Th r ou gh t he W i n d ow , F e r n w e h S pa c e , B e ij ing , Ch ina Un g oû t d e va c a n c e s , d e s s a ve u r s d 'é t é, A b b ay e S t A nd r é , Ce nt r e d ' ar t c o nt e mp o r a in, M e x mac , Fr anc e passag e, g a l e r i e j e a n br ol l y, P a r i s , F r anc e r eload ed , Ga l e r i e EI GEN + AR T L e i pzi g
2020
C omme u n pa r f u m d 'a ve n t u r e , m a c - L e mus é e d ' a r t c o nt e mp o r a in d e L y o n Stan d 1 D0 8 , Ga l e r i e EI GEN + AR T Be r lin, G e r ma ny
2019
Nel blu , d i pi n t o d i bl u , Ga l e r i e C ha n t a l B a mb e r g e r , S t r aß b ur g , Fr anc e Th r ou gh t he W i n d ow , F e r n w e h S pa c e , B e ij ing , Ch ina Un g oû t d e va c a n c e s , d e s s a ve u r s d 'é t é, A b b ay e S t A nd r é , Ce nt r e d ' ar t c o nt e mp o r a in, M e x mac , Fr anc e passag e, g a l e r i e j e a n br ol l y, P a r i s , F r anc e r eload ed , Ga l e r i e EI GEN + AR T L e i pzi g C omme u n pa r fu m d 'a v e n t u r e , m a c - L e mus é e d ' ar t c o nt e mp o r a in d e L y o n Stan d 1 D0 8 , Ga l e r i e EI GEN + AR T Be r lin, G e r ma ny Eu r ope C a l l i n g — A C ol l e c t i on of P a i n t i ng s , A k i G alle r y , Taip e i, T a iw a n Pein tu r e & S c u l pt u r e , F r a n c e - R ou m a n i e , T a j an Th e G a lle r y , P a r is , F r anc e
20 18
New H or i zon s of Eu r ope a n P a i n t i n g I I I : Th e A c t io n o f t h e S e ns e s , F r is s ir a s M us e um, M ad r id , S p a in
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C OLLEC T I ON n ° 7 , I N T ER I OR a n d t he c o lle c t o r s , L y o n, F r a nc e / V a g a b o nd a g e , M us é e P a ul- D ini, Villef r a n c he , F r a n c e
20 17
A R T T AI P EI 2 0 1 7 , T a i pe i W or l d T r a d e Ce nt e r I, T a ip e i, T a iw a n
20 16
Ech an g e s , Ga l e r i e Ar t &Es s a i , Un i v e r s it é R e nne s 2 , R e nne s Les Épi s Gi r a r d on , Mol y- S a ba t a , S a blo ns , F r a nc e AKI G a l l e r y, T a i pe i , T a i w a n
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20. Tr i e n n a l e Gr e n c he n 2 0 1 5 , T r i e n n a le G r e nc h e n, G r e nc h e n Passa g e , L a C a pi t a i n e r i e , L yon , F r a n c e Offen , Ga l e r i e EI GEN + AR T Be r l i n , G e r many Wh o’ s a fr a i d of pi c t u r e ( s ) ? 2 – à c e nt mè t r e s d u c e nt r e d u mo nd e , Ce nt r e d ’ A r t Co nt e mp o r a in, Per pig n a n Accr o c ha g e , Ga l e r i e EI GEN + AR T L eip z ig , G e r many R IDA UX / BL I NDS , I n s t i t u t d ’ a r t c o nt e mp o r ain, V ille ur b a nne , F r a nc e Elect i v e s Af f i n i t e s , T a j a n , P a r i s Wh o’ s a fr a i d of pi c t u r e ( s ) ? L e pe i nt r e e t l’ imag e , une lia is o n s c a nd a le us e , A C / R A M us é e d e
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G r en obl e , Gr e n obl e Fan ta s m e d e poé s i e - Di a l og u e e n t r e M a r c D e s g r a nd c h amp s e t G a o X iang , M us é e T o d ay à B e ij ing 20 14
ZUR T OP I A, Ga l e r i e Zü r c he r , Ne w Y ork , U S A Fan tas m e d e poé s i e - Di a l og u e e n t r e M a r c D e s g r a nd c h amp s e t G a o X iang , N ing b o M us e um o f ar t , Jian g su Ar t Mu s e u m , Y u a n xi a oc e n Mu se um o f a r t Kunming , Ch ina „M en sc h w e r d e w e s e n t l i c h“ - g e m a lt is t d e r M e ns c h me h r M e ns c h , KU N S T V E R E IN - F r e und e aktu el l e r K u n s t , Zw i c k a u , Ge r m a n y Visag e s , l a Vi e i l l e C ha r i t é , Ma r s e i l l e, F r anc e
2013
on pape r , Ga l e r i e EI GEN + AR T Be r l i n , G e r many E-m ot i on , c ol l e c t i on Be r n a r d Ma s s i n i , F o nd a t io n M a e g h t , S a int - P aul d e V e nc e , F r a nc e
2012
C en tr e d ’ a r t c on t e m por a i n d e l a vi l le d e Fo nt a ine ( V O G ) , F r anc e Th e 9 t h S ha n g ha i Bi e n n a l e 2 0 1 2 , S hang h ai Co nt e mp o r ar y A r t M us e um, L y o n Cit y P a v ilio n, Ch ina Liebe, T od u n d T e u fe l , c ol l e c t i on J+ C M a ir e t , Kuns t h alle v o n d e r H e y d t , W up p e r t al, G e r ma ny 20th C e n t u r y Ma s t e r s : T he H u m a n F i gur e E x h ib it io n, S t a nd a r d B a nk A r t G alle r y , J o h a nne s b ur g , S o ut h Afr ica
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Uwe KOWSKI Uw e KO W S KI ( b . 1 963) 出 生 在 德 國 萊 比 錫， 畢 業 於 Ho c h s c h u l e f ü r G r a f ik und B uch k uns t L e ip z i g (H G B)， 目 前居住在柏林。 KO WS KI 是 萊 比 錫 畫 派 代 表 人 物 之 一 。 萊 比 錫 畫 派 於 當 代 藝 術的脈絡已經明確，萊比錫藝術學院不只在藝術上有建樹， 在 印 刷 、 攝 影、 等 技 術 應 用 創 作 上 都 對 德 國 藝 術 發 展 具 有 深 遠的影響。 他的畫作風格自然，卻藏不住高度的形式建構；他的作品抽 象， 卻 又 一 腳 跨 越 具 象 形 體 。 KO W S KI 與 眾 不 同 之 處 來 自 於 他 的 理 念 :「 觀 者 對 於 圖 像 被 觸 發 的 事 件 始 終 不 盡 相 同， 正 如大家看到一樣的畫面，然而感受卻不一樣。這種體驗一直 以 來 是 我 最 感 興 趣 ，也 是 探 究 的 初 衷 」。也 因 此其「Seh en」 個 展， 被 德 國 當 地 媒 體 譽 為 2020 年 最 引 人 入 勝 的 展 覽 之 一。 展 出 經 歷 包 括 Mus e um d e r bild e nd e n K ü nste, Lei p zi g (2019)、Kunstsammlung Chemnitz, Chemnitz (2019)、 CAFA Museum, Beijing (2017)、Museum Franz Gertsch, Burgdorf (2013)、Seong-nam Art Center Foundation, S eo u l ( 2 0 1 2 ) 。 他 的 作 品 曾 被 紐 約 大 都 會 美 術館 (M oM A)、 M u s eu m d er b i l d e nd e n K üns te L e ipz ig 所 典 藏。
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Uwe KOWS KI | n . n . | C o l o u r p e n c i l | 2 9 . 7 x 2 1 cm | 2 0 2 1
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Uwe KOWSKI Uwe KOWSKI (b. 1963) is born in Leipzig and studied painting and graphics at the Hochschule für Grafik und Buchkunst Leipzig. currently lives in Berlin. He is one of the representatives of the Leipzig School of Painting. The context of the Leipzig School of Painting in contemporary art has been established. The Leipzig Art not only has achievements in art, but also has a profound influence on the development of German art in printing, photography, and other creative fields. He is a distinctive painter who is interested in the situation in which the painted frees itself of the object in favour of colour composition. His “Sehen” solo exhibition was claimed to be one of the most fascinating exhibitions in 2020 by German local media. Selected exhibition includes Museum der bildenden Künste, Leipzig (2019), Kunstsammlung Chemnitz, Chemnitz (2019), CAFA Museum, Beijing (2017), Museum Franz Gertsch, Burgdorf (2013), Seong-nam Art Center Foundation, Seoul (2012). His works have been collected by the Museum of Modern Art (MOMA) in New York and the Museum of Visual Arts in Leipzig.
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Uwe KOWS KI | Wa ge n | C o l o u r p en c i l | 4 2 x 2 9 . 7 cm | 2 0 2 1
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Uwe Kowski POOL22 Galerie EIGEN+ART Berlin 2022
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Uwe Kowski Stille Galerie EIGEN + ART Leipzig 2020
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MEDIA COVERAGE 2018. 11 | 今藝術
Uwe Kowski / Schl a f / 8 5 x 1 2 5 c m / Oi l on c a n v as / 2 0 1 5
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Uwe Kowski 烏威．寇斯基 以畫作印證生命本質的萊比錫代表人物
萊比錫畫派代表人物 烏 威 ． 寇 斯 基 （ U w e K o w s k i ） 出 生 於 萊比錫，就讀萊比錫視覺藝術學院直到 1998 年。在柏林 圍牆倒下以後，一個獨立嶄新的藝術世界就此誕生於東柏林，特殊的社會氛圍與時代背景造就 了獨樹一幟的藝術風格，萊比錫畫派因此在短時間內便匯集了國際上少見的高度關注，更以極 快的速度普及全球，取得巨大的成功。烏威．寇斯基便是萊比錫畫派當中，極具代表性的人物 之 一。 他 的 作 品 已 經 被 紐 約 現 代 藝 術 博 物 館 （ M o M A ） 、 萊 比 錫 視 覺 藝 術 美 術 館 典 藏 ， 展 覽 更 遍 及德國艾姆登藝術廳、德國萊比錫當代藝術畫廊、德國德特蒙堡。他的風格自然，卻藏不住高 度 的 形 式 建 構 ； 他 的 作 品 抽 象 ， 卻 又 一腳跨越具象形體。
承襲自古典的精細與計畫，並重計算與靈感的平衡 「我不會說自己是個抽象畫畫家。無論任何人——只要被稱為一個好的創作者，那麼他的作品 想必都是有幾分抽象的。」——烏威．寇斯基烏威．寇斯基的畫作注重計算與靈感的平衡。他 利用尺規繪製草圖作為創作基底的審慎程度一如古典畫派，而架構完成以後，他轉而運用大筆 刷筆觸作畫。結合了尺規作圖跟大筆刷筆觸的做法，正構成其畫作的兩大元素：除了精準的用 尺 規 運 作 構 圖 ， 也 適 度 的 給 予 顏 料 自 由於畫布上排佈的空間。 理性分割與注重順序的線性特徵讓人聯想到建築繪圖，長期以來也一直是烏威．寇斯基關鍵的 創 作 特 徵。 在 西 元 2 0 0 0 年 前 後， 他 創 造 了 圖 片 和 繪 畫 修 改 相 互 疊 加 的 創 作 方 式。 這 個 方 式， 可以視為烏威．寇斯基現今作品創作樣貌的濫觴，也成了讓大眾一窺他當前的工作方法的重要 橋樑。 其 實 ，這 樣 的 概 念 成 形 可 以 追 溯 到 烏 威 ．寇斯基擔任看板繪製學徒的那幾年。那個時候的烏威． 寇斯基尚未進入萊比錫視覺藝術學院就讀。而在踏入學校大門以後，萊比錫視覺藝術學院的優 良 傳 統 把 這 樣 的 繪 畫 特 色 琢 磨 的 更 加 精純耀眼。一如這所古老而優秀的學校在
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Uwe KOWSKI B i o g raphy
40
1963
bor n i n L e i pzi g
1984-89
stu d i e d pa i n t i n g a t H oc hs c hu l e f ü r Gr af ik und B uc h k uns t L e ip z ig
l i ves an d wor ks in Be r l i n
S o l o ex h i b i t ion s (selec t io n ) 2022
POOL2 2 , Ga l e r i e EI GEN + AR T Be r l i n
2020
Stille, Ga l e r i e EI GEN + AR T L e i pzi g sehen , K u n s t ha l l e R os t oc k , Ge r m a n y
2019 2018
Albu m , Ga l e r i e EI GEN + AR T Be r l i n , Ge r many R eflect i on , AK I Ga l l e r y, T a i pe i , T a i w a n Beton , Ga l e r i e Bor n Da r s s , Bor n / Da r ß, G e r many
2017
M A TR IX, Ga l e r i e EI GEN + AR T , L e i pzi g , G e r many
2015
tr eiben, Ga l e r i e EI GEN + AR T , Be r l i n , G e r ma ny
2014
d r au ßen , Ga l e r i e Bor n , Ge r m a n y
2012
M ein Z i m m e r , Ga l e r i e EI GEN + AR T , L eip z ig , G e r ma ny
2011
Weiss, S t ä d t i s c he Ga l e r i e T u t t l i n g e n , G e r ma ny Galer ie Bor n , Ge r m a n y
2009
Leipz ig e r Ja hr e s a u s s t e l l u n g , Ga l e r i e f ür Z e it g e nö s s is c h e Kuns t , L e ip z ig , G e r many
2008
Uwe Ko w s k i . Ma l e r e i 2 0 0 5 bi s 2 0 0 7 , Kuns t h alle E md e n, G e r many Galer ie EI GEN + AR T , Be r l i n , Ge r m a n y Sch loss De t m ol d , L i ppi s c he Ge s e l l s c ha f t , G e r ma ny
2007
M ar y B oon e , N e w Y or k , US A
2006
BEBEN, Ga l e r i e EI GEN + AR T , L e i pzi g , G e r many
2005
Gor n ey, Br a vi n + L e e , Ne w Y or k , US A
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Galer ie EI GEN + AR T , Be r l i n , Ge r m a n y
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Galer ie EI GEN + AR T , Be r l i n , Ge r m a n y
2000
K ien bau m , L e i pzi g , Ge r m a n y
1999
Galer ie EI GEN + AR T L e i pzi g , Ge r m a n y
1998
d r y ch a i r s , K u n s t r a u m K u ppe l ha l l e , Dr e s d ne r B a nk , L e ip z ig , G e r ma ny
Gro u p ex h i bit io n s (selec t io n ) 2022 2021
Leipz ig : A Un i ve r s e of I m a g e s . 1 9 0 5 - 2 0 2 2 , M us e um d e r b ild e nd e n Küns t e L e ip z ig AR T & H AL L S - A S e n s e f or Ar t be yond W a lls , S t if t ung R h e inb e c k h a lle n, B e r lin HOM M A GE, 2 7 . Ja hr e s a u s s t e l l u n g , L e i p z ig e r B a umw o lls p inne r e i
2020
Aqu ar el l , Ne u e S ä c hs i s c he Ga l e r i e C hemnit z , G e r many Stan d 1 D0 8 , Ga l e r i e EI GEN + AR T Be r lin, G e r ma ny
2019
Der opt i m i e r t e Me n s c h. Mom e n t e d e r Ind us t r ie k ult ur in d e r b ild e nd e n Kuns t , M us e um
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d er bil d e n d e n K ü n s t e , L e i pzi g A u s Sa c hs e n . Ze i t g e n ös s i s c he Ma l e r e i und G r a f ik a us d e r S ammlung d e r Ostd eut s c he n S pa r k a s s e n s t i ft u n g , K u n s t s ammlung Ch e mnit z , Ch e mnit z , G e r many 20 18
R eflect i on , AK I Ga l l e r y, T a i pe i , T a i w a n M DBK MEET S G2 , Mu s e u m d e r bi l d e n d e n Küns t e L e ip z ig , L e ip z ig A UF PA P I ER 1 0 Ja hr e Ga l e r i e Bor n , Ga le r ie B o r n D a r s s , B o r n/ D ar s s , G e r ma ny
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INTER Y OUT H , Mu s e u m of C hi n a Ac a d e my o f A r t , H ang z h o u, Ch ina D eu tsc hl a n d 8 - P a r a d i g m of Ar t , C on t e mp o r a r y A r t f r o m G e r ma ny , CA F A M us e um, P e k ing , Ch ina
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AKI G a l l e r y, T a i pe i , T a i w a n . . . u n d i m m e r w i e d e r d e r Me n s c h, Mu s eum J ung e Kuns t , F r a nk f ur t ( O d e r ) , G e r ma ny
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Zeitr ei s e . Di e S a m m l u n g v on 1 9 0 4 bi s 2 0 1 4 . Kuns t h a lle E md e n, E md e n, G e r many offen , Ga l e r i e EI GEN + AR T , Be r l i n , Ger ma ny Leipzig 2 0 1 5 . S a m m l u n g H i l d e br a n d , G 2 Kuns t h alle , L e ip z ig , G e r ma ny
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Ad d itio n e n d e r Ge g e n w a r t . Ze i t g e n ös s i s c h e Kuns t aus d e r S ammlung F r a nk H e ns e , Ku n stmu s e u m Boc hu m , Ge r m a n y „M en sc h w e r d e w e s e n t l i c h“ - g e m a l t is t d e r M e ns c h me h r M e ns c h , KUN S TV E R E IN Fr eu n d e a k t u e l l e r K u n s t , Zw i c k a u , Ge r m any Str aig h t f r om Be r l i n : P a i n t i n g s a n d P r int s b y Uw e Ko w s k i a nd J ö r g H e r o ld in c o lla b o r at io n w it h G aler ie EIGEN + AR T L e i pzi g / Be r l i n , R UI Z - H E A L Y A R T, S a n A nt o nio , Te x a s
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Wah lver w a n d s c ha ft e n . Ak t u e l l e Ma l e r e i und Z e ic h nung a us d e m M us e um Fr ie d e r Bu r d a, Mu s e u m Fr a n z Ge r t s c h, Bu r g d or f , G e r many on pape r , Ga l e r i e EI GEN + AR T , Be r l i n , G e r many OHNE T I T EL - a bs t r a k t / k on k r e t / k on s t r uk t iv , Kuns t h a lle d e r S p a r k a s s e L e ip z ig D ie K u n s t s a m m l u n g d e r De u t s c he n Ba n k in L e ip z ig , M us e um d e r b ild e nd e n Küns t e L e ip z ig , G e r many
