Posts Tagged ‘Hamburger Kunsthalle

27
Feb
22

Exhibition: ‘Hildegard Heise: Photographer’ at Museum fur Kunst und Gewerbe Hamburg

Exhibition dates: 17th September 2021 – 20th March 2022

 

MK_G_HildegarHildegard Heise (German, 1897-1979) 'Karussellpferde, Halle a. d. Saale' (Carousel Horses, Halle a. d. Saale) 1929d_Heise_Karussellpferde

 

Hildegard Heise (German, 1897-1979)
Karussellpferde, Halle a. d. Saale (Carousel Horses, Halle a. d. Saale)
1929
Gelatin silver paper
29 x 38.7cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

 

Here is another woman photographer with an strong, passionate, objective but sensitive eye who seems to have slipped through the cracks of time, history and recognition. Would you believe it, this is the first comprehensive survey of the work of photographer Hildegard Heise (German, 1897-1979).

At first New Objectivity, New Vision to the fore… multiples, rows and grids. Carousel horses shot from below, town hall towers as a medieval encampment, and a mass of herring barrels so perfect in their unity higher than the surrounding buildings. An then my favourite, the mass and floating weight of the leaves of the Victoria Regia… the rigour of the composition, its cadences, and the tonality and feeling of the image are just superb. I could go on: the cactus, the crystal, the china – so pure and clean. Followed by glorious almost breathless landscape photographs – Wintry trees, Hamburg (1955, below) and Blossoming apple trees (1961, below). Where has this woman been?

The star of the show has to be her portrait photography. THIS is how you take a portrait, unlike those modestly proficient evocations we saw from Man Ray in the last posting. In these portraits Heise shows her strength and understanding of subject matter, she grasps the essence of the person she is photographing… the whimsy of Alfred Mahlau with film strips (1928-1933, below); the sensitivity of the hands of Carpet weaver Alen Müller-Hellwig at work (1930, below); the windswept bravura of Siegfried Leber, cow hand in Neuendorf on Hiddensee (1934-1938, below); and the composure of the mother in Mother and child on the inter-island steamer (1938, below) with the shadow of the hat covering her face, and the placement of the hands of both mother and child. You could almost pick these people out of the photo and shake them, ask them about their lives, empathise with them. They have true presence. Call me an old romantic, but I could rave on and on about this photographer’s work.

And to top it all off, we have a self-knowing, all-knowing self-portrait where Hildegard (which is a female name derived from the Old High German hild (‘war’ or ‘battle’) and gard (‘enclosure’ or ‘yard’), and means ‘battle enclosure’) appears as if a Sander archetype, staring directly at the camera like a Wagnerian god/ess, both masculine and feminine at the same time. A true enunciation of Gesamtkunstwerk, where art, design, creative process and life combine to create a single cohesive whole.

I take a lovely enjoyment, finally, in her success (Freudenfreude).

Dr Marcus Bunyan

.
Many thankx to the Museum fur Kunst und Gewerbe Hamburg for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

It was in the 1920s, a decade when new career prospects were opening up for women, that Hildegard Heise discovered her passion for photography.

Photography during this period reflected the upheavals and transformation of society in the wake of the First World War. Heise found innovative ways to picture these developments, often choosing unusual perspectives. In line with the “new” genre of object photography, which showcased the world of things, she emphasised the structure, surfaces and form of her subjects. Heise for example shot the “bathing machines” in the French beach town of Carolles from a plunging angle to highlight their graphic structures, and focused in on the shiny surfaces of technical vessels produced by a Berlin porcelain manufactory.

Heise found portrait models all around her, photographing mainly children and artists. In 1937 she took a long trip through the Caribbean, portraying people in their communities, their home settings and landscapes. A precise observer, she succeeded in painting a multifaceted picture of a foreign, still little-travelled region. Even at an advanced age, Heise was still capturing landscapes with her camera; her last pictures show the view out her window of passing cloud formations.

 

 

Hildegard Heise (German, 1897-1979) 'Lübeck, Rathaustürme' (Lübeck, town hall towers) 1932

 

Hildegard Heise (German, 1897-1979)
Lübeck, Rathaustürme (Lübeck, town hall towers)
1932
Gelatin silver paper
17.2 x 23.3cm
Museum für Kunst und Gewerbe Hamburg
© Estate Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Emden, Heringstonnen auf dem Gelände einer Heringsfischerei AG im Hafen' (Emden, herring barrels on the premises of a herring fishing company in the port) c. 1934

 

Hildegard Heise (German, 1897-1979)
Emden, Heringstonnen auf dem Gelände einer Heringsfischerei AG im Hafen (Emden, herring barrels on the premises of a herring fishing company in the port)
c. 1934
Gelatin silver paper
17.3 x 23.3cm
Museum für Kunst und Gewerbe Hamburg
© Estate Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Blätter der Victoria Regia im Botanischen Garten in Berlin' (Leaves of the Victoria Regia in the Botanical Garden in Berlin) 1934-1945

 

Hildegard Heise (German, 1897-1979)
Blätter der Victoria Regia im Botanischen Garten in Berlin (Leaves of the Victoria Regia in the Botanical Garden in Berlin)
1934-1945
Gelatin silver paper
16.7 x 22.7cm
Museum für Kunst und Gewerbe Hamburg
© Estate Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Deichlandschaft bei Emden' (Dike landscape near Emden) Before 1937

 

Hildegard Heise (German, 1897-1979)
Deichlandschaft bei Emden (Dike landscape near Emden)
Before 1937
Gelatin silver paper
17 x 23cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Haus mit Garten, Christiansted, Insel St. Croix' (House with garden, Christiansted, Island of St Croix) 1937-1938

 

Hildegard Heise (German, 1897-1979)
Haus mit Garten, Christiansted, Insel St. Croix (House with garden, Christiansted, Island of St Croix)
1937-1938
Gelatin silver paper
18.3 x 16.8cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Eisschollen am Elbstrand, Hamburg' (Ice floes on the Elbe beach, Hamburg) 1956

 

Hildegard Heise (German, 1897-1979)
Eisschollen am Elbstrand, Hamburg (Ice floes on the Elbe beach, Hamburg)
1956
Gelatin silver paper
17.1 x 23cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'A Young Girl Cuts Her Nails' 1937-1938

 

Hildegard Heise (German, 1897-1979)
A Young Girl Cuts Her Nails
1937-1938
from the series A Journey through the West Indies
Gelatin silver paper
17.2 x 16.2cm
Museum für Kunst und Gewerbe Hamburg
© Estate Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Bergkette, Nußdorf am Inn' (Mountain range, Nußdorf am Inn) 1961

 

Hildegard Heise (German, 1897-1979)
Bergkette, Nußdorf am Inn (Mountain range, Nußdorf am Inn)
1961
Gelatin silver paper
23 x 17cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Adolescents on the shore, Central Park, New York' 1970

 

Hildegard Heise (German, 1897-1979)
Adolescents on the shore, Central Park, New York
1970
C-Print
7.8 x 7.8cm
Museum für Kunst und Gewerbe Hamburg
© Estate Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Städter auf der Parkbank schlafend, Central Park, New York' (Townsfolk asleep on park bench, Central Park, New York) 1970

 

Hildegard Heise (German, 1897-1979)
Städter auf der Parkbank schlafend, Central Park, New York (Townsfolk asleep on park bench, Central Park, New York)
1970
C-Print
11.8 x 12cm
Museum für Kunst und Gewerbe Hamburg
© Estate Hildegard Heise, MK&G

 

 

The Museum für Kunst und Gewerbe Hamburg (MK&G) is proud to present the first comprehensive survey of the work of photographer Hildegard Heise (1897-1979). The photographs she produced between 1928 and the early 1970s are nothing less than a revelation. In 1930, Heise exhibited alongside avant-garde photographers such as Max Burchartz, Andreas Feininger, Hans Finsler, Hein Gorny and Anneliese Kretschmer at the “Internationale Ausstellung – Das Lichtbild” in Munich. But this buoyant period of bright prospects was followed after 1945 by a systematic side-lining of women artists. Heise continued to privately pursue photography, but her work fell into oblivion and was little researched. With around 160 images on view, the exhibition now pays delayed tribute to this important photographer. As an exponent of the New Objectivity, Heise often focused in closely on details and emphasised the structure, surfaces and form of her subjects. Her images span the areas of object photography, portrai­ture, in particular portraits of children, city scenes, travel photography and landscapes. Heise lived in Lübeck until 1933 and in Hamburg from 1945 to 1959, where she helped shape the city’s cultural life together with her husband, Carl Georg Heise, director of the Hamburger Kunsthalle from 1945. The couple counted among their close friends the painter Anita Rée, the graphic artist and painter Alfred Mahlau, and the photographer Albert Renger-Patzsch. Heise did a number of portraits while in Hamburg, for example of Oskar Kokoschka, Karl Schmidt-Rottluff and the weaver Alen Müller-Hellwig. Hildegard Heise’s estate, comprising around 3000 photographs and 2500 negatives, is housed at MK&G.

