Erich Buchholz architectural model studio Herkulesufer 15, Berlin, 1922/1968, photographer: Hubert P. Klotzeck owner: Foundation for Concrete Art and Design, Ingolstadt
On the occasion of the 50th anniversary of the death of Erich Buchholz (1891-1972), the Kunsthaus Dahlem is presenting an exhibition in cooperation with the estate, the Foundation for Concrete Art Ingolstadt and the National Museum in Szczecin about the versatile artist, whose post-war oeuvre is now being presented for the first time prominently in…
Carved Frame Nr. 2 (Im Großen Saal), 2021, CFK, Glas, Holz, Bast, 90 x 90 x 11cm, Lena-Elise Aicher. Foto von Benjamin Rentner.
English Version of the text will follow. Unter dem Titel „Tinged“, zu deutsch „gefärbt“ oder „angelaufen“, lädt die Bernhard-Heiliger-Stiftung Sie ein zur Werkpräsentation der letztjährigen Preisträgerin des Bernhard-Heiliger-Förderstipendiums; von der Jury unter Leitung von Dr. Sabine Ziegenrücker wurde es 2021 Lena-Elise Aicher zugesprochen. Lena-Elise Aicher, geboren in Konstanz, studierte an der Universität der Künste in…
Bernhard Heiliger, Two figures in relationship I, 1953, cement casting, h. 51 cm, Berlin, Bernhard Heiliger Foundation
Vadim Sidur cycle "The female principle", 1965
Aluminum, 35 x 9 x 6 cm, Berlin, Karl Eimermacher Collection
Two post-war artists strove for freedom of expression: Bernhard Heiliger (Germany), who, at the rise of defamation against formalism, moved from the Soviet sector to the American, and Vadim Sidur (USSR), who was banned from exhibiting in his homeland after his very first show and soon even restricted from travelling abroad. Today, well-known pieces by…
Plato (about 427–347 BC) once came to the conclusion that the place in which thought appears sets the direction for its movement. In the 1970s, various philosophers broadened the understanding of place and space, especially public space. Thus, for example, Gilles Deleuze (1925–1995) and Felix Guattari (1930–1992) outlined: different surfaces of social, political, cultural, and…
Wolf Vostell, Shoah 1492–1945, 1997, Acrylic and concrete on panel, 270 x 660 cm. THE WOLF VOSTELL ESTATE. © 2022 VG Bild-Kunst, Bonn
Two artists, one theme – when Wolf Vostell (1932– 1998) and Boris Lurie (1924- 2008) met in the 1960s, they soon shared more than a deeply felt friendship. Both adopted political positions with their art, both conten- ded with the reappraisal of the inconceivable horrors of the Holocaust, and both opposed war, cruelty and crimes…