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Th e Fu t u r e L a s t s For e ve r : C on t e m por a ry p aint ing s f r o m E ur o p e , Int e r alia A r t Co mp any , S e o ul, S o ut h Kor ea G er m an C on t e m por a r y Ar t f r om 1 9 7 2 - 2 0 1 2 , M a in E x h ib it io n H all o f S e o ng - nam A r t C en ter , S e on g - n a m Ar t C e n t e r Fou n d a t i o n, S e o ul, S o ut h Ko r e a
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Galer ie EI GEN + AR T , L e i pzi g , Ge r m a n y D ie Bild e r t u n w a s m i t m i r ..., Ei n bl i c k e in d ie S ammlung Fr ie d e r B ur d a , M us e um Fr ied er Bu r d a , Ba d e n - Ba d e n , Ge r m a n y 2009 6 0 - 4 0 - 2 0 , Mu s e u m d e r bi l d e n d en Küns t e L e ip z ig , G e r many 1 x 10 = 2 0 , d i e 1 6 . L e i pzi g e r Ja hr e s a us s t e llung , J o s e p h - Ko ns um, L e ip z ig , G e r many Stan d pu n k t e I I , K u n s t r a u m P ot s d a m , Ge r ma ny
20 08
Die fü nf ze hn t e L e i pzi g e r Ja hr e s a u s s t e l lung , J o s e p h - Ko ns um, L e ip z ig , G e r ma ny New Le i pzi g S c hool , C obr a Mu s e u m , Ams t e lv e e n, Th e N e t h e r la nd s Som m e r be i EI GEN + AR T , Ga l e r i e EI GE N + A R T , B e r lin , G e r many
20 07
Size Ma t t e r s , H u d s on Va l l e y C e n t e r for Co nt e mp o r ar y A r t , P e e k s k ill, US A
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K u n stha l l e Ma n n he i m , P r oj e k t r a u m , Ge rmany
20 05
25 Jahr e S a m m l u n g De u t s c he Ba n k , De ut s c h e G ug g e nh e im, B e r lin, G e r many Por tr ai t , Ga l e r i e EI GEN + AR T Be r l i n , G e r many
20 04
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Er öffn un g s a u s s t e l l u n g , S a m m l u n g F r i e d e r B ur d a, B ad e n- B ad e n, G e r ma ny
A u s d e u t s c he r S i c ht . Me i s t e r w e r k e a u s d e r S a mmlung D e ut s c h e B ank , S t a at lic h e s Pu schki n Mu s e u m fü r bi l d e n d e K ü n s t e , M o s c o w , R us s ia Feh lfar be n , Ge m ä l d e g a l e r i e N e u e Me i st e r , D r e s d e n, G e r many 20 03
Sommer be i EI GEN + AR T , Ga l e r i e EI G E N + A R T , B e r lin, G e r ma ny
20 02
K u n stfe n s t e r N e u e Me d i e n , K u n s t - W e r k e B e r lin, B e r lin, G e r ma ny
20 01
Er wor be n I I , K u n s t f on d s d e s F r e i s t a a t e s S a c h s e n, D r e s d ne r S c h lo s s , D r e s d e n, G e r ma ny
20 00
Bild we c hs e l , S t ä d t i s c he s Mu s e u m Zw i c k au + Kuns t s a mmlung G e r a , G e r ma ny C on tem por a r y Ge r m a n Ar t / T he L a s t t h ir t y Y e ar s / T h ir t y A r t is t s f r o m G e r ma ny , G oeth e I n s t i t u t , Bom ba y, I n d i a
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Tr an smi s s i on , Es pa c e d e s Ar t s , C ha l on - s ur - S aô ne , F r a nc e
Wo rks i n P u b lic Co llec t io n s C ollect i on of T he Mu s e u m of Mod e r n A r t , N e w Y o r k / T h e J ud it h R o t h s c h ild F o und at io n C on tem por a r y Dr a w i n g s C ol l e c t i on Ku pfer s t i c hk a bi n e t t , Dr e s d e n M u seu m d e r bi l d e n d e n K ü n s t e L e i pzi g Ku n stfo n d s d e s F r e i s t a a t e s S a c hs e n , Dr e s d e n M u seu m f ü r Ju n g e K u n s t , F r a n k f u r t / Od e r D eu tsc he Ba n k C ol l e c t i on M u seu m S a m m l u n g F r i e d e r Bu r d a C ollect i on Es s l P r i va t s t i f t u n g , K l os t e rne ub ur g / V ie nna Ku n sth a l l e Ma n n he i m
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Neo RAUCH Neo R A UC H ( b .1 960) 生 於 德 國 ， 畢 業 於 萊 比 錫 視 覺 藝 術 學 院 ， 可 說 是 「 舊 」 與 「 新 」 萊 比 錫 畫 派 之 間 的 銜 接 橋 樑。 從社會主義現實主義的範例中借用主題和圖像，以多重視角 同 時 傳 達 一 種 無 法 被 複 雜 空 間 阻 隔 的 奇 幻 孤 絕 感 。 而 在 N eo RA UC H 之 後 的 萊 比 錫 畫 派 承 襲 者 ， 大 致 遵 守 著 早 期 具 象 傳 統， 畫 面 不 再 是 深 暗 的 色 調 ， 同 時 也 經 常 融 合 現 代 主 義 的 其 他技法，呈現當代尋求的自身定位。
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Ne o R AU C H | K i n go | S i x- co l o r t u s c he l i t hog ra ph | I m a ge 7 3 . 5 x 5 3 cm | Sheet 8 1 . 5 x 5 9 . 5 cm | 2017 | e d . 2 6 / 3 5
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Neo RAUCH Neo RAUCH (b. 1960) was born in Germany, graduated from Hochschule für Grafik und Buchkunst Leipzig. He is regarded as one of the most important contemporary German painters. His large graphic paintings with a twist of surrealist fantasy become the trademark of the Leipzig-born artist’s style. Under the influences of communist East Germany, RAUCH often juxtaposes figures emerged in Soviet and German social realist traditions with 1950s style advertising and merchandise.
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N e o R AU C H | D a s B l att | F i ve - co l o r t u s c h e l i t h o g ra p h | I m a ge 3 6 . 5 x 2 6 . 5 c m | S h e e t 4 3 x 3 2 c m | 2019 | e d . 15 / 3 5
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Neo Rauch Handlauf Galerie EIGEN + ART Leipzig 2020
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Neo Rauch Die Versenkung Galerie EIGEN + ART Berlin 2016
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MEDIA COVERAGE ht tps: //www. con ce pt u a l f i n e a r t s .c om / c fa / 2 0 1 9 / 0 7 / 0 5 / ne o - r auc h - int e r v ie w / ?p r int = e nab le d
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Neo Rauch, Der Stammbaum, 2017. Oil on paper, 66 1/4 x 81 3/8 inches (168.28 x 206.69 cm). Courtesy the artist, Galerie EIGEN + ART Leipzig/Berlin and David Zwirner © Neo Rauch, VG Bild-Kunst, Bonn / Artists Rights Society (ARS), New York.
One of the most universally admired painters working today, the German artist Neo Rauch is now being celebrated for his drawings—with 170 of them, spanning some 30 years, currently on view at The Drawing Center. Working mostly in a stream of consciousness manner, Rauch lets figures and scenarios develop from his imagination on paper. Somewhat of a witness to the making of his own work, Rauch recently sat down with Conceptual Fine Arts to discuss his process for creating the uncanny drawings in this survey show. What role does drawing play in your art making? I wouldn’t describe myself as a draughtsman because drawing just happens for
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me. I’m a painter and I don’t use drawings for preparing paintings. I let ideas stream through my hand to my brush or my pencil and don’t think about what I do. There’s not much difference between the way I make drawings and how I paint. It’s almost the same. Do you recall when and why you first started drawing images? When I was two years old I drew a woodpecker. I should try to find it and show it now. Do you draw with a subject in mind or does it come from the process of putting pen or pencil to paper? As I said, I let it flow; I let it happen. It develops by itself on the paper. I have no plan when I start. The earliest drawings in the show have a relationship to graphic novel or cartoon imagery. Were you a fan of these forms of illustration when you were growing up? Sure, I’m still a big fan of this kind of drawing. It’ a very important and underestimated way to describe the world and the human condition. Graphic novels and cartoons and comics are definitely underestimated in the art scene. Has your work always been figurative? Yes, but in the late-80s I started some risky enterprises in the direction of abstraction. It was a dangerous path because it brought me close to losing myself—losing the main streams that I could feel deep inside my being, deep inside my mind. It was an important experience to be in a position where I could see myself disappearing from my basics. What rescued me was the experience of seeing Giotto in Assisi in 1990. I travelled to Italy and was overwhelmed by Giotto’s frescoes in Assisi. They were so strict and well organised that they brought me back to figurative painting. (Giotto has influenced another contemporary artist, Nicolas Party. Here the link to our story about this topic) I’ve read that you don’t like the term Social Realism applied to your work, but was realism an influence when you were schooled in Leipzig? Realism, yes, but not Social Realism; even my teachers were no longer influenced by this style. Politics didn’t outweigh aesthetics at the Academy of Fine Arts in Leipzig when I went there. The director of our art school said that he would avoid the influence of the Communist Party on the student. We could develop our intentions in a peaceful atmosphere, where we could concentrate on having a good time.
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Neo Rauch, Falle, 1995. Felt tip pen and crayon on paper, 8 3/8 x 5 5/8 inches (21.27 x 14.29 cm). Courtesy the artist, Galerie EIGEN + ART Leipzig/Berlin and David Zwirner © Neo Rauch, VG Bild-Kunst, Bonn / Artists Rights Society (ARS), New York.
In the catalogue for the Drawing Center show exhibition co-curator Brett Littman mentions that you sometimes draw on a tree stump in your studio, which seems a bit surreal. Has Surrealism also been an influence on your creative output? Yes, when I was 15 or 16 I was deeply touched by the work of Salvador Dalí and René Magritte. Their positions influenced me a lot and led me to attend art school in Leipzig. There was a teacher there who was also influenced my Dalí. It was Arno Rink. For me, there was no other way to come close to this wealth of inspiration than to go to the Academy of Fine Arts in Leipzig. Are you recording your dreams in your work? No, my paintings and drawings don’t mirror my dreams. I’m interested in simulating the mechanisms of dreaming—as if I am dreaming. I have to tune out
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my brain to make sure that I get into a certain stream of the subconscious. Are you a doodler? Yes, many of the works in the show are doodles. Some works are more born by doodling than others. I had no intention of showing many of these works— works that Brett Littman found on the floor of my studio. We have a saying that translates something like “the matting of a piece is what makes it art.” When properly presented, even a shabby piece of paper can look like art. How much of the environment that you inhabit is revealed in your work? The landscapes and certain types of roof shapes and church towers often appear in my work. I’m definitely influenced by the landscape and architecture of my realm. Are there reoccurring scenarios for your characters? There are returning elements—windows and trees. Snakes and dragons reappear in several of the works in this show—especially in the lower part of the finished paintings on paper here. There seems to be something happening at the embankment that’s dangerous or uncanny. Are the characters drawn from historical sources or do they represent life today? I would say both. What I’m doing is about timelessness. I’m trying to avoid being fixed in a certain decade. It’s about a longer distance of time. Is your work metaphysical? I hope it is. The way it appears makes me also wonder if it is. I ask myself, “where did this come from? Who advised me to do it in this way and not in another?” I could describe myself as a medium. Yes, I would go as far as to say I’m a medium, not a brain-guided artist. I’m a painter, not an artist. What does the indescribable represent to you? I would say that painting is responsible for representing indescribable and unexplainable things—things that words can’t fully represent. That’s where painting comes in. What role do your titles play? I would actually prefer to keep them untitled, but it would be a mess for the
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galleries and collectors—even for me because everything needs a name. It’s not always easy to name them, but sometimes a title comes first; there are certain words that make pictures appear. In his catalogue essay Littman also talks about your drawing as being something that you put back into the blender of your mind for further use. Is that why the actions and juxtapositions of objects and characters can sometimes appear puzzling to the viewer? Yes—a long question and a short answer. Things can happen randomly. Sometimes a painting can be developing too strictly and then I have to intrude and throw a bomb into it to disturb things and create new levels of correspondence between the elements.
Neo Rauch, Kringel, 2011. Crayon and pencil on paper, 11 5/8 x 16 1/2 inches (29.53 x 41.91 cm). Courtesy the artist, Galerie EIGEN + ART Leipzig/Berlin and David Zwirner © Neo Rauch, VG Bild-Kunst, Bonn / Artists Rights Society (ARS), New York.