The exhibition is organised along Heise’s major areas of focus. In her OBJECT PHOTOGRAPHY she highlighted graphic structures and the formal qualities of the objects depicted. In 1930, for example, she photographed the “bathing machines” in the French town of Carolles from an unusual camera angle and showed the turrets lined up atop Lübeck’s town hall. She devoted the same attention to the worn surfaces of Much-Loved Dolls (1928) as she did to the immaculate exteriors of technical vessels produced by a Berlin porcelain manufactory [see below].

Heise found models for her PORTRAITS all around her, for example among her friends or artists such as Oskar Kokoschka, Karl Schmidt-Rottluff and Alfred Mahlau. These are often half-length portraits concentrating on the sitter’s face, manifesting the great preoccupation during this period with physiognomy. Children’s portraiture – mainly the realm of women photo­graphers at the time – became a specialty that Heise continued to pursue over the years. She did such portraits on commission but also in her circle of friends, where she proved to be an attentive observer, seemingly capturing candid moments.

From 1934 to 1936 Heise created an extensive CITY PORTRAIT of Emden that interweaves photographs of people, the cityscape and the northern German dike landscape. Her study of Emden combines shots of boatmen, carters and other occupational groups with scenes of the harbour with its herring factory and views of the Hanseatic city’s architecture and cultural monuments. Heise would continue in the following decades to work with the stylistic device of linking varied perspectives.

In 1937-1938, Heise and her husband took an extended trip to the islands of St. Thomas, St. Croix, Jamaica and Hispaniola in search of traces of her Caribbean grandmother. The PHOTOGRAPHIC TRAVEL REPORTAGE she created during the journey conjoins portraits with scenes of the landscape and built environment. In addition to the sea, exotic vegetation and architecture, she evinced a keen interest in the people she encountered and the different ways of life of the various social classes. Her subjects include the wife of a priest, an elegantly dressed Caribbean lady she spied on a ferry as well as a chambermaid in a grand hotel and the children of market vendors. By addressing everyday human experiences, Heise’s work thus anticipates the humanist photography of the post-war period. After the war, Heise’s travel photography became even more spontaneous and situational. In Naples in the 1960s, she captured the colourful comings and goings at the harbour, and in 1969 she observed the process of wood being loaded onto ships at a port in Finland. The photographer’s pronounced interest in painting a broad portrait of society with its different classes and cultures is in evidence once more in her images of New York’s Central Park (1970).

Another consistent theme in Heise’s work is LANDSCAPE PHOTO­GRAPHY. Until an advanced age, she engaged in an almost meditative contemplation of trees and their root systems, remaining true to her matter-of-fact, objective approach. Her nature observations intensified even further after she moved to Nußdorf am Inn, where starting in 1960 she produced extensive series of scenes of the Upper Bavarian winter landscape surrounding her new home. Photography would remain an important means of expression for her until the very last; she was still photographing passing clouds from the window of the residential home where she spent her final years.

Hildegard Heise, born in Lübeck in 1897, initially trained during the First World War as a kindergarten teacher, baby nurse and social worker, unusual occupations for a woman from the upper middle class that testify to her social commitment. After marrying Carl Georg Heise in 1922, she gave up these activities and took up photography, studying in 1928 with her contemporary Albert Renger-Patzsch, a friend of the couple who was at the time a museum director in Lübeck. She accompanied Renger-Patzsch to Holland and Alsace as his assistant. From 1929 to 1930 she continued her training with Hans Finsler (head of the photography class at the Burg Giebichenstein School of Art in Halle) and spent three months working in Grete Kolliner’s portrait studio in Vienna. In 1930 Heise exhibited at the “Internationale Ausstellung – Das Lichtbild” in Munich. Thereafter she participated in a showing of the “Kurt Kirchbach Collection” at the Hamburger Kunstverein in 1932 and in an exhibition on “Contemporary German Photography” at Mills College in California around 1934. Her photographs were featured in magazines including Atlantis, Das Deutsche Familienblatt and the Allgemeiner Wegweiser. Heise sold her pictures through the photography agencies Bavaria and kind-foto and accepted commissions to document works of art and decorative art and architecture, including for the publication Das Lübecker Orgelbuch (1931). From 1945 until the early 1970s, Heise continued to pursue her artistic activities in private.

Press release from the Museum fur Kunst und Gewerbe Hamburg

 

Anita Rée (German, 1885-1933) 'Portrait of Hildegard Heise' 1927

 

Anita Rée (German, 1885-1933)
Portrait of Hildegard Heise
1927
Oil on canvas
40.6 x 35.6cm
Hamburger Kunsthalle
© Hamburger Kunsthalle / bpk
Foto: Elke Walford

 

 

“I can no longer find my way in such a world, to which I no longer belong and I have no desire but to leave it. What is the point – without a family, without the once loved art and without any people – to continue to vegetate alone in such an indescribable, madness-riddled world … ?”

.
Anita Rée in her farewell letter to her sister before committing suicide in 1933

 

 

Anita Clara Rée (born 9 February 1885 in Hamburg, died 12 December 1933 in Kampen) was a German avant-garde painter during the Weimar Republic. After she took her own life the anti-Semitic government declared her work degenerate. Her works were saved by a groundskeeper. …

In 1930, she received a commission to create a triptych for the altar at the new Ansgarkirche in Langenhorn. The church fathers were not happy with her designs, however, and the commission was withdrawn in 1932 over “religious concerns”. Meanwhile, the Nazis had denounced her as a Jew and the Hamburg Art Association called her an “alien”. Shortly after, she moved to Sylt.

She was a suicide in 1933, partly as a result of having been subjected to such hostility and continuing harassment by antisemitic forces, partly due to disappointments on the personal level. In a note to her sister, she decried the insanity of the world. In 1937, the Nazis designated Rée’s work as “Degenerate art” and began purging it from museum collections. Wilhelm Werner, a groundskeeper at the Kunsthalle Hamburg preserved many of Rée’s paintings by hiding them in his apartment.

Text from the Wikipedia website

 

Anita Rée is one of the most fascinating and enigmatic artist of the 1920s. In many respects she lived a life in between worlds: as an independent woman in an art world on the verge between tradition and Modernism, as a regional artist with international aspirations, as a native from Hamburg brought up as a Protestant, with South American and Jewish roots. The works of Anita Rée (1885-1933) also reflect the at times radical changes in modern society at the beginning of the 20th century. Yet their main focus lies on the search for one’s own identity that is still highly topical and existential.

In hauntingly intense paintings, Rée depicts both people of different origins and the self as a foreign being. Her intimate female nudes continue to touch us today. Portraits of society gentlemen, the southern landscape as a place of yearning, worldly figure paintings with religious overtones or lone animals in stark dunes mirror the wide variety of her motives.

Text from the Hamburger Kunsthalle website [Online] Cited 12/02/2022

 

Hildegard Heise (1897–1979) 'Self-portrait' 1930s

 

Hildegard Heise (German, 1897-1979)
Self-portrait
1930s
Gelatin silver paper
22.7 x 16.8cm
Museum für Kunst und Gewerbe Hamburg
© Estate Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Alfred Mahlau mit Filmstreifen' (Alfred Mahlau with film strips) 1928-1933

 

Hildegard Heise (German, 1897-1979)
Alfred Mahlau mit Filmstreifen (Alfred Mahlau with film strips)
1928-1933
Gelatin silver paper
23.2 x 17.4cm
Private collection
© Nachlass Hildegard Heise, MK&G

 

 

Alfred Mahlau (German, 1894-1967)

Alfred Mahlau (21 June 1894 – 22 January 1967) German painter, illustrator and teacher.

Alfred Mahlau was born in Berlin on 21 June 1894. He was best known for his graphical work and illustrations, and for the large stained glass window, Dance of Death, in the Lübeck Marienkirche (St. Mary’s Church in Lübeck), which paid homage to a famous mural of the Dance of Death in the church that was destroyed in the bombing of Lübeck during World War II. His books include a number of works with paintings and drawings of Hamburg and the Hamburg port. In the 1920s Mahlau created packaging design for Niederegger, and in 1927 he created the company profile that it still uses today.

