The art of Boris Lurie (* 1924, Leningrad) and Wolf Vostell (* 1932, Leverkusen) is determined by the break in civilization in Germany in 1933, which made the German genocide of German and European Jews (the Shoah) possible. Both artists make the Shoah the subject of their work in a radical way. They work - initially independently of one another - with the means of painting and during the 1950s they resort to the stylistic devices of the first avant-garde: Cubism, Dadaism, Surrealism. They strategically employ collage and assembly techniques. Vostell later develops the subject further in the media of happening and video art while Lurie takes up writing. In 1964 the artists met in New York and entertained a lifelong friendship.

English Description: The three artists to whom the exhibition is devoted, Ferdinand Hodler, Aleksandr Deyneka and Neo Rauch, stand in the twentieth century for the story of the utopia of the 'New Man', from its conception to its failure or continued life as the case may be. They exemplify with their artistic uvre the three stages through which the concept has passed. The early years of the twentieth century were marked by the life-reform movement, which fed on the one hand from the ideas of Romanticism, and on the other reactivated secularized Christian motifs in the nativity of the 'New Man'. The Swiss artist Ferdinand Hodler (1853-1918) was one of the leading artistic exponents of this movement. In an artificially created harmony with nature, his monumental figures set the surface of the picture in rhythmic motion with silhouette-like expressive gestures. One of Hodler's hitherto most important successors was the Russian painter Aleksandr Deyneka (1899-1969). In his motifs, but also in the body language and modelling of his characters, he took his bearings from the eurhythmic movements of the Swiss artist's figures, but placed them in prospering industrial landscapes. Finally, the painter Neo Rauch (b. 1960), who grew up and received his artistic training in communist East Germany, takes up once more the type of the 'New Man' on which Hodler and Deyneka had put their stamp. However, his figures exaggerate the aspect of inhibited action, recognizable already in his predecessors, and this aspect emerges, in the end, in aimless messing around in absurd configurations. Here the utopia of the 'New Man' is turned on its head to become a rejection of the belief in progress and of all ideology. German description: Die drei Kuenstler der Ausstellung, Ferdinand Hodler, Aleksandr Dejneka und Neo Rauch, stehen im 20. Jahrhundert fuer die Geschichte der Utopie des -Neuen Menschen- von seinem Entwurf bis zu seinem Scheitern bzw. Nachleben. Sie verkorpern mit ihrem kuenstlerischen Werk exemplarisch die drei Etappen, in denen sich dieser Prozess vollzieht