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When you were a professor, what did you tell your students about drawing? About drawing? I guess I didn’t make a difference between painting and drawing. I always told them not to care about the art world, to stay introspective. The German painter Caspar David Friedrich said, “The artist should not only paint what he sees before him, but also what he sees within him. If, however, he sees nothing within him, then he should also omit to paint that which he sees before him.” Many students use photographic imagery for the outside world, but I always tried to encourage them not to do it, not to use this device because it takes them far from their own imagination. It’s better to take the whole adventure, even if it’s uncomfortable, to explore the caves of your mind rather than the caves of strangers. You sometimes mix the media—such as pencil, pen, paint—while you are drawing. Is that a form of unconscious play or is it more intentional mark-making, like adding a color that you’re thinking about in relationship to making a painting? It’s both. Sometimes I use even coffee or tea—whatever is at hand. Other than being on paper, how do your finished or complete drawings differ from your paintings? They are actually quite close. These are paintings; it’s just that they are on paper. The reason that I sometimes use paper is to create change, to have a different surface. The brush slides more elegantly on the surface of paper, without the resistance of the canvas. It’s relaxing, like a vacation from painting on canvas. It works the other way, too. When I’m working on big sheets of paper I start to long for the canvas. It comes in waves. The works on paper are a bit lighter because I use the opportunity to keep some areas of the paper uncovered. It gives a lighter image. Canvas can have that, too, but I don’t like the look of the unpainted canvas. In a 2006 video interview you said, “In my own way I inhale the world around me. It flows into the brush and then reappears, transformed.” Does the world you inhale today smell as sweet and seem as full of potential as it did then? It’s more bittersweet, like the whole life. There’s a certain taste of the limitations of our lifetime, which makes me a little bit angry sometimes and also sad. But hopefully I’m able to turn these emotions into a nice chromaticity. A painting should always be more intelligent than the person who makes it. November 7, 2019
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Neo RAUCH B i o g raphy
60
1960
bor n i n L e i pzi g
l i ves an d wor ks in L e i pzi g
1981-86
stu d ie s pa i n t i n g a t t he H oc hs c hu l e f ür G r af ik und B uc h k uns t L e ip z ig a t P r o f e s s o r R ink
1986-90
M eist e r s c hü l e r ( Ma s t e r S c hol a r ) a t t h e H o c h s c h ule f ür G r af ik und B uc h k uns t L e ip z ig
1993-98
Assist a n t a t t he H oc hs c hu l e fü r Gr a f i k und B uc h k uns t L e ip z ig
2005-09
Pr ofess or s hi p P a i n t i n g / Gr a phi c s a t H o c h s c h ule f ür G r af ik und B uc h k uns t L e ip z ig
2009-14
Hon ora r y P r of e s s or a t t he H oc hs c hu l e f ür G r af ik und B uc h k uns t L e ip z ig
Awa rd s 2019
Eu r opäi s c he r K u l t u r pr e i s T AUR US
2018
Th e Or d e r of Me r i t of t he F e d e r a l R e pub lic o f G e r many
2010
Awar d of t he F ou n d a t i on “ Bi be l u n d Kult ur ” , S t ut t g ar t , G e r many
2005
K u n stpr e i s Fi n k e n w e r d e r , H a m bu r g , Ge r ma ny
2002
Vin cent v a n Gog h Bi - a n n u a l Aw a r d for Co nt e mp o r a r y A r t in E ur o p e , B o nne f ant e nmus e um M aastri c ht , T he N e t he r l a n d s
1997
K u n stpr e i s d e r L e i pzi g e r Vol k s ze i t u n g , L e ip z ig , G e r many
S o l o E x h i b i t ion s 2021
Th e Sig n pos t , Ga l e r i e Da vi d Zw i r n e r , N e w Y o r k , US A Das We hr , L a n d e s m u s e u m S c hl os s H e i de c k s b ur g , R ud o ls t a d t , G e r ma ny Der Bei fa n g , Gu t s ha u s S t e g l i t z, Be r l i n , G e r ma ny
2020
Han d lau f, Ga l e r i e EI GEN + AR T L e i pzi g NEO R A UC H – DAS F OR T W ÄH R EN DE. P a p ie r a r b e it e n 1 9 8 9 - 1 9 9 5 , G r a f ik s t if t ung N e o R a uc h , A s c h e r sleben , Ge r m a n y Neo R a u c h – W e r k e a u s d e r S a m m l u n g H ild e b r and , G 2 Kuns t h alle , L e ip z ig , G e r ma ny
2019
Neo R au c h - W or k s f r om 2 0 0 8 t o 2 0 1 9 , G alle r ie d e g li Uf f iz i, P alaz z o P it t i, It a ly Soli D e o Gl or i a , S c ha f s t a l l Bi s d or f . Ge me ins a m mit R o s a L o y La Tor r e , F on d a zi on e C opol l a , Vi c e n za , It alie n. G e me ins a m mit R o s a L o y Au s d em Bod e n / Fr om t he Fl oor , T he D r a w ing Ce nt e r , N e w Y o r k Pr opag a n d a , Da v i d Zw i r n e r , H on g K on g
2018
Neo R au c h: Au s d e m Bod e n / F r om t he F lo o r , D e s M o ine s A r t Ce nt e r , Io w a Dr om os, Mu s e u m d e F u n d a t i e , Zw ol l e , Th e N e t h e r la nd s
2016
Die Ver s e n k u n g , Ga l e r i e EI GEN + AR T B e r lin R ONDO , Da vi d Zw i r n e r , L on d on
2015
Im Sch l a f d e r W e l t : Ne o R a u c h a u f Böt z o w , B ö t z o w B e r lin Per lm u t t , R os a L oy & N e o R a u c h, K u n s t v e r e in F r e und e A k t ue lle r Kuns t e . V . , Zw ic k au, G e r ma ny
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2014
At th e W e l l , Da vi d Zw i r n e r , N e w Y or k Das grafische Werk – Dritter Teil (The Graphic Work - Part Three), Grafikstiftung Neo Rauch, Ascher s l e be n , Ge r m a n y
2013
Gespen s t e r , Ga l e r i e EI GEN + AR T L e i pz ig Das g r a f i s c he W e r k – P a r t t w o, Gr a f i k s t if t ung N e o R auc h , A s c h e r s le b e n, G e r ma ny
2012
Neo R au c h. Abw ä g u n g , R os a L oy. Gr a vit at io n, Kuns t s ammlung e n Ch e mnit z , G e r many Neo R a u c h – Da s g r a fi s c he W e r k , P a r t O ne , G r af ik s t if t ung N e o R a uc h , A s c h e r s le b e n, G e r ma ny
2011
Neo R au c h u n d R os a L oy. H i n t e r d e n Gä r t e n, M us e um E s s l, Klo s t e r ne ub ur g , A us t r ia Neo R a u c h, Mu s e u m Fr i e d e r Bu r d a , Ba d e n- B a d e n, G e r ma ny Beg leit e r , T he Myt h of R e a l i s m , Na t i on alg a lle r y Za c h e t a , W ar s aw , P o land Heilstät t e n . Da vi d Zw i r n e r , N e w Y or k , US A
2010
Beg leit e r , Mu s e u m d e r bi l d e n d e n K ü n s t e L e ip z ig / P inak o t h e k d e r M o d e r ne , M unic h Palais Be a u ha r n a i s , Ge r m a n Em ba s s y P ar is , Fr anc e
2009
Sch ilfl a n d , Ga l e r i e EI GEN + AR T Be r l i n Pain tin g s a n d P a pe r W or k s , De u t s c he B o t s c h af t L o nd o n, U K
2008
David Zw i r n e r , Ne w Y or k , US A
2007
par a, Me t r opol i t a n Mu s e u m of Ar t , Ne w Y o r k , US A ; M a x E r ns t M us e um, B r üh l Neu e R ol l e n , R u d ol fi n u m , P r a g u e , C ze c h R e p ub lic
2006
Neu e R ol l e n . Bi l d e r 1 9 9 3 bi s he u t e , K uns t mus e um W o lf s b ur g , G e r ma ny Der Zei t r a u m , Ga l e r i e EI GEN + AR T L e ip z ig M u sée d ’ Ar t C on t e m por a i n d e Mon t r e al, Ca nad a
2005
C AC M a l a g a . C e n t r o d e Ar t e C on t e m po r á ne o d e M álag a , S p a in R en eg a t e n , Da v i d Zw i r n e r , N e w Y or k , US A Wor ks 1 9 9 4 - 2 0 0 2 . T he L e i pzi g e r Vol k s z e it ung Co lle c t io n, H o no lulu A c ad e my o f A r t s , US A
2004
Ar beite n a u f P a pi e r 2 0 0 3 - 2 0 0 4 , Al be rt ina , V ie nna , A us t r ia
2003
C u r r en t s , T he S a i n t L ou i s Ar t Mu s e u m , US A
2002
Bon n efa n t e n m u s e u m , Ma a s t r i c ht , T he N e t h e r la nd s Galer ie EI GEN + AR T Be r l i n David Zw i r n e r , N e w Y or k , US A
2001
Neo R au c h. Ze i c hn u n g e n u n d Ge m ä l d e aus d e r S ammlung D e ut s c h e B ank , D e ut s c h e G ug g e nh e im, Berlin; Mannheimer Kunstverein, Mannheim, Germany; Neues Museum Weserburg Bremen, Germany; In ter n a t i on a l C u l t u r e C e n t r e K r a k ow , Po land ; S t ä d t is c h e G a le r ie D e lme nh o r s t , G e r ma ny ; T h e D o ug la s Hyd e G a l l e r y, Du bl i n , I r e l a n d
2000
Galer ie EI GEN + AR T L e i pzi g Randgebiet, Galerie für Zeitgenössische Kunst, Leipzig; Haus der Kunst, Munich; Kunsthalle Zürich, Switz e r l a n d David Zw i r n e r , N e w Y or k , US A
1999
Galer ie EI GEN + AR T Be r l i n
1998
Galer ie d e r S t a d t Ba c k n a n g , Ge r m a n y
1997
ar t awar d of t he L e i pzi g e r Vol k s ze i t u n g 1 9 9 7 , M us e um d e r b ild e nd e n Küns t e L e ip z ig M an över , Ga l e r i e EI GEN + AR T L e i pzi g
1995
62
Galer ie EI GEN + AR T L e i pzi g
Städ tisc he s Mu s e u m As c he r s l e be n , Ge rma ny M ar in e s c hu l e , Ov e r be c k - Ge s e l l s c ha ft L üb e c k , G e r ma ny D r esd n e r Ba n k , L e i pzi g , Ge r m a n y 19 94
Pr ojekt g a l e r i e , K u n s t v e r e i n El s t e r pa r k e . V . , L e ip z ig , G e r ma ny
19 93
Galer ie EI GEN + AR T L e i pzi g G aler ie Al ve n s l e be n , Mu n i c h, Ge r m a n y Imkabin e t t Ga l e r i e , Be r l i n
Gro u p E x h i bit io n s (selec t io n ) 2022
Bild er k os m os L e i pzi g . 1 9 0 5 - 2 0 2 2 , M us e um d e r b ild e nd e n Küns t e , L e ip z ig
2021
Flower s on t he Bor d e r , S P AC E K S e ou l, Ko r e a VOR DE R - MI T T EL - H I NT ER GR UN D. H ar t w ig E b e r s b a c h , S t e f a n G ug g is b e r g , N e o R auc h , Gr afikst i f t u n g Ne o R a u c h, As c he r s l e be n , G e r ma ny 17 Jahr e L i t hog r a phi s c he s At e l i e r L e i p z ig , R aum f ür Kuns t , L e ip z ig , G e r many
2020
Stan d 1 D0 8 , Ga l e r i e EI GEN + AR T Be r l in, G e r ma ny
2019
Gifts f or you , Ga l e r i e EI GEN + AR T Ber lin Now is t he t i m e . 2 5 Ja hr e S a m m l u n g K uns t mus e um W o lf s b ur g , Kuns t mus e um W o lf s b ur g , G e r ma ny Au s Sa c hs e n . Ze i t g e n ös s i s c he Ma l e r e i und G r a f ik a us d e r S ammlung d e r O s t d e ut s c h e n Spar kass e n s t i f t u n g , K u n s t s a m m l u n g C hemnit z , Ch e mnit z , G e r many Poin t o f No R e t u r n . W e n d e u n d Um br u c h in d e r o s t d e ut s c h e n Kuns t , M d b K, L e ip z ig HEIM AT : S e l e c t e d W or k s f r om t he Al e x H a nk Co lle c t io n, G s t aad A ir p o r t DA S K OL L EGI UM, Gr a f i k s t i ft u n g N e o R auc h , A s c h e r s le b e n
2018
No M ore S e c r e t s ! L á s zl ó GER Ő I n t e r n a t io na l A r t Co lle c t io n, A r t M ill, H o r a ž d o v ic e , Cz e c h R e p ub lic R osa L oy & Ne o R a u c h – L ohe n g r i n , V illa S c h ö ning e n, P o t s d a m, G e r many M d bK m e e t s G2 – Ma l e r i e a u s L e i pzi g na c h 2 0 0 0 , M d b K L e ip z ig , G e r many R OSA L OY N EO R AUC H – Di e S t r i c k e rin, G r a f ik s t if t ung N e o R a uc h , A s c h e r s le b e n, G e r ma ny M on ste r u n d Ge i s t e r . Vom Mi t t e l a l t e r b is h e ut e , M us e um Üb e r ling e n, G e r many Zeitg en os s e n . K ü n s t l e r d e r S a m m l u n g H e ns e , Kuns t v e r e in M üns t e r land , Co e s f e ld , G e r ma ny David Zw i r n e r : 2 5 Y e a r s , Da v i d Zw i r n e r , N e w Y o r k
20 17
A r n o Ri n k & N e o R a u c h, Gr a fi k s t i f t u n g A s c h e r s le b e n, A s c h e r s le b e n, G e r ma ny Ou r Tee n a g e Dr e a m s s o ha r d t o be a t , O r t f lo f f , L e ip z ig , G e r many
20 16
Im Käf i g d e r F r e i he i t , K u n s t m u s e u m W o lf s b ur g , W o lf s b ur g Beh old t he Ma n - 1 0 0 Y e a r s , 1 0 0 F a c es , M us e um d e Fund a t ie , Z w o lle , N e t h e r land s Han n o & N e o R a u c h, Gr a fi k s t i f t u n g Ne o R auc h , A s c h e r s le b e n Electiv e Af f i n i t i e s - Ge r m a n Ar t S i n c e t h e L a t e 1 9 6 0 s , A r s e na ls E x h ib it io n H all, R ig a
20 15
G u te K u n s t ? W ol l e n ! , of f e n a u f AEG, N ür nb e r g , G e r many Beg eg nu n g : K a r l Bl os s fe l d t / / Ne o R a u c h , G r af ik s t if t ung N e o R a uc h , A s c h e r s le b e n, G e r ma ny K ü n stle r r ä u m e , S t a a t s g a l e r i e S t u t t g a r t , G e r ma ny Gr u n d , S pa r k a s s e Ge v e l s be r g , Ge r m a n y Deu tsche K u n s t n a c h 1 9 6 0 , Es s l Mu s e u m, V ie nna, A us t r ia
63
Leipzig 2 0 1 5 . S a m m l u n g H i l d e br a n d , G 2 Kuns t h alle , L e ip z ig , G e r ma ny Obsess i on , Ma i s on P a r t i c u l i è r e , Br u s s els , B e lg ium 10 Jah r e S pi n n e r e i , W e r k s c ha u ha l l e S p inne r e i, L e ip z ig , G e r many Les A r c hi v e s d u R ê ve , Al be r t i n a , Vi e n na, A us t r ia Bitter s ü ße Ze i t e n . Ba r oc k u n d Ge g e n w a r t in d e r S a mmlung S Ø R R us c h e O e ld e / B e r lin, Ku n sth a u s S t a d e , Ge r m a n y 20 14
Glan z li c ht e r . Me i s t e r w e r k e ze i t g e n ös s is c h e r G la s ma le r e i im N a umb ur g e r D o m, Nau mbu r g e r Dom , N a u m bu r g , Ge r m a n y 40| 10 - 4 0 Ja hr e S a m m l u n g 1 0 Ja hr e M us e um Fr ie d e r B ur d a, M us e um F r ie d e r B ur d a, Bad en -Ba d e n , Ge r m a n y KUNST .S C H UL E.L EI P ZI G, Mu s e u m d e r b ild e nd e n Küns t e L e ip z ig , G e r ma ny Ku n st un d Al c he m i e – Da s Ge he i m n i s d e r V e r w and lung , S t if t ung M us e um Kuns t p a las t Kult ur z e nt r um Eh r en hof, Dü s s e l d or f , Ge r m a n y