During the Third Reich he was a celebrated artist, and was drafted only at a very late stage, to Berlin in April of 1945. He was captured by the Soviets, and held in custody for a couple of months. After the war he became a professor in 1946 at the Hamburg Academy of Fine Arts in Lerchenfeld.

He died in Hamburg on 22 January 1967.

Text from the Wikipedia website

 

Hildegard Heise (1897-1979) 'Ulrike von Borries in a deck chair' 1928-1933

 

Hildegard Heise (German, 1897-1979)
Ulrike von Borries in a deck chair
1928-1933
Gelatin silver paper
39.2 x 29.3cm
Museum für Kunst und Gewerbe Hamburg
© Estate Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Badekarren, Carolles' (Bathing carts, Carolles) 1928-1933

 

Hildegard Heise (German, 1897-1979)
Badekarren, Carolles (Bathing carts, Carolles)
1928-1933
Gelatin silver paper
17.2 x 23.1cm
Museum für Kunst und Gewerbe Hamburg
© Estate Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Diwandecke von Alen Müller-Hellwig' (Divan corner of Alen Müller-Hellwig) c. 1930

 

Hildegard Heise (German, 1897-1979)
Diwandecke von Alen Müller-Hellwig (Divan corner of Alen Müller-Hellwig)
c. 1930
Gelatin silver paper
23.5 x 17.5cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

 

Alen Müller-Hellwig (German, 1901-1993)

Alen Müller-Hellwig, née Müller ( October 7, 1901 in Lauenburg in Pomerania – December 9, 1993 in Lübeck) was a German weaver.

Alen Müller learned hand weaving and embroidery, first at the Hamburg School of Applied Arts as a student of Paul Helms and Maria Brinckmann, then at the Munich School of Applied Arts with Else Jaskolla. In 1925 she passed the master’s examination as an embroiderer and in 1928 as a hand weaver.

From 1926 to 1991 she had a workshop for hand weaving in Lübeck. In 1934 she was given the castle gate (tower and the customs officer’s house to the east ) as a place to work and live. She had been married to the violin maker Günther Hellwig (1903-1985) since 1937, who also moved his workshop here and devoted himself specifically to building the viola da gamba .

As one of the first weavers, she created a tapestry using only undyed sheep’s wool, working solely with the natural shades and material appeal of the undyed and partially unwashed wool. When Der Baum, her first work of this kind, was exhibited in the Grassi Museum in Leipzig in autumn 1927, it caused a sensation. She was then invited to all major exhibitions of German arts and crafts abroad.

Her style came close to the ideas of the Bauhaus. She “invented constructive motifs from the technique of warp and weft.” With the exhibition Handwoven Carpets from the Best German Weaving Mills in the Behnhaus, Carl Georg Heise offered her the first great opportunity to present herself in Lübeck and showed her work again in the Hallway of the Behnhaus on the occasion of the major Lübeck Carl Milles exhibition in 1929. From 1929, Mies van der Rohe and Lilly Reich ordered a series of monochrome, hand-knotted sheep’s wool carpets from her for the Villa Tugendhat, the Barcelona pavilionand buildings in Paris and Milan. In 1931 she received the honorary award of the city of Berlin. She took part in the world exhibitions in Chicago in 1933 and in Paris in 1937. In Paris she received a gold medal.

Alfred Mahlau, Robert Pudlich and Ervin Bossányi, among others, provided designs for their carpets. A template by Bossányi was her first figurative weaving motif. In 1932 she was the only woman to co-found the artist group Werkgruppe Lübeck with the painters Curt Stoermer and Hans Peters, the graphic artist Alfred Mahlau, the garden architect Harry Maasz and the architects Wilhelm Bräck and Emil Steffann.

From 1934 to 1939, 70 carpets were made based on designs by Alfred Mahlau, mainly on behalf of the Reich Air Ministry, but also for municipalities and private individuals. This kept the growing workshop busy. In 1935 it comprised ten looms, a wool washer, a spinning mill with nine spinning wheels, a showroom and an office and sales room and employed three journeymen, four apprentices, two clerks, three unskilled workers, nine homeworkers and two interns. The first carpet in this series was the curtain Drei Möwen for Kiel-Holtenau Airport. Most of the works from this period have been destroyed or lost. Some examples including the cycle However, the four elements from 1939 have been preserved because they were acquired by Walter Passarge for the Kunsthalle Mannheim. The cooperation with Mahlau ended in 1940 because Alen Müller-Hellwig wanted to support Hildegard Osten, who had worked for many years, after opening her own workshop. In March 1942, during the German occupation, an exhibition was held in the Reichsmuseum Amsterdam under the title Exhibition of modern tapestries based on designs by Alfred Mahlau and Alen Müller-Hellwig Lübeck. fabrics and embroidery. Alfred Mahlau Lübeck. Cardboard boxes for tapestries from the workshop of Alen Müller Hellwig.

Alen Müller-Hellwig turned back to her own designs and created until 1942 a series of tapestries with plant motifs such as Foxglove Meadow (1940), Spiraea, Bear’s Hogweed and Mullein. Also after the air raid on Lübeck on March 29, 1942, where her workshop remained undamaged, she continued to run it in the Lübeck Burgtor (she brought her two children Friedemann and Barbara to safety in Timmendorfer Strand). After the end of the war, the work was expanded to include textiles for everyday use (bed linen, towels, tablecloths) and employed numerous women, especially from East Germany, e.g. Spinners from East Prussia. After the industrial production of textiles got going again, she limited her work to decorative pieces and floor carpets. In 1954 she received the Art Prize of the State of Schleswig-Holstein. Alen Müller-Hellwig ran her workshop until 1990.

Her last trainee Ruth Löbe (1959-2016) took over the workshop in 1992 and continued it until her death in January 2016.

Text translated by Google Translate from the German Wikipedia website

 

Hildegard Heise (German, 1897-1979) 'Die Teppich-Weberin Alen Müller-Helwig bei der Arbeit' (Carpet weaver Alen Müller-Hellwig at work) 1930

 

Hildegard Heise (German, 1897-1979)
Die Teppich-Weberin Alen Müller-Helwig bei der Arbeit (Carpet weaver Alen Müller-Hellwig at work)
1930
Gelatin silver paper
23.3 x 17.3cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Blick in das Kakteenhaus in Bonn/Rhein' (View of the cactus house in Bonn/Rhein) c. 1935

 

Hildegard Heise (German, 1897-1979)
Blick in das Kakteenhaus in Bonn/Rhein (View of the cactus house in Bonn/Rhein)
c. 1935
Gelatin silver paper
23.4 x 17.4cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Bergkristall' (Rock Crystal) c. 1935

 

Hildegard Heise (German, 1897-1979)
Bergkristall (Rock Crystal)
c. 1935
Gelatin silver paper
23.8 x 17.8cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Technisches Porzellan, Berliner Manufaktur, Berlin 1935' (Technical porcelain, Berlin manufacturer, Berlin 1935) 1935

 

Hildegard Heise (German, 1897-1979)
Technisches Porzellan, Berliner Manufaktur, Berlin 1935 (Technical porcelain, Berlin manufacturer, Berlin 1935)
1935
Gelatin silver paper
39.3 x 29.1cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Rathaus Stadtseite, Emden' (Town hall city side, Emden) Before 1937

 

Hildegard Heise (German, 1897-1979)
Rathaus Stadtseite, Emden (Town hall city side, Emden)
Before 1937
Gelatin silver paper
23 x 17cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Siegfried Leber, cow hand in Neuendorf on Hiddensee, Pomerania' 1934-1938

 

Hildegard Heise (German, 1897-1979)
Siegfried Leber, cow hand in Neuendorf on Hiddensee, Pomerania
1934-1938
Gelatin silver paper
22.7 x 16.7cm
Museum für Kunst und Gewerbe Hamburg
© Estate Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Portrait of a Girl, Hispaniola' 1937-1938

 

Hildegard Heise (German, 1897-1979)
Portrait of a Girl, Hispaniola
1937-1938
Gelatin silver paper
17.3 x 12.4cm
Museum für Kunst und Gewerbe Hamburg
© Estate Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Mutter und Kind auf dem Dampfer zwischen den Inseln' (Mother and child on the inter-island steamer) 1938

 

