68ELF Exhibition Cologne 2012

 

Cologne, Germany 2012. Participating in the centre of this old and beautiful city, a city which burst of energy,  is something special. No wonder this city delivered some more than energetic painters as; Jiri Georg Dokopil, Hans Peter Adamski, Walter Dahn, Peter Bömmels, Gerhard Nashberger and Gerard Kever. Just to name a few of the " Neuen Wilden ". Besides Cologne, also Berlin and Hamburg produced artist belonging to this group. But the Cologne based painters work had a totally different power of expression.  

Each and every artist allways will be looking for a different power of expression... in whatever shape or form. Allways trying to create a piece in which he/she can create an own power. The power of silence, the power of anger, the power of color, darkness or light etc. About thirty years after Die Neuen Wilden, Mike Kramer and I were invited to join the exhibit called: Das sehe wir anders, danke. { We see something else, thank you. }.

 

Mike Kramer, born Australian, living in the Dutch city Heerlen, sound-artist and managing  the [H]ear Institute.presenting a soundart institution. exhibiting in the same room with the German painter Felix Sanmitra of Atelier Kunstknoten in Cologne. Creating a surprising and akward result. Three totally different pieces combined in one space. Samantras allmost classical oil painting, the serenity of Kramers sound-art installation and the repelling painted, drawn installation of myself.

The painted and drawn installation is repelling indeed. But it's not only repelling, it's looks wild,chaotic and banal. This summary leading to the most important category, the category of : basal. Basal because the most effective forms in live and art are beauty and the sublime.

A philosophical enquiry into the origin of the sublime and beautiful, written by the British philosopher Edmund Burke { 1729-1797 } in 1757, explores the essence of aesthetica in art. According to this enquiry, and not only this one, the sublime being the stronger one, overwhelmig beauty. Fear against joy. Death and live. Inseparable.

This installation possesing exactly the same characteristics as the paintings made in the period before 2011 shows clearly that moving onwards to installation-art is a logical step. To me these installations still are paintings. Paintings getting alive in the space surrounding them. Attached and apart to the surroundigs, perhaps showing a glimpse of Kurt Schwitters poem: An Anna Blume. Doesn't this poem touch its surroundings?

Perhaps not giving answers ... but should art give answers? Isn't art supposed to ask questions, rather then giving answers? Not only to the spectator but also to the artist. An artist having found the answer is a finished artist. And there's no fun in being a finished artist...

... ich faden Sonne Glimmerglanz

und Glimmergluten sanftet Welt...

 

 

  

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