20 13
Wah lver w a n d s c ha ft e n . Ak t u e l l e Ma l e r e i und Z e ic h nung a us d e m M us e um Fr ie d e r B ur d a, M us e um F r anz G er tsch , Bu r g d or f, Ge r m a n y Schön e L a n d s c ha f t / Be d r oht e Na t u r , K u ns t h alle D o minik ane r k ir c h e , O s nab r üc k , G e r many
20 12
Heu te. Ma l e r e i , K u n s t m u s e u m K l os t e r U ns e r L ie b e n F r aue n M a g d e b ur g , G e r ma ny Tr au m w e l t e n - I n t he C ou r t of t he K i n g o f D r e a ms , Kuns t h a lle H G N , D ud e r s t ad t , G e r ma ny Ju wele n i m R he i n g ol d – 1 0 Y e a r s R he ing o ld Co lle c t io n, Kuns t h a lle D üs s e ld o r f , G e r many G g en war t s k u n s t 1 9 4 5 - he u t e , S t ä d e l m us ue m, Fr ank f ur t / M ain, G e r ma ny Nig h tfa l l , N e w T e n d e n c i e s i n F i g u r a t i v e P aint ing , M O D E M Ce nt r e f o r M o d e r n a nd Co nt e mp o r a r y A r t s , D ebr ec e n , H u n g a r y The Stu d i o. W or k s hop a n d Myt h, S t a a t s g a le r ie S t ut t g a r t , G e r many The C ol l e c t i on . Ge r m a n a r t fr om K i e f e r t o H e nning , M us e um B o ij ma ns , R o t t e r d a m, T h e N e t h e r land s M u sée Gr a n e t , Ai x- e n - P r ove n c e , F r a n c e
20 11
Hin ter d e n Gä r t e n m i t R os a L oy, Es s l M us e um Klo s t e r ne ub ur g , A us t r ia 4th M o s c ow Bi e n n a l e of C on t e m por a r y A r t , M o s c o w , R us s ia Kom pass – Ze i c hn u n g e n a u s d e m MoM A N e w Y o r k , M a r t in- G r o p ius - B au, B e r lin A r tists for H a i t i , Da vi d Zw i r n e r , N e w Y o r k Thin g s Ar e Qu e e r . H i g hl i g ht s d e r S a m m lung UniCr e d it , M A R Ta H e r f o r d , G e r ma ny Or d in a r y Ma d n e s s , C a r n e g i e Mu s e u m of A r t , P it t s b ur g h , US A Leben s l i n i e n - S t a t i on e n e i n e r S a m m l u ng , M us e um F r ie d e r B ur d a , B ad e n- B ad e n, G e r ma ny
20 10
Das ver s pr oc he n e L a n d , Al be r t i n u m Dr e s d e n, G e r many G er m an C on t e m por a r y P a i n t i n g , MAS P - M us e u d e A r t e d e S a o P a ulo , S a o P a ulo , B r az il
20 09
Galer ie EI GEN + AR T L e i pzi g Carte Blanche IX: Vor heimischer Kulisse - Kunst in der Sachsen Bank/ Sammlung Landesbank Bad en -W ü r t t e m be r g , Ga l e r i e fü r Ze i t g e nö s s is c h e Kuns t , L e ip z ig , G e r many 1989, Ende der Geschichte oder Beginn der Zukunft?, Villa Schöningen, Potsdam/ Kunsthalle Wien, Vien n a , Au s t r i a C om pass i n H a n d : S e l e c t i on s f r om t he J ud it h R o t h s c h ild Fo und a t io n Co nt e mp o r a r y D r aw ing s Co lle c tion , M u s e u m of Mod e r n Ar t Ne w Y or k , U S A 60-40- 2 0 , Mu s e u m d e r bi l d e n d e n K ü n s t e L e ip z ig , G e r many
64
2008
Th ir d Gu a n g zhou T r i a n n i a l , Gu a n g d on g M us e um o f A r t , G ua ng z h o u, Ch ina M ax Er n s t . Dr e a m a n d R e vol u t i on , Mod e r na M us e e t , S t o c k h o lm, S w e d e n Sommer be i EI GEN + AR T , Ga l e r i e EI G E N + A R T B e r lin Ver tr au t e s T e r r a i n . Ak t u e l l e K u n s t i n & üb e r D e ut s c h land , Z KM Kar ls r uh e , G e r ma ny Livin g L a n d s c a pe s . A Jou r n e y t hr ou g h G e r man A r t , N a t io na l A r t M us e um o f Ch ina, P e k ing / B e ij ing , C hin a K opf ode r Za hl . L e i pzi g e r Ge s i c ht e r u n d G e s c h ic h t e n 1 8 5 8 - 2 0 0 8 , M us e um d e r bild en de n K ü n s t e L e i pzi g , Ge r m a n y Th e Gal l e r y, Da v i d Zw i r n e r , N e w Y or k Th e Lei pzi g P he n om e n a , Mu c s a r n ok K u n s t h a lle B ud ap e s t , H ung ar y
2007
Size Ma t t e r s : XXL – R e c e n t L a r g e - S c a le P aint ing s , H ud s o n V alle y Ce nt e r f o r Co nt e mp o r ar y A r t , Peekski l l , US A Passion f or Ar t . 3 5 Ja hr e S a m m l u n g Es s l, E s s l M us e um, Klo s t e r ne ub ur g , A us t r ia Th e Pr e s e n t - Ac qu i s i t i on Mon i qu e Za jf e n, S t e d e lij k M us e um A ms t e r d am, T h e N e t h e r land s Flu r stü c k e N r . 2 , S a m m l u n g d e r S a c hs en L B , G ale r ie f ür Z e it g e nö s s is c h e Kuns t L e ip z ig , G e r many
2006
Lan d sc ha f t , Ga l e r i e EI GEN + AR T Be r l in Der er st e Bl i c k . Di e S a m m l u n g GAGA, N e ue s M us ue m W e ima r , G e r ma ny Eye on Eu r ope : P r i n t s , Book s & Mu l t i ple s / 1 9 6 0 t o N o w , M us e um o f M o d e r n A r t , N e w Y o r k , U S A Tokyo Bl os s om s . De u t s c he Ba n k C ol l e c t io n M e e t s Z a h a H a d id , H a r a M us e um o f C on tempor a r y Ar t , T ok yo, Ja pa n M ad e in L e i pzi g . Bi l d e r a u s e i n e r S t a d t , E s s l M us e um, Klo s t e r ne ub ur g , A us t r ia Fu ll Ho u s e . Ge s i c ht e r e i n e r S a m m l u n g , Kuns t h a lle M a nnh e im, G e r many After Cé za n n e , T he Mu s e u m of C on t e m p o r a r y A r t , L o s A ng e le s , US A M än n erbi l d e r 1 9 4 5 - 2 0 0 5 , Mu s e u m Ju n g e Kuns t , F r a nk f ur t / O d e r , G e r ma ny Back to F i g u r e - C on t m e por a r y P a i n t i n g , Kuns t h alle d e r H y p o - Kult ur s t if t ung , M unic h , G e r ma ny C old H e a r t s . Ar t i s t s fr om L e i pzi g , Ar a rio B e ij ing / P e k ing , Ch ina
2005
Por tr ait , Ga l e r i e EI GEN + AR T Be r l i n Gen er at i on X. Ju n g e K u n s t a u s d e r S a m mlung , Kuns t mus e um W o lf s b ur g , G e r ma ny C ar n eg i e I n t e r n a t i on a l Ac qu i s i t i on s , C a r ne g ie M us e um o f A r t , P it t s b ur g h , US A Nu r hie r ?, Au s s t e l l u n g s zyk l u s zu m 2 5 - j ä h r ig e n J ub ilä um d e r G a le r ie d e r H o c h s c h ule f ür Gr afik u n d Bu c hk u n s t L e i pzi g , Ge r m a n y Geg en wä r t i g : Ge s c hi c ht e n e r zä hl e r , K u n st h alle H amb ur g , G e r ma ny On Pape r I I I , C a r n e g i e Mu s e u m of Ar t , P it t s b ur g h , US A C on tempor a r y Voi c e s : W or k s f r om t he U B S A r t Co lle c t io n, M us e um o f M o d e r n A r t , N e w Y o r k , U S A Ear ly W or k by Ga l l e r y Ar t i s t s , Da vi d Z w ir ne r , N e w Y o r k Life Af t e r De a t h: Ne w P a i n t i n g s f r om t h e R ub e ll F a mily Co lle c t io n, M A S S M o CA ,
2004
Au s d eu t s c he r S i c ht , Me i s t e r w e r k e a u s d e r S ammlung D e ut s c h e B ank , S t a at lic h e s P us c h k in- M us e um f ü r bilde n d e K ü n s t e , Mos c ow , R u s s i a Not A fr a i d , R u be l l F a m i l y C ol l e c t i on , M iami, US A Tr easu re I s l a n d , K u n s t m u s e u m W ol f s bur g , G e r ma ny Nor th er n L i g ht . L e i pzi g i n Mi a m i , R u bell F a mily Co lle c t io n, M ia mi, US A Fabu lism , Jos l yn Ar t Mu s u e m , Om a ha , U S A
65
In ter n a t i on a l , C a r n e g i e Mu s u e m , P i t t s b ur g h , U S A The Joy of My Dr e a m . I n t e r n a t i on a l Bie nnale f o r Co nt e mp o r a r y A r t , S e v illa , S p a in 20 03
Sommer be i EI GEN + AR T , Ga l e r i e EI G E N + A R T B e r lin Berlin-Moskau. Moskau-Berlin 1950-2000, Martin Gropius-Bau, Berlin; Staatliche Tretjakow Galerie M oskau, R u s s i a For the R e c or d : Dr a w i n g C on t e m por a r y L if e , V a nc o uv e r A r t G alle r y , Ca nad a © EUR O P E EXI S T S , Ma c e d on i a n Mu s e u m o f Co nt e mp o r ar y A r t , T h e s s a lo nik i, G r e e c e OUTLO OK , I n t e r n a t i on a l Ar t Exhi bi t i on A t h e ns , G r e e c e
20 02
M ar e B a l t i c u m – 1 0 0 0 Ja hr e Myt hos , G e s c h ic h t e und Kuns t , N a t io na lmus e e t , C open h a g e n , De n m a r k Eig h t P r opos i t i on s i n C on t e m por a r y Dr aw ing , M us e um o f M o d e r n A r t , N e w Y o r k , US A C h er Pe i n t r e , pe i n s - m oi / L i e be r Ma l e r , male mir / D e a r P a int e r , P a int M e , Ce nt r e G e o r g e s Pom pidou , P a r i s , F r a n c e ; K u n s t ha l l e W ie n, A us t r ia; S c h ir n Kuns t h alle , Fr a nk f ur t / M ain, G e r ma ny Som m e r be i EI GEN + AR T , Ga l e r i e EI GE N + A R T L e ip z ig
20 01
I Love N Y Be n e fi t , Da v i d Zw i r n e r , N e w Y o r k The M y s t e r y of P a i n t i n g , S a m m l u n g Go e t z , M unic h , G e r ma ny C on tem por a r y Ge r m a n Ar t . T he L a s t t hir t y Y e ar s . Th ir t y A r t is t s f r o m G e r many , Kar n atak a C hi t r a k a l a P a r i s ha t h Ar t C om p le x , B ang a lo r e ; N a t io na l G alle r y o f M o d e r n A r t , N e w D e h li, In d ia Plateau of Ma n k i n d . L a Bi e n n a l e d i Ve ne z ia , It aly
20 00
C on tempor a r y Ar t fr om Ge r m a n y, N a t i o na l G a lle r y o f M o d e r n A r t , M umb a i, Ind ie n; B ir la A c a d e my o f A r t & Cu l t u r e , C a l c u t t a , I n d i a A fter t he W a l l , H a m bu r g e r Ba hn hof , Ber lin Salon , T he De l fi n a S t u d i o T r u s t , L on d o n, UK
19 99
Dr awin g a n d P a i n t i n g , Ga l e r i e EI GEN + A R T B e r lin The Go l d e n Ag e , I C A I n s t i t u t e ofC on t emp o r a r y A r t s , L o nd o n, UK M aler e i , I NI T K u n s t ha l l e Be r l i n
19 98
Tr an smi s s i on , Es pa c e d e s Ar t s , C ha l on - s ur - S aô ne , F r a nc e D ie M ac ht d e s Al t e r s – S t r a t e g i e n d er M e is t e r s c h a f t , D e ut s c h e s H is t o r is c h e s M us e um B e r lin; Kuns t mu seu m Bon n , Ge r m a n y
19 97
Need for S pe e d , Gr a ze r K u n s t v e r e i n , Au s t r ia Vitale Mod u l e , K u n s t ha u s Dr e s d e n ; S t äd t is c h e G a le r ie e . o . p la ue n, P laue n, G e r many
19 96
Der Bli c k i n s 2 1 s t e , K u n s t ve r e i n Dü s s eld o r f , G e r many C on tem por a r y Ar t a t De u t s c he Ba n k , L o nd o n, UK
19 95
Ech oes, Goe t he H ou s e , Ne w Y or k , US A
19 94
1. Säch s i s c he K u n s t a u s s t e l l u n g , Dr e s d e n
19 93
OBSESS I ON, L e i pzi g e r Ja hr e s a u s s t e l l u n g L e ip z ig , G e r ma ny Kü n stler t r ä u m e n Be r l i n , Ma r t s a l l , Be r l in D r esd n e r Ba n k , F r a n k f u r t / Ma i n , Ge r m a n y
66
Wo rks i n P u b lic Co llec t io n s Bu n d es s a m m l u n g ze i t g e n ös s i s c he r K u n s t Bon n Ca r n e g i e Mu s e u m of Ar t Pittsbu r g h C ol l e c t i on De n v e r Ar t Mu s e um Collection of The Museum of Modern Art, New York / The Judith Rothschild Foundation Contemporary D r awing s C ol l e c t i on Fr ied r ic h C hr i s t i a n F l i c k C ol l e c t i on , Zur ic h / B e r lin G aler ie f ü r Ze i t g e n ös s i s c he K u n s t , L e i p z ig Ku n sth a l l e zu K i e l Ku n stmu s e u m W ol fs bu r g Ku n stsa m m l u n g De u t s c he r Bu n d e s t a g Ku n stsa m m l u n g S a c hs e n L B Ku n stsa m m l u n g e n C he m n i t z Lin d ena u - Mu s e u m Al t e n bu r g L u d w i g F o r um f ür Int e r nat io na le Kuns t , A a c h e n M u seu m d e r bi l d e n d e n K ü n s t e L e i pzi g M u seu m of C on t e m por a r y Ar t , L os An g ele s M oM A, N e w Y or k C i t y Sammlu n g d e r L a n d e s ba n k H e s s e n - T hür ing e n S a mmlung D e ut s c h e B ank Solomo n R . Gu g g e n he i m Mu s e u m , N e w Y o r k The R u be l l Fa m i l y C ol l e c t i on UBS A r t C ol l e c t i on Sted elj i k Mu s e u m , Am s t e r d a m Ku n sth a l l e H a m bu r g Sammlu n g Goe t z, Mu n i c h
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Titus SCHADE T i t u s S c h ad e ( b . 1984) 出 生 於 萊 比 錫 ， 畢 業 於 萊 比 錫 視 覺 藝 術 學 院 ， 師 承 N eo R au c h ， 以 籠 罩 在 黑 暗 中 的戲劇場景和建築模型為創作風格，他藉由重組記憶 和城市風景的碎片創建嶄新的世界觀，通往奇幻又真 實的實驗空間。
Titus SCHADE (b. 1984) was born in Leipzig and graduated from Hochschule für Grafik und Buchkunst Leipzig. SCHADE is a student of Neo RAUCH based in Leipzig, where the city landscape embedded in his pieces surrounded in the dark scenery. He recreates the worldview to make audience discover the real but experiential space.
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Titu s SC H ADE | F e l s e n m ü hl e I m S pä t he r b s t | O il and ac r y lic o n c a nv as | 3 0 x 3 0 c m | 2 0 2 1
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Titus Schade Umland Galerie EIGEN + ART Berlin 2021
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Titus Schade ALTSTADT Galerie EIGEN + ART Leipzig 2019
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MEDIA COVERAGE ht tps: //www. md r . d e / k u l t u r / a u s s t e l l u n g e n / t i t u s - s c ha d e - male r - le ip z ig - 1 0 0 . h t ml
Die Landschaften in den Bilder von Titus Schade wirken surreal aber auch tröstlich. Bildrechte: Galerie EIGEN + ART Berlin / Foto: Uwe Walter, Berlin 74
PORTRÄT
Neue Leipziger Schule: Titus Schades düstere BildweltenVORLESEN von Meinhard Michael, MDR KULTUR Stand: 04. Dezember 2021, 04:00 Uhr
Bildrechte: MITTELDEUTSCHER RUNDFUNK
Menschenleere unheimliche Straßen – in den Wochen und Monaten der Corona-Lockdowns haben die Bilder des Leipziger Malers Titus Schade ganz unerwartete Bedeutung bekommen. Die jüngsten Gemälde sind gerade in einer Ausstellung in Berlin zu sehen. Doch in Leipzig schafft der Künstler bereits seit Jahren düstere Welten – die auch nach der Corona-Pandemie noch etwas erzählen sollen. Ein Atelierbesuch.