Hildegard Heise (German, 1897-1979)
Mutter und Kind auf dem Dampfer zwischen den Inseln (Mother and child on the inter-island steamer)
1938
From the series A journey through the West Indies
Gelatin silver paper
22 x 17cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Albert Renger-Patzsch mit Zylinder' (Albert Renger-Patzsch with top hat) After 1950

 

Hildegard Heise (German, 1897-1979)
Albert Renger-Patzsch mit Zylinder (Albert Renger-Patzsch with top hat)
After 1950
Gelatin silver paper
23.3 x 17.3cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Arnold Küstermann' 1951

 

Hildegard Heise (German, 1897-1979)
Arnold Küstermann
1951
Gelatin silver paper
23.2 x 17.1cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Winterliche Bäume, Hamburg' (Wintry trees, Hamburg) 1955

 

Hildegard Heise (German, 1897-1979)
Winterliche Bäume, Hamburg (Wintry trees, Hamburg)
1955
Gelatin silver paper
23 x 17.3cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

 

A consistent theme in Hildegard Heise’s work is landscape photography. Up until old age, the photographer repeatedly dealt with trees and roots in an almost meditative repetition, while remaining true to her objective, sober approach. After moving to Nußdorf am Inn, she intensified her engagement with nature observation, where from 1960 extensive series about the Upper Bavarian winter landscape in the vicinity of her new place of residence were created. Photography remained Heise’s most important means of expression until the end of her life. From around 1965, Hildegard Heise photographed simultaneously in black and white and with colour slides. Heise photographed the passing clouds from the window of the residential home where she lived between 1973 and 1975.

Esther Ruelfs on the Museum fur Kunst und Gewerbe Hamburg website Nd [Online] Cited 11/02/2022

 

Hildegard Heise (German, 1897-1979) 'Blühende Apfelbäume, Nußdorf am Inn' (Blossoming apple trees, Nußdorf am Inn) 1961

 

Hildegard Heise (German, 1897-1979)
Blühende Apfelbäume, Nußdorf am Inn (Blossoming apple trees, Nußdorf am Inn)
1961
Gelatin silver paper
23 x 17.1cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

Hildegard Heise (German, 1897-1979) 'Städter im Park, New York' (Townsfolk in the Park, New York) 1970

 

Hildegard Heise (German, 1897-1979)
Städter im Park, New York (Townsfolk in the Park, New York)
1970
Gelatin silver paper
19.3 x 17.4cm
Museum für Kunst und Gewerbe Hamburg
© Nachlass Hildegard Heise, MK&G

 

 

Museum für Kunst und Gewerbe Hamburg
Steintorplatz, 20099 Hamburg

Opening hours:
Tuesday to Sunday 10am – 6pm
Thursday 10am – 9pm
Closed Mondays

Museum fur Kunst und Gewerbe Hamburg website

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10
Jan
21

Exhibition: ‘Max Beckmann: feminine-masculine’ at Hamburger Kunsthalle, Hamburg

Exhibition dates:

Curator: Dr Karin Schick

 

 

Max Beckmann. 'Early humans – primeval landscape' 1939 (revised 1947/48)

 

Max Beckmann (German, 1884-1950)
Frühe Menschen – Urlandschaft
Early humans – primeval landscape

1939 (revised 1947/48)
Gouache, watercolour and ink
49.8 x 64.5cm
Courtesy of Daxer & Marschall, München
© VG Bild-Kunst, Bonn 2020
© Foto: Daxer & Marschall, München

 

 

If ever there were a time in history that I would like to go back to and work as an artist, it is most definitely the interwar years in Paris, or Berlin up until 1933 when the Nazis took control of German culture. I would have revelled in the freedom of expression, freedom of identity, sexuality, gender, New Objectivity (Neue Sachlichkeit), New Woman, news ways of experimentation, and new ways of thinking about the human condition (Jung, Freud, Benjamin). I would have been empowered as an artist to push the boundaries of conservative society, to break prescriptive and outdated cultural norms.

And so with Max Beckmann. There is a basic and fundamental feeling to his paintings, a primordial feeling, in which the artist breaks the boundaries of the taboo fully aware that there may be consequences for doing so. In his paintings Beckmann crafts his stories of passion, desire, mythology and the jouissance of everyday life, expressed through ever more delineated black-outlined caricatures which feature elongated claw-like hands, distorted bodies and mobile, multiple perspectives (see Das Bad (The bathroom) 1930, below). These paintings so generate and compose their own existence (their presence) – one which opposes conventional classical portraiture – that the Nazis labelled them De/generate Art. “Although not Jewish, he was beleaguered by the Nazis, who dismissed him from his teaching post in Frankfurt in 1933 and removed his “degenerate” work from public collections.” (NY Times)

As with any artist, the journey is the key to the development of the work. Look at the assured, slightly fey, well-dressed man in Beckmann’s classical Self-portrait, Florence (1907, below) and then compare it to his Self-Portrait with Horn (1938, below). In the first self-portrait Beckmann is aged 23, seemingly untouched by the vicissitudes of life, debonair, staring straight at the camera, ooh I mean mirror – sorry, canvas – the mouth held in a small thin line, eyes almost blank, cigarette in nonchalantly curled hand. Thirty one years later, age/d 54, Beckmann’s features (having lived through the desolation of the First World War, famine, revolution, the Great Depression, assassination, violence) are gnarled and wizened, his expression grim, his clothing that of a concentration camp inmate, his horn silent and occluded, reminding me of the hearing trumpet of the composer Beethoven. Unable to hear, not wanting to face, the clamour of the onrushing maelstrom.

Dr Marcus Bunyan

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Many thankx to the Hamburger Kunsthalle for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Max Beckmann (German, 1884-1950) 'Self-portrait, Florence' 1907

 

Max Beckmann (German, 1884-1950)
Self-portrait, Florence
1907
Oil on canvas
98 x 90cm
Hamburger Kunsthalle Dauerleihgabe Nachlass Peter und Maja Beckmann
© VG Bild-Kunst, Bonn 2020
© Hamburger Kunsthalle / bpk
Foto: Elke Walford

 

Max Beckmann (German, 1884-1950) 'Self-Portrait with Horn' 1938

 

Max Beckmann (German, 1884-1950)
Self-Portrait with Horn
1938
Oil on canvas
101 x 110cm
Neue Galerie New York and Private Collection
Used under fair use conditions

 

Max Beckmann (German, 1884-1950) 'Adam and Eve' 1917

 

Max Beckmann (German, 1884-1950)
Adam and Eve
1917
Oil on canvas
79.8 x 56.7cm
Staatliche Museen zu Berlin, Nationalgalerie
Erworben mit Unterstützung der Ernst von Siemens Kunststiftung
© VG Bild-Kunst, Bonn 2020
© bpk / Nationalgalerie, SMB
Foto: André van Linn

 

Max Beckmann. 'Portrait of a Romanian (Portrait of Dr. Heidel)' 1922

 

Max Beckmann (German, 1884-1950)
Bildnis einer Rumänin (Bildnis Frau Dr. Heidel)
Portrait of a Romanian (Portrait of Dr. Heidel)
1922
Oil on canvas
100 x 65cm
Dauerleihgabe der Stiftung Hamburger Kunstsammlungen
© VG Bild-Kunst, Bonn 2020
© SHK / Hamburger Kunsthalle / bpk
Foto: Elke Walford

 

Max Beckmann. 'Portrait of Käthe von Porada' 1924

 

Max Beckmann (German, 1884-1950)
Bildnis Käthe von Porada (Portrait of Käthe von Porada)
1924
Oil on canvas
120 x 43cm
Städel Museum, Frankfurt am Main
© VG Bild-Kunst, Bonn 2020
© Städel Museum – ARTOTHEK
Foto: U. Edelmann

 

Max Beckmann. 'Portrait of Ludwig Berger' 1945

 

Max Beckmann (German, 1884-1950)
Bildnis Ludwig Berger (Portrait of Ludwig Berger)
1945
Oil on canvas
135.6 x 90.9cm
Saint Louis Art Museum, Bequest of Morton D. May
© VG Bild-Kunst, Bonn 2020
© Foto: Saint Louis Art Museum, Bequest of Morton D. May

 

Max Beckmann (German, 1884-1950) 'Das Bad' (The bathroom) 1930

 

Max Beckmann (German, 1884-1950)
Das Bad (The bathroom)
1930
Oil on canvas
174.9 x 121.3cm
Saint Louis Art Museum, Bequest of Morton D. May
© VG Bild-Kunst, Bonn 2020
© Foto: Saint Louis Art Museum, Bequest of Morton D. May

 

 

Max Beckmann: feminine-masculine is the first exhibition to examine in detail the often contradictory roles played by women and men in the works of Max Beckmann (1884-1950), one of the great artists of modernism and a potent interpreter of his times. With some 140 paintings, sculptures and works on paper, the show demonstrates the impressive breadth of this subject area in the artist’s oeuvre while enabling viewers to come to a deeper understanding of Beckmann’s multifaceted art. Important loans from public and private collections in Germany and abroad – including the Max Beckmann Estate, the Städel Museum, Frankfurt on the Main, the Saint Louis Art Museum, Missouri / USA, and the Stedelijk Museum in Amsterdam – supplement the Hamburger Kunsthalle’s extensive Beckmann holdings.

