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With a Probability of Being Seen. Dorothee and Konrad Fischer:
Archives of an Attitude focuses primarily on the personality of
Konrad Fischer - as a painter, as an exhibition maker and as a
gallery owner. The influence of this key figure in the development
of contemporary art from the 1960s to the 1990s is presented in the
exhibition in three ways: through his own works, through archived
documents and through the works of his artists, which he collected
together with his wife Dorothee. Numerous documents and
photographs, shown in public for the first time, convey a richly
faceted picture of Konrad Fischer's activities and a captivating
panorama of this great period of contemporary art in the Rhineland.
This collection, too, testifies to the consistent attitude that
characterised Konrad Fischer, an attitude that cannot be readily
explained or quantified in material terms.
An overview of the work of a German industrial designer known for
his functional, geometric and mass-manufactured furniture and
household objects In devising a concept for the Abbildungen
exhibition, Konstantin Grcic thought back to one of his earliest
designs, an additional pedestal for a sculpture by Constantin
Brancusi. This became the leitmotif of his staging of twenty-one
selected objects. The exhibition is the underpinning for the
conception of this publication, which turns its gaze on the
media-framing of Grcic's design objects. First researched in early
magazines, company prospectuses, flyers and other print media, the
selected pieces are presented here as reproductions of
reproductions. The publication is accompanied by an in-depth
analysis by Robin Schuldenfrei, Professor at the Courtauld
Institute of Art in London, who, in presenting Konstantin Grcic's
oeuvre to the German-speaking world, examines it from a historical
perspective for the first time. Finally, the staged gallery spaces
at Kunsthalle Bielefeld are documented in photographs by Wolfgang
Gunzel, Offenbach.
Hans Hofmann, a representative of Abstract Expressionism and
American Modernism during the 20th century with European roots, had
a fundamental influence as a teacher on the development of modern
art in America. His brightly coloured paintings, watercolours and
drawings can now be discovered in a European retrospective. From
1904 until 1914, the painter Hans Hofmann (1880 - 1966), who was a
friend of Picasso, Braque, Matisse, the Fauves and Robert and Sonia
Delaunay, witnessed and absorbed the new art in Paris, the centre
of European art. In his art school, founded in Munich in 1915, he
became a mediator of French modernism and achieved international
fame as an art teacher. In 1932 he emigrated to the United States
and two years later opened the Han s Hofmann School of Fine Arts in
New York. He influenced a new generation of American artists,
including Jackson Pollock, Helen Frankenthaler and Barnett Newman.
Entropy seems to be an accepted norm in the world. Confronted with
entropy, human action, research, and order are able to offer less
and less resistance. But instead of lamenting the impossibility of
finishing this project, Lea Grebe's art proposes a new perspective
through the interface of science and technology. Over the years,
she has built up an archive to document dead insects-where they
were found, how they were found, and what state they were in when
discovered. The insects have been cast in bronze in an elaborate
process. By being transformed into durable material, it seems as if
the creatures have undergone a final metamorphosis, in which they
take on an ultimate, artificially maintained appearance. The
emphasis on the individual and what is individual is evidence of
the search for a new, ecological, empathetic way of thinking that
honours the independent and inimitable.
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