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Der Hype ist nur noch Legende auf der Spinnerei. Doch die Sonne scheint weiter für einige Malerinnen und Maler der sogenannten Neuen Leipziger Schule. Mit acht Einzelausstellungen in fünf Jahren hat der 37-jährige Titus Schade einen Karriere-Blitzstart hingelegt. Als Sohn einer Fotografin und eines Malers, studierte er wie sein Vater an der Leipziger Hochschule für Grafik und Buchkunst (HGB).
Der Leipziger Maler Titus Schade in seinem Atelier Bildrechte: Foto: Enrico Meyer
"Die haben es nicht verhindert, aber auch nicht forciert", erinnert sich Schade. Es gebe Geschichten, dass er als dreijähriges Kind auf dem Fußboden der HGB rumgekrochen sei und schon die Terpentindämpfe inhaliert habe. "Ich bin ja gewissermaßen auch mit den Bildern aufgewachsen: wenn man an Alte Leipziger Schule denkt, an menschenleere Szenerien – das hat mich in der Kindheit geprägt."
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Wenn ich Filmemacher wäre, wäre ich nicht für die Vorabendunterhaltungssendung zuständig, sondern fürs Spätprogramm. -Titus Schade, Maler
Titus Schade spürt den heilen Welten auch in Fließenmalereien nach. Bildrechte: Galerie EIGEN + ART Leipzig/Berlin / Foto: Uwe Walter, Berlin
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Surreale Bildwelten Die Gestirne sind durcheinander geraten in seinen Bildern. Der Maler kombiniert irritierende Details zu surreal verfremdeten Alltagsorten. Die feine harmonische Malerei weckt Vertrauen, doch die Welt, die gezeigt wird, lässt etwas frösteln. "Das, was vielleicht vom Betrachter als bedrohlich wahrgenommen wird, ist vielleicht das, was in mir liegt", überlegt der Künstler. "Ich glaube auch, wenn ich Filmemacher wäre, wäre ich nicht für die Vorabendunterhaltungssendung zuständig, sondern fürs Spätprogramm."
Titus Schade sagt, dass es ihm lieber sei, wenn ein düsteres Grundrauschen in den Bildern ist, "vielleicht eine innere Seelentemperatur". Die neue Schau läuft am Berliner Standort seiner Galerie Eigen + Art. In seinen Bildern spielt Schade mit Schornsteinen als blanken Strichen und mit der Faszination, wie das Auge sich gern verführen und narren lässt von den zweidimensionalen Tricks.
Bühnenbild in Leipziger Inszenierung Überall – sehr deutlich als Modell auf dem Tisch – baut er die Information ein, dass wir es nur mit der Simulation von Welt zu tun haben: "Das sind Bühnenbilder, die dem Betrachter die Möglichkeit geben, eine Handlung abspielen zu lassen. Für mich ist Malerei unterm Strich eine Inszenierung: innerhalb dieser vier Seiten Leinwand, wo man die Dinge hin und her rückt."
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"Die drei Windmühlen" von Titus Schade. Bildrechte: Galerie EIGEN + ART Leipzig/Berlin / Foto: Uwe Walter, Berlin
Eines seiner Bilder diente tatsächlich als Bühnenbild – in Enrico Lübbes Insznierung von Elfriede Jelineks "Wolken.Heim" am Leipziger Schauspiel aus dem Jahr 2017. Seitdem hat der Maler seine Bildlichkeit weiter überdehnt – zu einer Art manchmal koketter Bedrohung. Und er abstrahiert mit Signets der Versatzstücke, die er gleichwohl wie ein Romantiker auf 'realen' Gipfeln präsentiert. "Ich bin ja auch ein Kind der Videospielwelten oder eben Architektursimulationen, Architekturmodelle, dreidimensionales autoCAD rendering", erklärt Schade. "Das fließt alles mit ein. Aber letztendlich entstehen die Bilder direkt auf der Leinwand."
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Bilder vom Corona-Lockdown? Wie andere Leipziger Künstler will Titus Schade sich nicht als konservativer Schön- oder Schwarzmaler – oder schlimmeres – titulieren lassen. Er lässt alle Interpretationen zu. Aber er beharrt auch darauf, dass diese Bildwelt zunächst seine ganz private ist – und keine Gesellschaftsdiagnose: "Es handelt sich bei meinen Bildern auch um eine Parallelwelt, um einen Privatkosmos, eine in sich geschlossene Welt. Deshalb wiederholen sich auch die Versatzstücke, um eben auch diese Geschlossenheit vielleicht zu zeigen."
Blick in die Ausstellung der Galerie Eigen + Art. Bildrechte: Galerie EIGEN + ART Berlin / Foto: Uwe Walter, Berlin
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Bilder, die auch in 100 Jahren nich interessant sind Freilich: der Maler ist nicht aus der Welt – man darf die harmonisch organisierten Bilder als Sehnsucht nach Stabilität und Schönheit verstehen – einer Sehnsucht, die allerdings ein paar Störungen auszuhalten hat. Es ist also kein Wunder, dass die Bilder von Titus Schade in den letzten zwei Jahren auch als sehr aktuell gelesen wurden. "Natürlich waren die Bilder in der Zeit des Corona-Lockdowns prädestiniert dafür", erzählt der Leipziger Maler, "wie die Leute sich zurückziehen in ihre Behausungen und die Straßen wie leergefegt sind. Aber es soll etwas sein, was auch in 100 Jahren noch für jemanden interessant ist, oder das sich durch seine Losgelöstheit dem entzieht." Dass Gewissheiten schwinden, lässt sich auch aus Titus Schades Malerei entnehmen. Vor allem aber wir sichtbar, dass es möglich ist, ohne die dunklen Seiten zu verleugnen, diese Welt dennoch stabil und irgendwie doch schön ins Bild zu setzen – und das trotz der Unkenrufe des Kunstbetriebs sogar als Malerei.
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Titus SCHADE B i o g raphy
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1984
bor n i n L e i pzi g
l i ves an d wor ks in L e i pzi g , Ge r m a n y
2004-09
Stu d i e d P a i n t i n g a n d Gr a phi c s a t t he A c a d e my o f F ine A r t s L e ip z ig
2009
Dipl om a e a r n e d u n d e r P r of. Ne o R a uc h
2011-13
M ast e r c l a s s s t u d e n t u n d e r P r of. Neo R auc h
S o l o ex h i b i t ion s (selec ted ) 2022
Du r chg a n g , K u n s t ve r e i n Au g s bu r g , Ge r ma ny 2021 Um l a n d , Ga l e r i e EI GEN + AR T Be r lin, G e r ma ny
2019
WER KST ADT , Ga l e r i e d e r S t a d t Ba c k n a ng , G e r many ALTSTA DT , Ga l e r i e EI GEN + AR T L e i pz ig , G e r ma ny
2018
PLATEAU, Mu s e u m d e r bi l d e n d e n K ü n s t e L e ip z ig , G e r ma ny TA K E F I VE, Ga l e r i e EI GEN + AR T Be r l in, G e r many
2017
Fach wer k , Ju n g e K u n s t W ol f s bu r g e .V., W o lf s b ur g , G e r ma ny TETR IS , Ga l e r i e EI GEN + AR T Be r l i n , G e r ma ny NEW POS I T I ONS , F ör d e r k oj e Ar t C ol og ne , G e r ma ny
2015
Die Ka l t e S t a d t – R a d i e r u n g e n N e u n , V lad o & M a r ia O nd r e j – A t e lie r f ür R a d ie r ung , L e ip z ig , Ger many
2013
Sch warze s L i c ht , K u n s t r a u m Or t l off, L eip z ig , G e r many
2011
Als d ie Uhr e n s t i l l s t a n d e n , Ga l e r i e L e u e nr o t h , F r ank f ur t am M a in, G e r ma ny
2010
In ven tur , Ga l e r i e L e u e n r ot h, F r a n k fu r t a m M a in, G e r ma ny No M ore S ha l l W e P a r t ( w i t h Ma l t e Ma s e mann) , Kuns t r aum O r t lo f f , L e ip z ig , G e r many
2009
Titu s Sc ha d e - H ol zs c hn i t t e , I n t e r n a t i o na le r P r o j e k t r a um f ür D r uc k g r af ik , H o c h s c h ule f ür Gr afik u n d Bu c hk u n s t L e i pzi g , Ge r m a n y
Gro u p ex h i bit io n s (selec ted ) 2022
Leipz ig : A Un i ve r s e of I m a g e s . 1 9 0 5 - 2 0 2 2 , M us e um d e r b ild e nd e n Küns t e L e ip z ig , G e r many Weil es e i n s c hön e r Abe n d w a r , c u r a t e d b y N e o R a uc h : an e x h ib it io n o f h is mas t e r stu d en t s , Ga l e r i e EI GEN + AR T L e i pzi g, G e r many
2021
Lan d . Hä u s e r , S a m m l u n g Gl a m pe , Be r l i n , G e r ma ny Liebling s s t ü c k e u n d Ne u e s , K u n s t ha l l e G e v e ls b e r g d e r Kuns t s ammlung H e ns e , G e v e ls b e r g , G e r many
2020
An tipod e n ? N e u e s t e L e i pzi g e r S c hu l e , M Ä D L E R A R T F O R UM , L e ip z ig , G e r many C R UX – P a i n t i n g s by Ma r t i n K obe , Mi r j am V ö lk e r , R o b e r t S e id e l a nd T it us S c h ad e , M u seu m d e F u n d a t i e , Zw ol l e , T he N e t h e r land s
2019
Gifts f or you , Ga l e r i e EI GEN + AR T Ber lin, G e r ma ny Dr . Nu w a yhi d & F r i e n d s , W e r k s c ha u ha l l e , L e ip z ig , G e r many
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Bau hau s Now ha u s , S a m m l u n g H e n s e , Ge s c h e r , G e r many M ei s ter s t ü c k ! H a u p t w e r k e a u s d e r S a m ml u n g d e r S p ar k a s s e L e i p z i g , Z i t a d e l l e S p a n d au , B e r l i n , G e r man y 20 18
In ter -Y ou t h, C AA Ar t Mu s e u m , H a n g zho u, Ch ina 25. Lei pzi g e r Ja hr e s a u s s t e l l u n g , L e i pzi g e r J a h r e s aus s t e llung , L e ip z ig , G e r ma ny Face to F a c e – Ge s i c ht e r d e r S a m m l u ng H e ns e , Kuns t h alle H e ns e , G e s c h e r , G e r ma ny Zeitg enos s e n . K ü n s t l e r d e r S a m m l u n g H e ns e , Kuns t v e r e in M üns t e r land , Co e s f e ld , G e r ma ny Hau s u n d H of, W e i ß e s H a u s Ma r k k l e e be r g , G e r ma ny 20 Jah r e Ju n g e K u n s t , Ju n g e K u n s t W o lf s b ur g , W o lf s b ur g , G e r ma ny
20 17
Lad d er t o H e a ve n , Ne u e r P f a ffe n hof e n er Kuns t v e r e in, P f a f f e nh o f e n, G e r ma ny For ever N e v e r C om e s , Mu s e o Ar c he ol og ic o e d ’ A r t e d e lla M ar e mma G r o s s e t o , G r o s s e t o , It aly A R EAL – Ma l e r e i a u s L e i pzi g , K u n s t ve r e in B a d D ür k h e im, B ad D ür k h e im, G e r ma ny Jetz t Dr u c k m a c he n – Dr u c k g r a f i k a u s L e ip z ig , M us e um A ng e r le h ne r , T a lh e im b e i W e ls , A us t r ia
20 16
Tr ailer, Ga l e r i e EI GEN + AR T L e i pzi g , G e r ma ny
20 15
Gu te Ku n s t ? W ol l e n ! – S ØR R u s c he S a mmlung O e ld e / B e r lin, O f f e n auf A E G , N ur e mb e r g , G e r many offen , Ga l e r i e EI GEN + AR T , Be r l i n , Ger ma ny G r u n d – R a u c h, S c ha d e , S c hu l d t , Völ k er , S t a d t s p ar k a s s e G e v e ls b e r g , G e v e ls b e r g , G e r many A ccr ocha g e , Ga l e r i e EI GEN + AR T L e i p z ig , G e r ma ny
20 14
To be c on t i n u e d , EI GEN + AR T L a b, Ber lin, G e r ma ny OR TE/N I C H T - OR T E, K u n s t v e r e i n Ue l ze n, S c h lo s s H o ld e ns t e d t , U e lz e n, G e r ma ny
20 13
Neu zu g ä n g e ze i t g e n ös s i s c he r K u n s t i m Kuns t f o nd s 2 0 1 3 , S ä c h s is c h e Kult ur s t if t ung , Ver tr et u n g d e s F r e i s t a a t e s S a c hs e n be i m B und , B e r lin, G e r ma ny M aster c l a s s e xhi bi t i on , H oc hs c hu l e fü r G r af ik und B uc h k uns t L e ip z ig , L e ip z ig , G e r many WIN / WIN, Die Ankäufe der Kulturstiftung des Freistaates Sachsen 2013, Halle 14, Spinnerei Leipzig , L e i pzi g , Ge r m a n y G r ou p e xhi bi t i on , Ga l e r i e EI GEN + AR T , L e ip z ig , G e r ma ny A u fstan d d e r Di n g e - Me i s t e r k l a s s e Neo R auc h , N e ue r Kuns t v e r e in A s c h a f f e nb ur g , A s c h af f e nb ur g , G er m an y Vlad o & Ma r i a On d r e j - At e l i e r fü r R a die r ung L e ip z ig , Kuns t im B a uh o f W int e r t h ur , W int e r t h ur , Switze r l a n d
20 12
Jahr esg a be n , K u n s t v e r e i n Br a u n s c hw e i g - H aus S a lv e H o s p e s , B r a uns c h w e ig , G e r ma ny Salon d e r Ge g e n w a r t 2 0 1 2 , El bhof , H a mb ur g , G e r ma ny Tafeld i e n s t - Me i s t e r k l a s s e N e o R a u c h, Kuns t h a lle d e r S p a r k a s s e L e ip z ig , L e ip z ig , G e r many D ie sch w a r ze Zu n g e I I , S t ä d t i s c he Ga l er ie Is ny , Is ny , G e r ma ny L´en fer, c ´e s t l e s a u t r e s , W e i ß c u be Ga l e r ie in d e r G a le r ie B 2 , L e ip z ig , G e r many M INI, We i ßc u be Ga l e r i e , L e i pzi g , Ge r many D ie Bild e r s i n d u n t e r u n s , Ga l e r i e Qu e e n A nne , L e ip z ig , G e r many
20 11
Zu m Gebr a u c h d e s De l phi n s - Me i s t e r k la s s e N e o R auc h , S t ä d t is c h e G a le r ie a m M a r k t , Wu r zen , Ge r m a n y D ie Sc hw a r ze Zu n g e - R a d i e r u n g e n 5 , Sp inne r e i L e ip z ig , L e ip z ig , G e r many after th e g ol d r u s h, K u n s t ve r e i n S pe ye r , S p e y e r , G e r ma ny For tu n a , Ga l e r i e L e u e n r ot h, Fr a n k f u r t a m M ain, G e r ma ny
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C on voy L e i pzi g , Bi k s a d y Ga l é r i a , Bu d a p e s t , H ung a r y Wir bel ohn e n S i e , K u n s t r a u m Or t l off, L e ip z ig , G e r ma ny 20 10
17. Lei pzi g e r Ja hr e s a u s s t e l l u n g , Jos e p h - Ko ns um, L e ip z ig , G e r ma ny A ls Lös u n g e r s c hi e n u n s d e r W e l t r a u m , G ale r ie To b ias N a e h r ing , L e ip z ig , G e r ma ny Lan d scha ft e n , Mi k e P ot t e r P r oj e c t s , L eip z ig , G e r many
20 09
NEUN NEUE - Abs ol ve n t e n d e r H oc hs c h ule f ür G r a f ik und B uc h k uns t . Kla s s e N e o R a uc h , Lin d ena u - Mu s e u m , Al t e n bu r g , Ge r m a n y BALUST ER - C ol u m bu s Ar t F ou n d a t i on , H a lle 1 4 , S p inne r e i L e ip z ig , L e ip z ig , G e r many NEVER ODD OR EVEN I , K u n s t r a u m Boule v a r d P ar ab o l, B e r lin, G e r many NEVER OD OR EVEN I I , K u n s t r a u m Or t lo f f , L e ip z ig , G e r ma ny D iplom a e xhi bi t i on a t t he H oc hs c hu l e f ür G r a f ik und B uc h k uns t L e ip z ig , L e ip z ig , G e r many Ed ition N a e hr i n g # 1 , GfZK – Ga l e r i e f ür z e it g e nö s s is c h e Kuns t , L e ip z ig , G e r ma ny Von d e r W a n d i n d e n Mu n d , Vor s t a d t 1 4 , Z ug , S w it z e r land
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David SCHNELL D av i d S C HN EL L （ b . 1 971） 出 生 於 德 國 ， 畢 業 於 萊 比 錫 視 覺藝術學院。 D av i d S C HN EL L 創 建 的 圖 像 以 抽 象 本 質 體 現 ， 對 於 建 築 結 構 的 存 在 由 像 素 和 條 碼 組 合 而 成 的 視 覺， 同 時 質 疑 了 時 間 感。 透 過 將 建 築 景 結 構 與 景 觀 元 素 結 合 ， 創 造 一 個 反 思 空 間， 在 視 角 建 構 的 模 糊 性 當 中 ， 將 具 象 與 抽 象 延 伸 、 也 代 表 雙重意義像是主動與被動觀念表達和平自由的趨勢。其特色 為 計 算 機 圖 形、 像 素 、 數 據 加 密 和 類 似 動 畫 片 與 電 子 遊 戲 中 的深度透視。 他 曾 在 不 同 的 國 際 舞 台 中 展 覽 過 ， 包 括 也 趣 藝 廊 (2 0 2 0 )、 Ga l eri e EI G EN + A R T B e r lin (2017)、 中 央 美 術 學 院 (2 0 1 7 ) 。
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D av id S C H NE L L | Ze i ta l ter | P h o to g ravure, Em bossi ng | 2 9 . 5 x 5 0 cm | 2 0 1 9 | e d. 6 / 1 2
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David SCHNELL David SCHNELL (b.1971) was born in Germany, graduated from Hochschule für Grafik und Buchkunst Leipzig. SCHNELL as a younger member of the Leipzig School, his works features colorful geometric landscapes. By intersecting representational space with bars of colour, playing with viewing perspectives and emerging man-made architectural elements with the natural environment, SCHNELL studies the growing industrial complex and globalization. His recent exhibitions include group shows, AKI Gallery, Taiwan (2020), Galerie EIGEN + ART Berlin, Germany (2017), CAFA Art Museum (2017).