The exhibition explores both the historical significance of Beckmann’s paintings as well as their relevance in today’s world. His incisive self-portraits, his double portraits with his wives, the stately likenesses of his sponsors and patrons as well as his mythological and biblical figure paintings compellingly evoke basic constants of human togetherness: desire, devotion and conflict, power and powerlessness, the urge for freedom and the longing to become one with another human being.

Beckmann both exaggerated and blurred gender roles; he discovered tenderness in both female and male figures, power in the heroine as well as the hero. Fascinated by the myths of different cultures, he was familiar with the age-old notion that male and female once split off from a single, androgynous gender and are doomed to yearn forever to be reunified. The artist also read and commented on contemporary writings by Carl Gustav Jung and Otto Weininger that are still the subject of frequent discussion today and which explain individuality as a combination of female and male elements. Beckmann nonetheless liked to style himself as a manfully resolute interpreter of the world, an image that to this day dominates the reception of his work, hindering a more open understanding of his many-layered art.

Accompanying the exhibition are a richly illustrated scholarly catalogue (Prestel Verlag, Munich), an audio guide and regular theme-based guided tours (Saturdays at 3 pm). The museum education offerings uncover multiple perspectives on Beckmann’s art and enable visitors to take part in an on-site dialogue between the curator and further experts (for example on gender research). On 15 January 2021, the Kunsthalle will also host a public, international symposium on Beckmann’s multifaceted examination of the topic of “femaleness and masculinity”.

The exhibition Max Beckmann: feminine-masculine is a true highlight on the Hamburger Kunsthalle’s agenda for 2020. It represents a further instalment in a series of highly acclaimed exhibitions devoted to Beckmann’s art, including Self-Portraits (1993), Landscape as Stranger (1998) and Max Beckmann: The Still Lifes (2014).

Press release from the Hamburger Kunsthalle

 

Max Beckmann. 'Double portrait (Max and Mathilde Beckmann)' 1941

 

Max Beckmann (German, 1884-1950)
Doppelbildnis (Max und Mathilde Beckmann)
Double portrait (Max and Mathilde Beckmann)
1941
Oil on canvas
193.5 x 89cm
Collection Stedelijk Museum Amsterdam
© VG Bild-Kunst, Bonn 2020
© Foto: Stedelijk Museum, Amsterdam

 

Max Beckmann (German, 1884-1950) 'Messingstadt' 1944

 

Max Beckmann (German, 1884-1950)
Messingstadt (City of Brass)
1944
Oil on canvas
115 x 150cm
Saarlandmuseum – Moderne Galerie, Saarbrücken, Stiftung Saarländischer Kulturbesitz
© VG Bild-Kunst, Bonn 2020
© Saarlandmuseum – Moderne Galerie, Saarbrücken, Stiftung Saarländischer Kulturbesitz
Foto: Tom Gundelwein

 

 

Max Beckmann addresses the relationship between man and woman as the starting point for the repetitive torments of human existence. In this question too, he is inspired by the archetype of the fairy tale Messingstadt “Brass City”. (From “The Thousand and One Nights” or “Arabian nights”) In this story it is the hero Musa who manages to get inside the brass city. He enters a palace where he discovers a girl as “beautiful as the shining sun”. At the same time, he realises that it’s just her lifeless body.

Note: The Thousand and One Nights, also called The Arabian Nights, Arabic Alf laylah wa laylah, collection of largely Middle Eastern and Indian stories of uncertain date and authorship. Its tales of Aladdin, Ali Baba, and Sindbad the Sailor have almost become part of Western folklore, though these were added to the collection only in the 18th century in European adaptations.

 

Max Beckmann (German, 1884-1950) 'Odysseus and Calypso' 1943

 

Max Beckmann (German, 1884-1950)
Odysseus and Calypso
1943
Oil on canvas
150 x 115.5cm
Hamburger Kunsthalle
© VG Bild-Kunst, Bonn 2020
© Hamburger Kunsthalle / bpk
Foto: Elke Walford

 

 

Max Beckmann

Max Carl Friedrich Beckmann (February 12, 1884 – December 27, 1950) was a German painter, draftsman, printmaker, sculptor, and writer. Although he is classified as an Expressionist artist, he rejected both the term and the movement. In the 1920s, he was associated with the New Objectivity (Neue Sachlichkeit), an outgrowth of Expressionism that opposed its introverted emotionalism. His work became full of horrifying imagery and distorted forms with combination of brutal realism and social criticism.

 

Life

Max Beckmann was born into a middle-class family in Leipzig, Saxony. From his youth he pitted himself against the old masters. His traumatic experiences of World War I, in which he volunteered as a medical orderly, coincided with a dramatic transformation of his style from academically correct depictions to a distortion of both figure and space, reflecting his altered vision of himself and humanity.

He is known for the self-portraits painted throughout his life, their number and intensity rivalled only by those of Rembrandt and Picasso. Well-read in philosophy and literature, Beckmann also contemplated mysticism and theosophy in search of the “Self”. As a true painter-thinker, he strove to find the hidden spiritual dimension in his subjects (Beckmann’s 1948 Letters to a Woman Painter provides a statement of his approach to art).

Beckmann enjoyed great success and official honours during the Weimar Republic. In 1925 he was selected to teach a master class at the Städelschule Academy of Fine Art in Frankfurt. Some of his most famous students included Theo Garve, Leo Maillet and Marie-Louise von Motesiczky. In 1927 he received the Honorary Empire Prize for German Art and the Gold Medal of the City of Düsseldorf; the National Gallery in Berlin acquired his painting The Bark and, in 1928, purchased his Self-Portrait in Tuxedo. By the early 1930s, a series of major exhibitions, including large retrospectives at the Städtische Kunsthalle Mannheim (1928) and in Basel and Zurich (1930), together with numerous publications, showed the high esteem in which Beckmann was held.

His fortunes changed with the rise to power of Adolf Hitler, whose dislike of Modern Art quickly led to its suppression by the state. In 1933, the Nazi government called Beckmann a “cultural Bolshevik” and dismissed him from his teaching position at the Art School in Frankfurt. In 1937 the government confiscated more than 500 of his works from German museums, putting several on display in the notorious Degenerate Art exhibition in Munich. The day after Hitler’s radio speech about degenerate art in 1937, Beckmann left Germany with his second wife, Quappi, for the Netherlands.

For ten years, Beckmann lived in self-imposed exile in Amsterdam, failing in his desperate attempts to obtain a visa for the United States. In 1944 the Germans attempted to draft him into the army, although the sixty-year-old artist had suffered a heart attack. The works completed in his Amsterdam studio were even more powerful and intense than the ones of his master years in Frankfurt. They included several large triptychs, which stand as a summation of Beckmann’s art.

In 1948, Beckmann moved to the United States. During the last three years of his life, he taught at the art schools of Washington University in St. Louis (with the German-American painter and printmaker Werner Drewes) and the Brooklyn Museum. He came to St. Louis at the invitation of Perry T. Rathbone, who was director of the Saint Louis Art Museum. Rathbone arranged for Washington University in St. Louis to hire Beckmann as an art teacher, filling a vacancy left by Philip Guston, who had taken a leave. The first Beckmann retrospective in the United States took place in 1948 at the City Art Museum, Saint Louis. In St. Louis, Morton D. May became his patron and, already an avid amateur photographer and painter, a student of the artist. May later donated much of his large collection of Beckmann’s works to the St. Louis Art Museum. Beckmann also helped him learn to appreciate Oceanian and African art. After stops in Denver and Chicago, he and Quappi took an apartment at 38 West 69th Street in Manhattan. In 1949 he obtained a professorship at the Brooklyn Museum Art School.

He suffered from angina pectoris and died after Christmas 1950, struck down by a heart attack at the corner of 69th Street and Central Park West in New York, not far from his apartment building. As the artist’s widow recalled, he was on his way to see one of his paintings at the Metropolitan Museum of Art. Beckmann had a one-man show at the Venice Biennale of 1950, the year of his death.

 

Themes

Unlike several of his avant-garde contemporaries, Beckmann rejected non-representational painting; instead, he took up and advanced the tradition of figurative painting. He greatly admired not only Cézanne and Van Gogh, but also Blake, Rembrandt, and Rubens, as well as Northern European artists of the late Middle Ages and early Renaissance, such as Bosch, Bruegel, and Matthias Grünewald. His style and method of composition are partially rooted in the imagery of medieval stained glass.

Engaging with the genres of portraiture, landscape, still life, and history painting, his diverse body of work created a very personal but authentic version of modernism, one with a healthy deference to traditional forms. Beckmann reinvented the religious triptych and expanded this archetype of medieval painting into an allegory of contemporary humanity.

From his beginnings in the fin de siècle to the period after World War II, Beckmann reflected an era of radical changes in both art and history in his work. Many of Beckmann’s paintings express the agonies of Europe in the first half of the 20th century. Some of his imagery refers to the decadent glamour of the Weimar Republic’s cabaret culture, but from the 1930s on, his works often contain mythologised references to the brutalities of the Nazis. Beyond these immediate concerns, his subjects and symbols assume a larger meaning, voicing universal themes of terror, redemption, and the mysteries of eternity and fate.

His Self-Portrait with Horn (1938), painted during his exile in Amsterdam, demonstrates his use of symbols. Musical instruments are featured in many of his paintings; in this case, a horn that the artist holds as if it were a telescope by which he intends to explore the darkness surrounding him. The tight framing of the figure within the boundaries of the canvas emphasise his entrapment. Art historian Cornelia Stabenow terms the painting “the most melancholy, but also the most mystifying, of his self-portraits”.

Text from the Wikipedia website

 

Max Beckmann (German, 1884-1950) 'Venus – Mars' 1945

 

Max Beckmann (German, 1884-1950)
Venus – Mars
1945
India ink and watercolour
36,2 x 19.5cm
Private collection
© VG Bild-Kunst, Bonn 2020
© Foto: Privatbesitz

 

Max Beckmann. 'Two women (in glass door)' 1940

 

Max Beckmann (German, 1884-1950)
Zwei Frauen (in Glastür)
Two women (in glass door)
1940
Oil on canvas
80 x 61cm
Museum Ludwig, Köln
© VG Bild-Kunst, Bonn 2020
© Foto: Rheinisches Bildarchiv Köln

 

 

Hamburger Kunsthalle
Glockengießerwall 20095 Hamburg
Phone: +49 (0)40-428 131 204

Opening hours:
Tuesdays to Sundays 10am – 6pm
Thursdays 10am – 9pm
Closed Mondays

Hamburger Kunsthalle website

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20
May
15

Exhibition: ‘The Feminist Avant-Garde of the 1970s: Works from the SAMMLUNG VERBUND, Vienna’ at Hamburger Kunsthalle, Hamburg

Exhibition dates: 13th March – 31st May 2015

 

VALIE EXPORT (*1940) 'Tapp und Tastkino' 1968

 

VALIE EXPORT ( Austrian, b. 1940)
Tapp und Tastkino
1968
Video, S/W, Ton
© VALIE EXPORT / VG Bild-Kunst, Bonn 2015 / Courtesy of Galerie Charim, Wien / SAMMLUNG VERBUND, Wien

 

 

Early Cindy Sherman, very good; Francesca Woodman, wow; but Ana Mendieta, you are a star!

Marcus

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Many thankx to the Hamburger Kunsthalle for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Featuring 34 international women artists, this wide-ranging exhibition highlights the early days of the feminist art movement. With over 150 major works drawn from the SAMMLUNG VERBUND in Vienna, it documents how female artists in the 1970s began collectively reshaping the “image of woman” – something that had never happened before in the history of art. During this period, increasing numbers of women who had been born during or just after the Second World War had the opportunity to study at an art school or academy, enabling them to emancipate themselves from the traditional role of artist’s muse or model. Dr Gabriele Schor, director of the SAMMLUNG VERBUND, coined the term “feminist avant-garde” to highlight the pioneering role played by these artists.

The female artists have turned to new media such as photography, film or video, due to the fact that these are not laden with art-historical baggage; others employ performance or action-based art as their chosen means of expression. Along with artists such as VALIE EXPORT, Cindy Sherman and Martha Rosler whose work is familiar to a wide audience, the exhibition also provides a rare opportunity to discover some equally accomplished but less well-known members of the “feminist avant-garde”.

 

 

Birgit Jürgenssen (1949-2003) 'Nest' 1979

 

Birgit Jürgenssen (Austrian, 1949-2003)
Nest
1979
S/W-Photographie
© Estate of Birgit Jürgenssen / Courtesy of Galerie Hubert Winter, Wien / VG Bild-Kunst, Bonn 2014/2015 / SAMMLUNG VERBUND, Wien

 

Ulrike Rosenbach (*1943) 'Art is a criminal action No. 4' 1969

 

Ulrike Rosenbach (Germany, b. 1943)
Art is a criminal action No. 4
1969
S/W-Photographie auf Barytpapier
© Ulrike Rosenbach / VG Bild-Kunst, Bonn 2015 / SAMMLUNG VERBUND, Wien

 

Francesca Woodman (1958-1981) 'Untitled Rome, Italy' 1977-1978/2006

 

Francesca Woodman (American, 1958-1981)
Untitled Rome, Italy
1977-1978/2006
S/W-Photographie auf Barytpapier
© Courtesy George and Betty Woodman, New York / SAMMLUNG VERBUND, Wien

 

 

Featuring 34 international women artists, this wide-ranging exhibition highlights the early days of the feminist art movement. With over 150 major works drawn from the SAMMLUNG VERBUND in Vienna, it documents how female artists in the 1970s began collectively reshaping the “image of woman” – something that had never happened before in the history of art. During this period, increasing numbers of women who had been born during or just after the Second World War had the opportunity to study at an art school or academy, enabling them to emancipate themselves from the traditional role of art­ist’s muse or model. Dr Gabriele Schor, director of the SAMMLUNG VERBUND, coined the term “feminist avant-garde” to highlight the pioneering role played by these artists.

They went on to create works that challenged social norms and the mechanisms of the art business, developing radical new artistic practices and breaking with a male-dominated reality. Against the back­ground of the civil rights movement and the women’s movement, feminist issues emerged as a matter of public debate: the personal was now political. Within a very short period of time, women began rais­ing awareness and gaining public recognition by organising collective actions, demonstrations and in­dependent exhibitions. The artists of the “feminist avant-garde” have examined how traditional images determine the perception of women and how they construct their own personal and social identity. Their work addresses a wide range of themes, such as the relegation of women to the one-dimensional role of housewife and mother, the use of one’s own body in art, female sexuality, notions of beauty and violence against women.

The female artists undermine the stereotype roles in a subversive way. Martha Rosler, for example, us­es exaggeration and parody to criticise women’s traditionally domestic role, and Birgit Jürgenssen tied a cooker around her neck like an apron in her work Hausfrauen-Küchenschürze. By playing with the camera or employing masquerade and costumes as an effective means of self-representation, women artists have challenged conventional notions of identity or femininity and exposed these as social con­structs. Cindy Sherman, Suzy Lake, Hannah Wilke and Martha Wilson cast themselves in a variety of roles for their photographic investigations into everyday and historical clichés. In a similar way, Lynn Hershman Leeson created a fictional alter ego as “Roberta Breitmore” and enacted this character for a number of years. While accepted cultural ideals of beauty and perfection play an important role for all of the artists mentioned above, these themes are specifically and impressively addressed in the work of Rita Myers and Ewa Partum.

Numerous women artists have turned to new media such as photography, film or video, due to the fact that these are not laden with art-historical baggage; others employ performance or action-based art as their chosen means of expression. VALIE EXPORT, for example, invited passers-by on Munich’s Stachus square to visit her Tapp-und Tastkino – meaning that they could put their hands inside a box she was wearing over her naked chest. Female artists have often exploited their own bodies as art material, whereby some – such as Ana Mendieta or Gina Pane – have pushed themselves to the very limits of physical endurance. Using humour, irony, subtlety and provocation, the artists of the “feminist avantgarde” have deconstructed the traditional female iconography.