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D av id S C H NE L L | S p l i tte r | S i l ks c re en | I m a ge 4 0 . 5 x 6 3 cm | S heet 5 6 × 7 6 cm | 2 0 1 9 | e d. 3 8 / 40
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David Schnell stereo Galerie EIGEN + ART Leipzig 2021
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David Schnell Splitter Kunstsammlungen Chemnitz 2019
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MEDIA COVERAGE ht tps: //eig en -ar t. c om / e n / e xhi bi t i on s / a r c hi v e / d a vi d - s c h ne ll/
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“The flexibility and nonchalance he has shown over the last fifteen years in manipulating and combining identifiable elements with 'pictorial' data disconnected from any recognisable reality make him the perfect representative of a 'free and easy' painting approach no longer bothered by the idea of belonging to a particular narrative or tendency. Schnell's style is not only deliberately impure; it also invariably runs up against a tangle of contradictions that the artist does not necessarily espouse, but at the very least accepts responsibility for. His works are indeed contradictory, 'in the sense,' he comments, 'that even though I strive for a high degree of abstraction in my paintings, I still engage with nature, which I could theoretically photograph. And yes, perhaps also contradictory in the sense that I occasionally try not only to cite various art-historical periods but to make them my own and to translate them into my painterly visual language.' True, the degree of hybridisation of his pictures allows him to summon up successively, not to say simultaneously, complementary sources and references fitting with a deprioritised approach in which 'noble', 'trivial' and 'popular' particulars, often taken from a Gamekultur,
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are mixed in together. Some of them, such as the references to seventeenth-century Netherlandish landscape painting, are obvious. Others require decoding, sometimes referencing specific events and memories which, like the pictures in this exhibition, draw on the artist's time in Rome. This is case of the church interiors Schnell soaked up there, and of a palette inspired by time-warp postcards and superannuated tourist brochures. It is left to each viewer to graft on his own fields of reference and survivals from the past. And to spot art history greats re-emerging in a given painting, as when, contemplating a number of recent pictures, he finds himself thinking of Clyfford Still's jagged, atomised surfaces. Whatever the case, Schnell's works embody his ability to to find a precarious but nonetheless precise balance between play with illusionistic depth and a handling of surface that intensifies the picture's flatness. This balance, it must be said, has been crucial to the medium at every period in its history, and every painter past and present has come up with his own response to it.” (Text: Erik Verhagen; Translation: John Tittensor and James Gussen)
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From 1995 until 2000, David Schnell (born in 1971) studied at the Hochschule für Grafik und Buchkunst, Leipzig, where from 2000 until 2002 he was a student of Arno Rink's master class. His works have been shown in national and international exhibitions. Amongst others, important solo shows were: Stunde (Hour), Kunstverein Hannover/Gemeentemuseum, Den Haag, Netherlands 2010 and Hover, Mönchehaus Museum für Moderne Kunst Goslar; MAP / Museo de Arte de Ponce, Puerto Rico 2007. In 2009, Schnell designed the peace window (Friedensfenster) for the Thomaskirche in Leipzig. In 2013, he was a fellowship holder at Villa Massimo in Rome.
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David SCHNELL B i o g raphy
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Ed u cat i o n 19 71
b o r n B erg i s c h G l a d b a c h
lives a n d wo rks i n L ei pz i g
19 95 – 2000
pa i nti n g at t h e H o c h s c h u l e f ü r G rafi k und Buchkunst L ei pzi g
20 00 – 2002
M ei sters c h ü l er ( m a ster stu d e nt ) i n t he cl a ss of Prof. Arno Ri nk
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gra d u ati o n a s a m a ste r stu d ent i n t he cl a ss of Prof. Arno Ri nk
S ch o l a rs h i ps 20 16
S ch o la rs h i p o f th e W i l h el m Kem pff Aca demy Posi ta no, Posi ta no, I ta l y
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S ch o la rs h i p o f G er m a n Aca d emy Rom e, Vi l l a M a ssi m o, Rom e
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S ä ch si s c h es L a n d es sti p en d i u m
S o l o E x h i b i t ion s (selec t io n ) 20 21
stere o, G a l er i e E I G E N + ART L ei pz i g
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S a iso n , D rents M u s eu m , As s e n , Net herl a nds
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S p litter, Ku n sts a m m l u n ge n C h em n i t z, G e rm a ny
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A lb u m , G o et h e G a l l er y, G o et h e I n st i t ut H ong Kong , Chi na
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ve rt , G a l er i e E I G E N + ART L ei pz i g / B e rl i n, Berl i n Fe n ster, M u s e u m Kü p p e rs m ü h l e, Dui sburg , G erm a ny
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v ia , Neu e G a l er i e G l a d b ec k, G l a d b e ck
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(p art ico l a re ) , G a l e r i e E I G E N + ART Be rl i n
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mo rgen , G a l e r i e E I G E N + ART L e i pzi g
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S t u n d e , M u s e u m zu Al l e r h ei l i gen , S chaffha usen, Swi t zerl a nd
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S t u n d e , Ku n st vere i n H a n n over / G em eentem useum , T he Ha g ue , Net herl a nds
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D esign o f t h e " F r i ed e n sfe n ster " at t he T hom a ski rche L e i pzi g
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elu sive, G a l e r i e E I G E N + ART B e r l i n
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H ove r, M ö n c h eh a u s M u s e u m f ü r moderne Kunst G osl a r; MAP / M useo de Arte de Ponce , Pu erto R i co M ika d o, G a l e r i e E I G E N + ART L e i pz i g
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S t re ifz ü ge, Pa ra s o l U n i t Fo u n d ati on, L ondon, G B
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2005
u m zwö l f, G a l er i e E I G E N + ART B erl i n
2004
Ga ler i e L I G A , B er l i n
2002
Wan de r ta g , G a l e r i e L I G A
Gro u p E x h i bit io n s (selec t io n ) 20 22
B ild er ko s m o s L e i pz i g . 1 9 0 5 - 2 0 2 2 , M use um de r bi l dende n Künste , L ei pzi g
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M in e r va m eets L e i pz i g , D rent s M u se um , Assen, Net herl a nds Ge rma n Pa i nt i n g Now, Te l eg ra p h G a l l er y, Czech Republ i c D O S I S , I n sti t u t f ü r Z u ku nf t, L ei pz i g
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Gift s fo r yo u , G a l er i e E I G E N + ART Berl i n We st L a ke : B re a ki n g O p en , G a l e r i e EI G EN + ART Be rl i n t h e re , G a l e r i e E I G E N + ART L ei pz i g DA S KOL L EG I U M , G raf i ksti f tu n g Neo Ra uch Aschersl eben Col l e ct i on Relo ade d , G 2 Ku n st h a l l e, L e i pz i g M E I ST E RSTÜ C K - To p 1 0 0 a u s d e r Kunst sa m m l ung de r Spa rka sse L ei pzi g , Z i ta de l l e Spa nda u, B e rlin GLA S MAL E R E I d e r G e genwa r t vo n Lei pzi ger Künst l ern, L i cht ung L ei pzi g , Dessa u-Roßl a u
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No M o re S e c rets ! L á sz l ó G E RŐ I nternat i ona l Art Col l ect i on, Art M i l l , Hora ždov i ce, Czech Rep u bl i c M D B K M E E TS G 2 , M d b K M u s eu m d er bi l denden Künste L ei pzi g , L ei pzi g , G erm a ny E R O S U N D T H A N TO S . We r ke a u s d e r S Ø R R u s c h e S a m m l u n g O e l d e / B e r l i n , M u s e u m A b t e i L iesb or n , Wa d e rs l o h - L i es b ro n A nt ike u nte r D r u c k, M u s eu m d e r Uni ve rsi tät Tübi ngen, S chl oss H o h entü b i n ge n , G er m a ny Ka le id o s ko p Wo r pswe d e. Ku n stwerk, L a ndschaft , L ebe nsort , Kü n st l er ko l o n i e Wo r pswed e , G e r ma ny
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Lad d er to h eave n , Ne u er P faffen h ofe ner Kunst verei n, P faffe nhofe n a n der I l m , G erm a ny O u r Te e n a ge D re a m s s o h a rd to b e at , Ort fl off, L ei pzi g , G erm a ny D eu t sc h l a n d 8 – D e u t s c h e Ku n st i n Chi na , W hi tebox Art Ce nter, CAFA Art Muse um T h e I m p e r i a l An c estra l Tem p l e Ar t M use um Peki ng , Peki ng , Chi na T H E NE W F RO NTI E R O F TH E PAI NT I NG , Fonda zi one S tel l i ne, M i l a no, I ta l y J et zt D r u c k m a c h en – D r u c k g raf i k a us L ei pzi g , Museum A n ger l e h n er, Ta l h e i m b e i Wel s , G erm a ny
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No rm a d i c I m a ges , 1 6 t h I nter n at i o na l Vi l ni us Pa i nt i ng Tri enna l , L i t hua ni a L an gm att , L i c ht , L i b el l e n – I m p re s s i oni sm us heute ? , M useum L a ng m att , G erm a ny
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M a d e i n G e r m a ny : C o n t e m p o ra r y A r t f ro m t h e R u b e l l Fa m i l y C o l l e c t i o n , T h e M c N ay A r t M u seu m , S a n Anto n i o, Texa s 20 15
Gro ß e Fo r m ate , M u s e u m W i es b a d e n, W i esba den C ame ra O bs c u ra , Ne u e r P faffen h o fe ner Kunst verei n, P faffenhofe n a n der I l m Gu te Ku n st? Wo l l en ! , o ffen a u f AEG , Nürnberg L e ipzig 2 0 1 5 . S a m m l u n g H i l d eb ra n d, G 2 Kunst ha l l e, L ei pzi g
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Gla n zl i c hter. M e i ste r we r ke zei tge nössi scher G l a sm a l ere i i m Na u m b u rge r D o m , N a u m b u rger D o m , Na um burg , G erm a ny Urb an e Pe r ps ekti ven - D a r k C i ty, S chafhof - Europä i sche s Künst l erha us O b erbaye r n , F rei s i n g , G e r m a ny Wa h l ve r wa n d s c h a f te n . A k t u e l l e M a l e re i u n d Ze i c h n u n g a u s d e m M u s e u m F r i e d e r B u rd a , M u seu m F ra n z G er t s c h , B u rgd o r f, Germ a ny
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Wa h lve r wa n d s c h af ten . Aktu el l e M a l erei und Zei chnung a us de m M u seu m F r i ed e r B u rd a , M u s eu m F ra nz G ert sch, Burgdorf O H NE TI TE L - a bstra kt / ko n k ret / konst rukt i v, Kunst ha l l e der Spa rka sse L e i pzi g S ch ö n e L a n d s c h af t/ B ed ro hte Nat u r, Kunst ha l l e Dom i ni ka ne rki rche, Osna brück J et z t u n d H i e r. G e ge nwa r t s ku n st a u s d e m Ku n st fo n d s , S ta at l i c h e Ku n st s a m m l u n ge n D re s d en
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Night fa l l s , Te n d en c i e s i n New F i g u rat i ve Pa i nt i ng , MODEM Cent re for Modern a nd C o ntem p o ra r y Ar t s , D eb rec en , H u nga rn Ka lte R i n d en - S el te n e E rd en , S ta d t ga l eri e Ki el / Mä rki sches Museum W i tte n T h e col l ec ti o n . G e r m a n a r t f ro m Kiefer to H enni ng , Museum Boi jm a ns, Rotte rda m , Net he rla n d s B lick we c h s el , Ti ro l e r L a n d e s m u s e um Fe rdi na ndeum , I nnsbruck, Aust ri a J u st Pa i nt , G e m ee nte m u s eu m D e n H a a g , Net herl a nds Unte r we g s , Westwe r k , L ei pz i g LUBOK. Grafica contemporanea y libros de artistas de Leipzig, Museo Nacional de la E stamp a , M ex i co C i t y / M u s e o Ta l l er Era sto Cortes, Puebl a , M ex i co Paintings from the Rubell Family Collection, Fundación Banco Santander, Boadilla (Madrid), S p ain
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Ku n ste n M u s e u m o f M o d er n Ar t , A a l borg , Denm a rk C A FA M B i e n n a l e 2 0 1 1 , C h i n a C e nt ra l Aca demy of Fi ne Art s Muse um , Bei ji ng , Be i ji ng , Chi na LU B O K . Kü n st l e r b ü c h e r a u s L e i pz i g , S tä d t i s c h e s Ku n st m u s e u m S p e n d h a u s Re u t l i n ge n , Re u t lin ge n
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Pa ra llel e n : Ju n ge zei tge n ö s s i s c h e Kunst a us Nor wege n und L ei pzi g , Ki stefos Muse um ,
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J ev n a ke r, No r way Ga le ri e E I G E N + ART L e i pz i g L u b o k , Lyo n e l Fei n i n ge r G a l e r i e , Q ue dl i nburg / Essenhei m er Kunst verei n, Essenhei m Ge rma n C o ntem p o ra r y Pa i nti n g , M AS P - Museu de Arte de Sa o Pa ul o, Sa o Pa ul o, Bra zi l „ D i e B i l d e r tu n wa s m i t m i r. . . " E i n b l i cke i n d i e S a m m l u n g F ri ed e r Bu rd a , M u se u m F ri e d er B u rd a , B a d en - B a d en A bst ra kter Re a l i s m u s , Ku n st ve rei n L ei pzi g 20 09
D a m age d Ro m a nti c i s m , G rey Ar t Ga l l er y, New York Uni versi t y, USA L u b o k . O r i g i n a l g raf i s c h e B i l d e r b ü c he r, Museum der bi l dende n Künste L ei pzi g C a r te B l a n c h e I X : Vo r h e i m i s c h e r Ku l i s s e - Ku n st i n d er S a c h s e n B a n k/ S a m m l u n g L a n d es b an k B a d e n - Wü r ttem b e rg , G a l er i e für zei t genössi sche Kunst L ei pzi g Pan o ra m i ca L ei pz i g
20 08
S o mm e r b e i E I G E N + ART, G a l er i e EI G EN + ART Berl i n Vert ra u te s Ter ra i n . Akt u e l l e Ku n st i n & über Deut schl a nd, Z KM Ka rl sruhe B ö h men l i egt a m M ee r – We r ke a us de r Sa m m l ung Fri ede r Burda , M useum F ri eder Burda , Baden-Baden T h e L e i pz i g P h e n o m e n a , M ı c s a r n o k/ Kunst ha l l e , Buda pest , Hunga r y G e r m a n i a c o n t e m p o r a n e a . D i p i n g e r e è n a r r a r e : T i m E i t e l , M a t t h i a s W e i s c h e r, D a v i d S ch n el l , M ART. M u s eo d ’Ar te M o d erna e Conte m pora ne a di Trento e Rovereto, I ta l y Ro se b u d . E i n e S u c h e n a c h O p u l e n z und L ee re, Kunst ve rei n L a ngenha gen New L ei pz i g S c h o o l , C o b ra M u s eu m , Am ste l vee n, Net herl a nds
20 07
mad e i n L e i pz i g , S c h l o s s H a r tenfe l s, Torga u
20 06
Lan d sc h af t , G a l er i e E I G E N + ART B erl i n A rt ist s f ro m L e i pz i g , Ara r i o B e i ji n g , Bei ji ng , Chi na S c h i l d e r k u n s t N e d e r l a n d – D e u t s c h l a n d M a l e r e i , G e m e e n t e m u s e u m , D e n H a a g , N e t h e rla n d s M A D E I N L E I PZ I G – B i l d er a u s ei n er Sta dt , S a m m l ung Essl , Kl osterneuburg , Aust ri a New Tra je c to r i es I : Rel o cat i o n s , Reed Col l eg ue , Reed’s Cool ey G a l l er y, Port l a nd, USA F u ll H o u s e – G e s i c hter e i n e r S a m ml ung , Kunst ha l l e M a nnhe i m
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C o ld Hea r t s : Ar ti sts f ro m L ei pz i g , A ra ri o, Chung na m , Korea L ife A f te r D e ath : New Pa i nt i n g s f rom t he Rubel l Fa m i l y Col l ect i on, MAS S MoCA , Nort h Ada m s ; S I T E S a nta Fe , N ew M ex i co ; Kat ze n A r t s C e nte r M u s e u m , Wa s h i n gto n D.C . ; F r ye A r t M u seu m , S eatt l e; S a l t L a ke Art C enter, Sa l t L a ke Ci t y, Uta h; Kem per M useum of Contem pora r y A r t, Ka n s a s C i ty ( b i s 2 0 0 8 ) D av id , M att h es u n d i c h , Ku n st verei n Nürnberg ; Kunst verei n Bi el efel d
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Po rt ra i t, G a l er i e E I G E N + ART B er l in 20 04