Along with artists such as VALIE EXPORT, Cindy Sherman and Martha Rosler whose work is familiar to a wide audience, the exhibition also provides a rare opportunity to discover some equally accomplished but less well-known members of the “feminist avant-garde”.

The SAMMLUNG VERBUND was founded in 2004 in Vienna by VERBUND, Austria’s leading producer of electricity from hydropower. The collection focuses on international contemporary art from 1970 to the present day, with a unique emphasis on the Feminist Avant-garde of the 1970s.

Featured artists: Helena Almeida (1934-2018, Portugal), Eleanor Antin (*1935, USA), Lynda Benglis (*1941, USA), Renate Bertlmann (*1943, Österreich), Teresa Burga (1935-2021, Peru), Lili Dujourie (*1941, Belgien), Mary Beth Edelson (1933-2021, USA), Renate Eisenegger (*1949, Deutschland), VALIE EXPORT (*1940, Österreich), Esther Ferrer (*1937, Spanien), Lynn Hershman-Leeson (*1941, USA), Alexis Hunter (1948-2014, Neuseeland, England), Sanja Iveković (*1949, Kroatien), Birgit Jürgenssen (1949-2003, Österreich), Ketty La Rocca (1938-1976, Italien), Leslie Labowitz (*1946, USA), Suzanne Lacy (*1945, USA), Suzy Lake (*1947, USA), Karin Mack (*1940, Österreich), Ana Mendieta (1948-1985, Kuba/USA), Rita Myers (*1947, USA), ORLAN (*1947, Frankreich), Gina Pane (1939-1990, Frankreich), Ewa Partum (*1945, Polen), Ulrike Rosenbach (*1943, Deutschland), Martha Rosler (*1943, USA), Carolee Schneemann (*1939, USA), Cindy Sherman (*1954, USA), Penny Slinger (*1947, England), Annegret Soltau (*1946, Deutschland), Hannah Wilke (1940-1993, USA), Martha Wilson (*1947, USA), Francesca Woodman (1958-1981, USA), Nil Yalter (*1938, Ägypten/Frankreich).”

Press release from the Hamburger Kunsthalle website

 

Renate Bertlmann (*1943) 'Zärtliche Pantomime' 1976

 

Renate Bertlmann (Austria, b. 1943)
Zärtliche Pantomime [Tender Pantomime]
1976
S/W-Photographie (aus einer 6-teiligen Serie)
© Renate Bertlmann / SAMMLUNG VERBUND, Wien

 

 Renate Eisenegger (*1949) 'Hochhaus (Nr.1)' 1974

 

Renate Eisenegger (German, b. 1949)
Hochhaus (Nr.1)
1974
S/W-Photografie auf Holz kaschiert (aus einer 4-teiligen Serie)
© Renate Eisenegger / SAMMLUNG VERBUND, Wien

 

Alexis Hunter (1948-2014) 'Approach to Fear Voyeurism' 1973

 

Alexis Hunter (New Zealand, 1948-2014)
Approach to Fear Voyeurism
1973
Silver bromide photography, painted with colored ink (from a 12-part series)
© Alexis Hunter / Courtesy of Richard Saltoun, London / VG Bild-Kunst, Bonn 2015 / SAMMLUNG VERBUND , Wien

 

Birgit Jürgenssen (1949-2003) 'Untitled (Self with pelts)' 1974/1977

 

Birgit Jürgenssen (Austrian, 1949-2003)
Ohne Titel (Selbst mit Fellchen) [Untitled (Self with pelts)]
1974/1977

 

Lynn Hershman-Leeson (*1941) 'Roberta Construction Chart #1' 1975

 

Lynn Hershman-Leeson (American, b. 1941)
Roberta Construction Chart #1
1975
C-Print
© Lynn Hershman Leeson / SAMMLUNG VERBUND, Wien

 

Ana Mendieta (1948-1985) 'Untitled (Glass on Body Imprints)' 1972/1997

 

Ana Mendieta (Cuban-American, 1948-1985)
Untitled (Glass on Body Imprints)
1972/1997
C-Print (from a 6-part series)
© The Estate Ana Mendieta / Courtesy of Galerie Lelong, New York / SAMMLUNG VERBUND, Wien

 

Ulrike Rosenbach (*1943) 'Weiblicher Energieaustausch, Venus' 1975–1976

 

Ulrike Rosenbach (German, b. 1943)
Weiblicher Energieaustausch, Venus [Female Energy Exchange, Venus]
1975-1976
S/W-Photografie auf PE Papier (aus einer 3-teiligen Serie)
© Ulrike Rosenbach / Bildrecht, Wien, 2015 / SAMMLUNG VERBUND, Wien

 

Cindy Sherman (*1954) 'Untitled #443 (Bus Riders II)' 1976/2005

 

Cindy Sherman (American, b. 1954)
Untitled #443 (Bus Riders II)
1976/2005
© Cindy Sherman, New York
Courtesy: Metro Pictures, New York/ SAMMLUNG VERBUND, Wien

 

Cindy Sherman (*1954) 'Untitled (Bus Riders I)' 1976/2000

 

Cindy Sherman (American, b. 1954)
Untitled (Bus Riders I)
1976/2005 (from a 15-part series)
© Cindy Sherman, New York
Courtesy: Metro Pictures, New York/ SAMMLUNG VERBUND, Wien

 

Cindy Sherman (*1954) 'Untitled (Lucy)' 1975/2001

 

Cindy Sherman (American, b. 1954)
Untitled (Lucy)
1975/2001
Silbergelantineabzug
© Cindy Sherman, New York
Courtesy: Metro Pictures, New York / SAMMLUNG VERBUND, Wien

 

Penny Slinger (*1947) 'Wedding Invitation – 2 (Art is Just a Piece of Cake)' 1973

 

Penny Slinger (English, b. 1947)
Wedding Invitation – 2 (Art is Just a Piece of Cake)
1973
S/W-Photografie
© Penny Slinger / Courtesy of the Artist and Broadway 1602, New York / SAMMLUNG VERBUND, Wien

 

Annegret Soltau (*1946) 'Selbst' 1975

 

Annegret Soltau (German, b. 1946)
Selbst [Myself]
1975
B/W photograph on baryta paper (from a 14-part series)
© Annegret Soltau / VG Bild-Kunst, Bonn 2015 / SAMMLUNG VERBUND, Wien
Photo: Heide Kratz

 

 

Hamburger Kunsthalle
Glockengießerwall 20095 Hamburg
Phone: +49 (0)40-428 131 204

Opening hours:
Tuesdays to Sundays 10am – 6pm
Thursdays 10am – 9pm
Closed Mondays

Hamburger Kunsthalle website

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07
Jun
14

Exhibition: ‘Feuerbach’s Muses – Lagerfeld’s Models’ at Hamburger Kunsthalle, Hamburg

Exhibition dates: 21st February – 15th June 2014: Gallery of Contemporary Art

Curators: Professor Hubertus Gaßner and Luisa Pauline Fink

 

 

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

 

Installation view of Feuerbach’s Muses – Lagerfeld’s Models at Hamburger Kunsthalle

 

 

Don’t give up your day job

From the sublime (Feuerbach) to the downright awful (Lagerfeld).

From gorgeous, sensitive portrait paintings of women, full of detail and texture, colour and stillness to what I would term soft-cock porn. Fashion influenced, hyper airbrushed faces; Saint Sebastian poses referencing classical ideals of male beauty (done so much more authentically and grittily by Baron Wilhelm von Gloeden), all staged in sylvan settings. Then printed onto silver- and gold-coloured fabric. Can’t wait to see that…

Not absolutely fabulous, just absolutely hideous.

Marcus

.
Many thankx to Hamburger Kunsthalle for allowing me to publish the art work and photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

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Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

Installation view of 'Feuerbach's Muses - Lagerfeld's Models' at Hamburger Kunsthalle

 

Installation views of Feuerbach’s Muses – Lagerfeld’s Models at Hamburger Kunsthalle

 

Anselm Feuerbach. 'Nanna' 1864

 

Anselm Feuerbach (German, 1829-1880)
Nanna
1864
Oil on canvas
61 x 47.2cm
© Niedersächsisches Landesmuseum Hannover
Photo: Ursula Bohnhorst

 

Anselm Feuerbach. 'Studienkopf zur Stuttgarter Iphigenie [Study of a Head for Stuttgart Iphigenia]' 1870

 

Anselm Feuerbach (German, 1829-1880)
Studienkopf zur Stuttgarter Iphigenie [Study of a Head for Stuttgart Iphigenia]
1870
Oil on canvas
62.5 x 49.5cm
© Museum Oskar Reinhart, Winterthur
Photo: SIK-ISEA (Philipp Hitz)

 

 

Iphigenia (Greek mythology) the daughter of Clytemnestra and Agamemnon; Agamemnon was obliged to offer her as a sacrifice to Artemis when the Greek fleet was becalmed on its way to Troy; Artemis rescued her and she later became a priestess.