No rt h er n L i g ht: L ei pz i g i n M i a m i , Rube l l Fa m i l y Col l e ct i on, M i a m i , USA T im E i tel , D avi d S c h n el l , M atth i a s Wei scher, G a l e ri e EI G EN + ART Berl i n D irekte M a l e re i , Ku n st h a l l e M a n n he i m
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sie b en m a l m a l ere i , Neu er L ei pz i ger Kunst vere i n i m Museum der Bi l de nden Künste L e i pzi g Wu n sc h b i l d er, Ku n stfo n d d e s F re i sta ate s S a chsen, Museum der Bi l denden Künste L e i pzi g 5 x 5 ju n ge Ku n st a u s S a c h s e n , Ne ue Sä chsi sche G a l eri e Chem ni t z
Wo rks i n p u b lic co llec t io n s E ssl M u s e u m – Ku n st d e r G e genwart D e nver Ar t M u s e u m Ku n st fo n d S a c h s e n M O C A - Th e M u s e u m o f C o ntem p ora r y Art , L os Angel es A rke n M u s eu m o f co ntem p o ra r y Art M u seu m d er b i l d en d en Kü n ste L ei pzi g Pa ra sol U n i t Fo u n d ati o n S a m m l u n g B u rd a S a m m l u n g d e r S p a r ka s s e L ei pz i g S a m m l u n g d e r V NG T h e R u b e l l Fa m l i y C o l l e c t i o n M A P i n Po n c e , P u e r to R i co Ku n st i n d er S a c h s e n B a n k / S a m m l ung L a ndesba nk Ba de n-Württem berg
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Kristina SCHULDT Kr i s t i n a S C HUL DT (b. 1 982) 出 生 於 俄 羅 斯 ， 畢業於萊比錫 視覺藝術學院。 S C HU L D T 師 事 Ne o R A UCH , 以 現 代 主 義 的 繪 畫 形 式， 透 過 特定物件的符碼語彙重新創造自己的新繪畫語言。創作主題 圍 繞 在 女 性、 身 體 器 官 、 日 常 服 飾 ， 受 到 法 國 立 體 派 藝 術 家 Jo s ep h Fer n an d H e nr i L é g e r 影 響 ， 作 品 人 物的肢體如同油 管 機 械 般 形 塑 ， 並 且 運 用 獨 特 的 多 視 角 呈 現 運 動狀態。
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Kr i st i n a S C H U L DT | S p i e l c h en | Dr y poi nt a nd photog rav ure ( 2 pl ate s) | I m a ge 57 x 4 2 c m | S h e et 7 0 x 5 3 c m | 2 0 1 9 | ed. 2 / 1 2
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Kristina SCHULDT Kristina SCHULDT (b. 1982) was born in Russia, and graduated from Hochschule für Grafik und Buchkunst Leipzig. SCHULDT is a student of Neo RAUCH based in Leipzig. Her paintings featured females that look like gigantic glossy dolls, twisted but powerful. She has been used multi-perspective depicting the energy and movement in her works, which also inspired by the French artist Joseph Fernand Henri Léger. Her works are marked as “everything from the nightmarish end of surrealism to the optimism of modernism.”
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Kristi n a S C H U L DT | S tra ß e | D r y poi nt etchi ng | I m a ge 3 5 x 3 0 cm | S heet 7 0 x 5 3 cm | 20 1 9 | e d . I I / VI
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Kristina Schuldt BEBEN Galerie EIGEN + ART Leipzig 2022
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Kristina Schuldt TAKE FIVE Galerie EIGEN + ART Berlin 2018
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MEDIA COVERAGE https://www.juxtapoz.com/news/painting/brutal-paradise-kristina-schuldtdren ts-mu seu m-n et he r l a n d s /
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Brutal Paradise: Kristina Schuldt @ Drents Museum, Netherlands November 01, 2021 | in Painting
The Drents Museum in Assen, The Netherlands, is currently showing Brutal Paradise, a retrospective-like solo presentation by Krtistina Schuldt who we've featured in the past. Coinciding with their major exhibition on Frida Kahlo's work and life, the presentation is continuing one of the leading Dutch cultural institution's ongoing efforts to introduce the important artists of the New Leipzig School. Curated by Rannilt Pol who also curated the recent solo exhibition by Matthias Weischer, the exhibition is presenting Schuldt's oeuvre by putting the focus on the dominating visual clues in her work. Comprising
ht tps: //eig en -ar t. c om / e n / e xhi bi t i on s / c u r r e n t / d a vi d - s c h ne ll/
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paintings from 2009 up until the present day, the museum's rooms are introducing works that are featuring botanical motifs, t e c h no lo g y, o r sp e a k o f femi n i n i t y an d gen der f or ex ampl e. An d according to the artist, this is the first time someone had seen her work in that light, especially because she approaches all of the elements in the same light, as part of the same reality she's portraying. Both aesthetically and technically, she's painting human limbs and floral elements for example, by capturing their physical beauty but then intensively caricaturing their state, bringing up their flaws and ephemerality. As a believer in the idea that one's pleasure induces someone's suffering, the Moscow-born artist tends to capture both the beauty and the concealed ugliness of a moment. So by portraying a gesture of appreciation and love, a bouquet of flowers, she is in fact portraying the beginning of the flowers' ultimate end. Within this concept, Schuldt often brings up the subjects of femininity, feminism, and gender roles, through the frequent p o rt rayal o f fe ma le fig ur es. Al t h ou gh depi c t i n g an abu n dan c e of polished flesh, short skirts, or high heels, her muses are usually
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broken and twisted, regularly hiding their faces behind the long falling hairs or other objects. As seen in the part of the exhibition that presents elements of her process, these compositions are often built from collages, therefore a reconstructed caricature of common reality. Almost unfit for the role they found themselves in, these figures do appear powerful, with muscular legs and hands, suggesting the unused strength that's within them. Mostly shown alone or in the company of other female characters, they seem overly clumsy, twisting in their shoes, and falling over, while displaying a sense of determination and edginess with their clenched hands. Such tension between atmospheres is finally gripped in the compound of painting styles that cunningly conveys the context of those collaged concepts. Ranging from dotted, V a n G o g h-lik e tap p ing se ct i on s, ov er t h e gradi en t ri c h v ol u mi n ou s section, to unfinished outlines or even paper cutout-like affixes, they become metaphors for our improvisational nature of being. Again, beautiful on the outside yet painful and fragmented as a whole, they are the essence of what Schuldt portrays as the Brutal Paradise. Text and photos by Sasha Bogojev
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Kristina SCHULDT B i o g raphy
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b o r n i n M o s cow, R u s s i a
lives a n d wo rks i n L ei pz i g , G er m a ny
20 02-2004
S t u d i es at H o c h s c h u l e f ü r G rafi k und Buchkunst L ei pzi g , G erm a ny
20 04-2008
C l a s s o f Pa i nt i n g a n d G ra p h i c Annette Schröte r & Professor S i g ha rd G i l l e, H o c h s c h u l e f ü r G raf i k u n d B u c hkunst L ei pzi g , G erm a ny
20 08-2009
C l a s s o f Pa i nt i n g a n d G ra p h i c , Profe ssor Neo Ra uch, Deg re e
20 10-2012
M a ster stu d e nt u n d e r P ro fe s s or Ne o Ra uch
S ch o l a rs h i ps 20 11
S ä ch si s c h es L a n d es sti p en d i u m
20 10
S ä ch si s c h es L a n d es sti p en d i u m
S o l o ex h i b i t ion s (selec t io n ) 20 22
B E B E N, G a l e r i e E I G E N + ART L ei pz ig , G erm a ny
20 21
B ru ta l Pa ra d i s e , D re nt s M u s eu m , A sse n, Net herl a nds
20 20
S a n s S o u c i , G a l e r i e E I G E N + ART B erl i n, G erm a ny
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TA K E F I V E , G a l e r i e E I G E N + ART B erl i n, G erm a ny
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cru sh , G a l e r i e E I G E N + Ar t L ei pz i g , G erm a ny Kle mm e , L e i pz i ger M e s s e, L e i pz i g , G erm a ny
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M e lt in g d ays , M u s eu m Ju n ge Ku n st, Fra nkfurt ( Oder) , G e rm a ny M O ST, G a l er i e E I G E N + ART B e r l i n , G erm a ny
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TA K E F I V E , G a l e r i e E I G E N + ART B erl i n, G erm a ny
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Ro ch e Ze h n , G a l er i e Po tem ka , L e i pzi g , G erm a ny T h e m i n u te to l a st , Ku n stc l u b H a mburg , Ha m burg , G erm a ny
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Ko pfh er z , G a l e r i e L ei pz i ge r H o f, L ei pzi g , G erm a ny
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t ra n s, G a l e r i e E m m a n u e l Po st, L e i pzi g , G e rm a ny
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Gro u p ex h i bit io n s (selec t io n ) 20 22
S PAC E FO R I M AG I NATI V E AC TI O NS . New presentat i on of t he col l ect i on, Ku n st m u s e u m B o n n , G e r m a ny We il e s e i n s c h ö n er Ab e n d wa r, c u rated by Neo Ra uch: a n ex hi bi t i on of hi s m a ste r st u d e nts , G a l e r i e E I G E N + ART L e i pzi g
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Ge rm a n Pa i nti n g Now, Te l e g ra p h Ga l l er y, Czech Republ i c T h ro u g h t h e W i n d ow, Fe r nwe h S p a ce, Bei ji ng , Chi na
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A nt ip od e n ? Ne u e ste L e i pz i ger S c h ul e, M ÄDL ER ART FORUM, L ei pzi g Yo u C a n D o B etter – B a d Pa i nti n g , El e kt roha l l e Rhom berg , Sa l zburg , Aust ri a J et zt ! Ju n ge M a l erei i n D e u ts c h l a n d, De i chtorha l l en Ha m burg , G erm a ny
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Lin k in B i o . Ku n st n a c h d e n s oz i a l en Medi en, Museum der bi l denden Künste , L ei pzi g , Ge rma ny Gift s fo r yo u , G a l er i e E I G E N + ART Be rl i n, G erm a ny C h eck Yo u r H ea d , C . Ro c kefe l l e r C enter for conte m pora r y Art s, Dresde n, G erm a ny J et zt ! Ju n ge M a l erei i n D e u ts c h l a n d, Kunst m use um Bonn; Museum W i esba den; Ku n st s a m m l u n gen C h em n i t z , G e r m a ny F re m d e M ä c hte . M a l e re i a u s L e i pzi g , Muse um F ra nz G ert sch, Burgdorf, Swi t zerl a nd n o t eve r y th i n g m ea n s s o m et h i n g , honey, G a l e ri e EI G EN + ART L ei pzi g , G erm a ny DA S KOL L EG I U M , G raf i ksti f tu n g Neo Ra uch Aschersl eben, G erm a ny M e i s t e rs t ü c k ! H a u p t w e r ke a u s d e r S a m m l u n g d e r S p a r ka s s e L e i p z i g , Z i t a d e l l e S p a n d a u , B e rlin , G e r m a ny C o lle c t i o n Re l o a d ed , G 2 Ku n st h a l l e, L ei pzi g , G erm a ny D ie S c h ö n h e i t ka n n e b en s o g u t a u s der H öl l e sta m m en wi e a us dem Hi m m e l , S täd t i s c h e G a l e r i e i m Al te n Fe u er ha us, Ba d Rei chenha l l , G e rm a ny
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Neu e M a l erei i n D e u ts c h l a n d , M u seum W i e sba den, G e rm a ny M d b K m eet s G 2 , M u s e u m d er b i l d enden Künste , L ei pzi g , G erm a ny I WI L L B E YO U R M I R RO R , E r i ka D eá k G a l l er y, Buda pest , H unga r y Na ch d em B i l d i st vo r d em B i l d – Ma l eri nnen a us L ei pzi g , Kunst verei n F reunde A kt u el l er Ku n st, Zw i c ka u , G er m a ny
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Lad d er to H e aven , Ku n st h a l l e P faffenhofen, P faffenhofen, P faffenhofen, G e rm a ny J et zt D r u c k m a c h e n – Au s d em Atel i er für Ra di erung L ei pzi g , M use um Ange rl e hner, Ta lh ei m b ei Wel s , G er m a ny
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I M M E R U ND E W I G , L ei pz i ge r Ja h resa usstel l ung 2 0 1 6 , L ei pzi g , G erm a ny L e t ’s G e t P h y s i c a l : S p a t i a l C o n f r o n t a t i o n s a n d N a r r a t i v e C o l l i s i o n s , K u n s t k r a f t w e r k , L e ipzig , G e r m a ny LUB O K D r u c k g raf i k u n d Kü n stl e r b ücher a us L ei pzi g , Oberpfä l zer Künst l erha us, S chwa ndorf, Ge rma ny
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Werks c h a u 2 0 1 5 , Wer ks c h a u h a l l e Lei pzi g , L ei pzi g , G erm a ny o ffe n , G a l er i e E I G E N + ART B er l i n , G erm a ny Gru n d , S ta d ts p a r ka s s e G eve l s b erg , G evel sbe rg , G erm a ny A ccro c h a ge, G a l e r i e E I G E N + ART Lei pzi g , G erm a ny L e ipzig 2 0 1 5 . S a m m l u n g H i l d eb ra n d, G 2 Kunst ha l l e, L ei pzi g , G erm a ny
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R EC I -P RO - C I TY, Ti l b u rg , Th e Neth e rl a nds Ga le ri e E I G E N + ART L e i pz i g , G e r ma ny A u fsta n d d e r D i n ge – M ei ste r k l a s s e Neo Ra uch, Neue r Kunst verei n Aschaffenburg , A sch affen b u rg , G er m a ny Verfh o n d ' s 2 0 1 3 Pa i nti n g S h ow, Appe l s G a l l er y, Am ste rda m , T he Net herl a nds
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Tafe ld i en st – M ei ste r k l a s s e Neo R a uch, Kunst ha l l e der Spa rka sse L e i pzi g , L ei pzi g , G erm a ny S h o rt l i st M ä r k i s c h es S ti p en d i u m f ür Bi l dende Kunst 2 0 1 3 i m Be rei ch Ma l e rei , S täd t i s c h e G a l e r i e I s er l o h n , I s er l o hn, G erm a ny m iss p a i nti n g , Ku n st h a u s E r f u r t, E r furt , G erm a ny M in i, We i ß c u b e G a l er i e , L ei pz i g , Germ a ny GZS Z, G a l e r i e Po tem ka , L e i pz i g , G erm a ny
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A fter L i m b o, G a l er i e Po tem ka , L e i pzi g , G e rm a ny D ie Unge stü mte n , Ne u er Ku n stve rei n P faffenhofen, P faffenhofen, G erm a ny E XO D U S – s o m e t i m e s t h o n l y w a y o u t i s t t o l e a v e , e s s e n t i a l e x i s t e n c e g a l l e r y L e i p z i g , L e ipzig , G e r m a ny O ver & o u t , g l u e @ s c h a u fe n ster, B e rl i n, G erm a ny Wir b e l o h n en S i e , Ku n stra u m O r t l off, L ei pzi g , G erm a ny Zu m G eb ra u c h d e s D el p h i n s , S tä d t i sche G a l eri e Wurzen, Wurzen, G erm a ny
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M a gic C l u b , G a l er i e Po te m ka , L ei pz i g , G erm a ny L in d a Ar t s & Kr i st i n a S c h u l d t , H ed en Kunst va n nu, Den Ha a g , T he Net herl a nds H e rzpl o s i o n , S p i n n e re i L e i pz i g , L ei pzi g , G e rm a ny D e r eh e m a l i ge No rd en , Ku n stverein W i l hel m shöhe, Ett l i ngen, G erm a ny We like 6 % ! , Ni eu w D a ko ta , Am sterda m , T he Net he rl a nds D as Gol d vo n d en S ter n e n , Ku n st ra um Ort l off, L ei pzi g , G erm a ny
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Neu n Neu e, L i n d en a u M u s e u m , Al tenburg , G e rm a ny B a lu ste r, C o l u m b u s Ar t Fo u n d ati o n , L ei pzi g , G erm a ny
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M ä rzb i l d e r, G a l er i e L ei pz i ge r H o f, L ei pzi g , G erm a ny
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A u ß e n ste l l en stel l en a u s , H a rd th o f, G i eße n, G erm a ny
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Ulrike THEUSNER Ulr i ke T HEUS N E R (b. 1 982) 生 於 德 國 ， 畢 業 於 法 國 É col e Nat i o n al e S u p ér ie ur e d ' A r ts à la V illa A r s o n。 作 品 精 巧 而優雅 , 透過怪誕的人物 , 描繪城市生活和當代社會現實的 脆 弱 與 矛 盾。 藉 以 代 表 當 前 的 政 治 背 景 ， 突 顯 當 今 的 社 會 問 題。
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U l r i ke T H E U S N E R | L ove rs | M o n o t y p e a n d p a ste l o n p a p e r | I m a ge 2 3 . 6 x 1 8 c m | S h e et 3 1 x 24. 7cm | 2 0 2 1
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Ulrike THEUSNER Ulrike THEUSNER (b.1982) was born in Germany, graduated from École Nationale Supérieure d'Arts à la Villa Arson. Her works featured demons, portraits of young people, dark landscape, and inner cosmos to express the social complexity.
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Ulrike T H E U S N E R | G h o st Tree | C o l our etchi ng | 3 8 . 5 x 2 8 . 8 cm | 2 0 2 0 | ed. 4 / 4
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Ulrike Theusner All there is | berlin Galerie EIGEN + ART Berlin 2020
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MEDIA COVERAGE htt ps://h en se . ar t/
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Die Kunsthalle Gevelsberg freut sich, die Arbeiten von Ulrike Theusner in einer Einzelausstellung zu präsentieren, die bisher noch nie öffentlich gezeigte Arbeiten mit Werken aus der Sammlung Hense zusammenführt. Mit dem Reichtum der Techniken – von der kontrastreichen Pastellkreidemalerei über die zarte Monotypie bis hin zur feinen und präzisen Kaltnadelradierung oder der gestischen Tuschezeichnung – schaffen die für die Ausstellung ausgewählten Werke eine Welt des Wahnsinns, der Verve, der Lust, bisweilen des Deliriums. Ein ständiges Pendeln innerhalb zweier Extreme, jenseits von Optimismus und Pessimismus. Mit vorherrschenden Ambivalenzen und Dichotomien schildert Theusner meisterhaft eine durch Selbstbespiegelung gelähmte Realität. Zu sehen sind zahlreiche Einzel- und Gruppenporträts eines Menschenalters, darin Sinnsuche und Trägheit, Zuversicht und Müdigkeit, Lebensfreude und Einsamkeit, Eitelkeit und Verwirrung.
»Ulrike Theusner. Kapriolen«, Kunsthalle Gevelsberg, 2022. Foto: Kevin Krautgartner
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Während die virtuos gezeichnete Linie den Lauf und die Wandlung des ekstatischen Geschehens – wie ein Faserbündel – festhält, stehen die lebensvollen und naturgetreuen Protagonisten in der Mitte, auch wenn es kein Inneres gibt und dies nur die Illusion einer Verankerung ist. Ein choreografiertes Chaos trifft auf eine Leere, die sich von Gespenstern nährt. Der Körper als Hülle wird entblößt, formidabel und obszön zugleich. Die Form, ein bekleidetes Skelett, das in den Erscheinungen sichtbar wird, ist in der Auflösung verborgen, maskiert und mal mehr, mal weniger sichtbar.
»Ulrike Theusner. Kapriolen«, Kunsthalle Gevelsberg, 2022. Foto: Kevin Krautgartner
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Mit den titelgebenden Kapriolen – tanzenden Luftsprüngen, übermütigen Possen, schelmischen Gesichtern und lachenden Fratzen – verweist die Künstlerin auf die Ästhetik einer theatralischen Darbietung, eines dauerhaften Verlangens nach Performance und Selbstinszenierung. Zwischen einem lethargischen Blick und einem verrückten Giguetanz bilden die Werke ein bitter-süßes Fresko einer Generation. Ein Leben zwischen Völlerei, Trinkerei, Lachen, Lust, Leidenschaft, Neugierde und Tod.
»Ulrike Theusner. Kapriolen«, Kunsthalle Gevelsberg, 2022. Foto: Kevin Krautgartner
Ulrike Theusner (geb. 1982) ist eine deutsche Zeichnerin, Malerin und Grafikerin. Sie studierte an der Bauhaus-Universität in Weimar und an der Ecole des Beaux Art „Villa Arson“ in Nizza. Die Künstlerin lebt und arbeitet in Weimar und Berlin.
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Ulrike THEUSNER B i o g raphy
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19 82 b o rn in F ra n k f u r t / O d er, G e r m a ny
lives a n d wo rks i n Wei m a r a n d B e r l i n , G er m a ny
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stu d i es F i n e Ar t at t h e B a u ha us Uni versi t y, We i m a r, G e rm a ny
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Éco l e n at i o n a l e s u p é r i eu re d’a rt „Vi l l a Arson”, Ni ce, F ra nce
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D i p l o m a at th e B a u h a u s U ni ve rsi t y, We i m a r, G erm a ny P r i c e s a n d Fel l ows h i ps
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3 . H o c h d r u c ksy m p o s i u m C a rpe Pl um bum Spi nnerei L ei pzi g , G erm a ny, s p o n s o red by B u n d B i l d e n d er Künst l er L ei pzi g a nd Kul t urst i ft ung Sa chsen
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I G G G ra p h i c Awa rd , No rd h ausen, G e rm a ny
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Wo r k Fe l l ows h i p B i l d e n d e Kunst „ Art Re g i o“
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F i rst P r i c e o f E u ro p ea n C o ntem pora r y Pri nt Tri enni a l Toul ouse, Fra nce
S o l o ex h i b i t ion s (selec t io n ) 20 22
Kap rio l e n , Ku n st h a l l e G eve l s b e rg , G erm a ny
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Grelle G ege nwa r t, Ku n st h a l l e Ro stock, G erm a ny
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A ll T h ere I s , G a l er i e E I G E N + ART Berl i n, G erm a ny
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New Po s i t i o n s , ART CO LO G NE , G a l eri e EI G EN + ART, Col og ne , G erm a ny
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E n d sp i el , G a l e r i e B u n ker- D, Ki el , G erm a ny T h e B e st o f a l l Po s s i b l e Wo r l d s , ACC G a l eri e Wei m a r, G erm a ny
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T h e Ga s p i n g S o c i et y : U l r i ke Th e u s n er. Zei chnungen und Druckg rafi k, Angerm use um E rfu rt , G er m a ny A R a ke´ s P ro g re s s , G a l er i e R i c hter L üt jenburg , G e rm a ny L an d of P l e nt y, G a l er i e D u ka n L e i pzi g , G erm a ny
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A R ake’s P ro g re s s , G a l e r i e Ro t h a mel , Erfurt , G erm a ny
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S e cret S o c i ety, C h i va l ro u s C a nta l o u p Com m une, S ha ng ha i , Chi na
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Limb o E x p res s , Y G a l l er y, New Yo r k, USA
Gro u p ex h i bit io n s (selec t io n ) 20 21
Lie b ling s st ü c ke u n d Ne u es , Ku n stha l l e G evel sbe rg der Kunst sa m m l ung H ense, Geve ls b e rg , G e r m a ny
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I M M E R I C H . Fa sz i n ati o n S e l f i e , Zei t geschi cht l i ches Forum L ei pzi g , G erm a ny 20 20
M a ste rs f ro m E u ro p e , AK I G a l l er y, Ta i pe i , Ta i wa n Yo u C a n D o B etter – B a d Pa i nti n g , El ekt roha l l e Rhom burg , Sa l zburg , Aust ri a V ielfa l t , Ju b i l ä u m s a u s ste l l u n g , Jena er Kunst ve rei n, G erm a ny
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ZO O M! Ju n ge Ku n st a u s Th ü r i n ge n , Ma nnhei m er Kunst verei n, G erm a ny S u m m e r o f L ove, F rei g ht + Vo l u m e G a l l er y New York, USA o ffe n Vo l . 2 , G a l e r i e E I G E N + ART Berl i n, G erm a ny
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Gale ri e R i c hte r, L ü tje n b u rg , G e r m any R u t h H a b er m eh l u n d U l r i ke Th e u s ner, G a l e ri e ff1 5 , L e i pzi g Ro te r O kto b er – Ko m m u n i s m u s a l s Fi kt i on und Befehl , Ne ue Sä chsi sche G a l eri e, C h emn i t z , G e r m a ny D e r Ka m pf, G a l er i e Ro th a m el , F ra n kfurt , G e rm a ny T h e Pro m i s ed L a n d , G a l er i e Ro th a m el , Erfurt , G erm a ny
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BAUH UAS M AD E , C o l l a b o rati o n m i t Anne G orke, G a l eri e Ra a b, Berl i n, G e rm a ny We lco m e to Pa ra d i s e, G a l e r i e Ro t h a m el , F ra nkfurt , G erm a ny E re ign i s D r u c k g raf i k 8 , Ta p etenwe rk L ei pzi g , G erm a ny Ro a sted , L o d ge G a l l er y New Yo r k, USA
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sp ect r u m o n e / o n ca nva s , G a l er i e Ei ge nhei m , Wei m a r, G erm a ny Reco m m en d ed by, e a sy U pst rea m , Refl ektor M Muni ch, G e rm a ny D as We i m a re r B a u h a u s a u f S ti p Vi si te , SV Kunst foyer St utt ga rt , G e rm a ny Po cket, G a l er i e D u ka n , L e i pz i g , G e rm a ny F lu cht p u n kte , AC C G a l e r i e We i m a r, G erm a ny Po rn Po r n Po r n , E I G E N + ART L a b , Berl i n, G e rm a ny Ngo ro n go ro, Ar ti st Wee ken d B er l i n, G e rm a ny D rawin g s , G a l e r i e D u ka n , Pa r i s , F ra nce A lte rit y, Th e L o d ge G a l l e r y, New York, USA
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D es Gra n d s Ye u x M o r ts , G a l er i e D uka n, L ei pzi g , G erm a ny L e s F leu rs d u M a l , Th e L o d ge G a l l er y, New York, USA H Rö NI R : U N- LO ST TH I N G S , bf p c reat i ve, New York, USA H o t sp o t VA , Trei ze , Pa r i s , F ra n c e F re m d e, B a u h a u s M u s e u m , H a u s a m H orn We i m a r, G e rm a ny
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Le j ardi n s o u ter ra i n , S tat i o n S a i nt- G erm a i n-des-Prés, Pa ri s, F ra nce D o ll h ou s e, G a l e r i e Ro t h a m el , E r f u r t , G e rm a ny T h e We l co m e S h ow, C h o i r / G a l e r i e Ei genhe i m , S ha ng ha i
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T h e D ou b l e D i r ty D oze n , F rei g ht& Vol um e, New York, USA E re ign i s D r u c k g raf i k 4 , G a l er i e Vo rort Ost , L ei pzi g , G erm a ny S t ip pv i s i te, Neu e s M u s e u m Wei m ar, G e rm a ny
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Grat wa n d er u n g , Ne u es M u s eu m Wei m a r, G erm a ny I M PUL S E , Aa n d o F i n e Ar ts , B er l i n , G erm a ny A lm o st t ra n s p a re nt b l u e, Y G a l l er y, New York, USA
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C H RO M A , B a u h a u s - U n i vers i tät Weim a r, G erm a ny E u ro pe a n C o ntem p o ra r y P r i nt Tr i e nni a l 2 0 1 0 , Toul ouse , F ra nce
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V isite , Ku n stve re i n S p eye r, G er m a ny Tra it s n o i rs , M o o C h ew Wo n g et s es i nv i tés, 3 5 a ns d’ate l i er de g rav ures à l a Vi l l a Arson, M u sée d e s B e a u x Ar ts Ni c e , F ra n c e
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E xku rs i o n en , G a l e r i e Ro t h a m e l , E r furt , G erm a ny
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UM A M B i e n n a l e , U n i o n m e d i ter ra n é enne pour l ´ a rt m oderne, Ni ce , F ra nce
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Ne p a s to u c h er l e co nto u r, G a l e r i e d´ essa i , Vi l l a Arson, Ni ce, Fra nce
Wo rks i n C o llec t io n s S a m m l u n g D ro e ge A n ger m u s eu m E r f u r t Fach ho c h s c h u l e Ki e l G2 Ku n sth a l l e S a m m l u n g S teffen Hi l debra ndt Ge rm a n i s c h es Nati o n a l m u s eu m Nürnberg H a ll C o l l ec t i o n Ku n st h a u s M eye n b u rg No rd h a u s e n N. M Kl e i n h eye r S t i f t u n g A n ita u n d G ü nter L i c hten ste i n S ti f tung Lin d en a u M u s e u m Al te n b u rg S a m m l u n g Ne u er M u seu m f ü r D r u c k ku n st L ei pz i g Ne u e s M u s e u m Wei m a r V illa Ars o n Ni c e B au h a u s U n i ve rs i ty Wei m a r T h ü ringer S ta ats ka n z l ei S a m m l u n g H en s e , G evel s b erg
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