 

Anselm Feuerbach. 'Poesie, Zweite Fassung [Poetry, Second Version]' 1863

 

Anselm Feuerbach (German, 1829-1880)
Poesie, Zweite Fassung [Poetry, Second Version]
1863
Oil on canvas
62 x 50cm
© Kunstbesitz der Stadt Speyer
Photo: G. Kayser

 

Anselm Feuerbach. 'Lucrezia Borgia, Bildnis einer Römerin in weißer Tunika und rotem Mantel [Lucrezia Borgia, Portrait of a roman in white tunic and red cloak]' 1864/65

 

Anselm Feuerbach (German, 1829-1880)
Lucrezia Borgia, Bildnis einer Römerin in weißer Tunika und rotem Mantel [Lucrezia Borgia, Portrait of a roman in white tunic and red cloak]
1864-65
Oil on canvas
98 x 81cm
© Städel Museum, Frankfurt a. M.
Photo: Städel Museum – ARTOTHEK

 

Anselm Feuerbach. 'Nanna' 1861

 

Anselm Feuerbach (German, 1829-1880)
Nanna
1861
Oil on canvas
137.8 x 99.3cm
© München, Bayerische
Staatsgemäldesammlungen – Neue Pinakothek
Photo: bpk I Bayerische Staatsgemäldesammlung

 

 

From February 2014 the Hamburger Kunsthalle is presenting an unusual double exhibition on beauty, eroticism and the adoration of muses and models that brings together paintings by Anselm Feuerbach and hit her to unseen photographs by Karl Lagerfeld. In a similar way both Feuerbach and Lagerfeld seek an actualisation of an ideal of timeless beauty founded in the ancient world. The exhibition examines the cult of beauty, which stylises the model to an icon. Over forty works by Feuerbach, most of them from the years 1860-70, will be on show. They are loans from the Feuerbachhaus Speyer and from numerous German, Swiss and Austrian museums ad private collections. Karl Lagerfeld has created a series of around sixty black-and-white photographs specially for the exhibition. Mostly in large formats, they have been printed in a complex procedure onto silver- and gold-coloured fabric.

Anselm Feuerbach (1829-80) one of the most important German painters of the late nineteenth century, lived in Rome from 1856 onwards. The city, with its magnificent architecture and heroic surrounding landscape, was a place of yearning that seemed eligible like no other to revive the classical ideal of ancient times. Feuerbach devoted himself to antique subject matter, which he filled with imagination and personal feeling. This is most excitingly shown in the series of unique portraits, begun in 1860, which portray Feuerbach’s model and muse, Anna Risi, known as Nanna. Feuerbach painted Nana in a wide variety of roles and sensitively staged settings that reveal an almost cultic veneration for his model. When Nanna left Feuerbach in 1865, she was followed by Lucia Brunacci. Similarly to Nanna she matched the classical ideal of beauty of the time, with her Greek profile and thick dark hair. Lucia inspired Feuerbach to impressive portrayals of mythological themes that form the highpoint of his ouevre.

‘Happy is he whom the muses love’, wrote the Greek poet Hesiod, and so the muses are a symbol of the higher power that is needed, according to the ancients, to be creative. The photographic series Modern Mythology (2013) by Karl Lagerfeld, explores the love story of Daphnis and Chloe, and shows models such as Baptiste Giabiconi and Bianca Balti, who have accompanied Lagerfeld in his work for several years. The story, by the poet Longus, tells of a boy and a girl who grow up without parents among shepherds and over the years develop a strong affection for one another. The narration has been taken up many times since the Renaissance. Lagerfeld’s photographs belong to a series of works by Pierre Bonnard, François Boucher or Aristide Maillol which present the ancient text as a symbol of the idyllic life. Karl Lagerfeld’s stagings were shot against the picturesque natural background of the South of France, and are the actualisation of an ancient theme.

The exhibition is accompanied by two publications: the catalogue on Anselm Feuerbach is published jointly with the Museum Wiesbaden and introduces Feuerbach’s paintings and drawings from an art-historical perspective; the second book combines Karl Lagerfeld’s photographs and Longus’s mythological narrative of Daphnis and Chloe in a bibliophile volume that will be elaborately produced by the publisher Gerhard Steidl.

Curators: Professor Hubertus Gaßner and Luisa Pauline Fink

Press release from the Hamburger Kunsthalle website

 

Anselm Feuerbach. 'Das Urteil des Paris [The Judgement of Paris]' 1870

 

Anselm Feuerbach (German, 1829-1880)
Das Urteil des Paris [The Judgement of Paris]
1870
Oil on canvas
228 x 443cm
© Hamburger Kunsthalle / bpk
Photo: Elke Walford

 

Anselm Feuerbach. 'Ruhende Nymphe [Resting Nymph]' 1870

 

Anselm Feuerbach (German, 1829-1880)
Ruhende Nymphe [Resting Nymph]
1870
Oil on canvas
112 x 190cm
© Germanisches Nationalmuseum Nürnberg, Leihgabe Privatbesitz
Photo: Monika Runge

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

Karl Lagerfeld. 'Modern Mythology' 2013

 

Karl Lagerfeld (German, 1933-2019)
Modern Mythology
2013
© 2013 Karl Lagerfeld

 

 

Hamburger Kunsthalle
Glockengießerwall 20095
Hamburg
Phone: +49 (0) 40 – 428 131 200

Opening hours:
Tuesdays to Sundays 10am – 6pm
Thursdays 10am – 9pm
Closed Mondays

Hamburger Kunsthalle website

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18
Sep
12

Exhibition: ‘Lost Places. Sites of Photography’ at the Hamburger Kunsthalle, Hamburg

Exhibition dates: 8th June – 23rd September 2012

 

Tobias Zielony. 'Dirt Field' 2008

 

Tobias Zielony (German, b. 1973)
Dirt Field
2008
From the series Trona – Armpit of America
C-Print
56 x 84cm
Sammlung Halke / Courtesy KOW, Berlin
© Tobias Zielony

 

 

“Fredric Jameson wrote that in the postmodern world, the subject is not alienated but fragmented. He explained that the notion of alienation presumes a centralized, unitary self who could become lost to himself or herself. But if, as a postmodernist sees it, the self is decentred and multiple, the concept of alienation breaks down. All that is left is an anxiety of identity. The personal computer culture began with small machines that captured a post-1960s utopian vision of transparent understanding. Today, the personal computer culture’s most compelling objects give people a way to think concretely about an identity crisis. In simulation, identity can be fluid and multiple, a signifier no longer points to a thing that is signified, and understanding is less likely to proceed through analysis than by navigation through virtual space.”

.
Sherry Turkle 1

 

 

As we navigate these (virtual) worlds a signifier no longer points to a thing that is signified. In other words there is a split between referent and (un)known reality = a severance of meaning and its object.

“The image has nothing to do with signification, meaning, as implied by the existence of the world, the effort of truth, the law and the brightness of the day. Not only is the image of an object not the meaning of that object and of no help in comprehending it, but it tends to withdraw it from its meaning by maintaining it in the immobility of a resemblance that it has nothing to resemble.”2

Such is the case in these photographs. In their isolation each becomes the simulacra, the restaged models that are Thomas Demand’s photographs. That they do not allow any true reference to reality means that they become the image of memory in the present space. As the press release notes, “What happens to real places if a space loses its usual significance and can be experienced on a virtual plane?”

Kenneth Gergen observes, “The current texts of the self are built upon those of preceding eras, and they in turn upon more distant forms of discourse. In the end we have no way of “getting down to the self as it is.” And thus we edge toward the more unsettling question: On what grounds can we assume that beneath the layers of accumulated understandings there is, in fact, an obdurate “self” to be located? The object of understanding has been absorbed into the world of representations.”3

So we return to the split between referent and reality, a severance of meaning and its object in representation itself. These photographs, our Self and our world are becoming artefacts of hyperreality, of unallocated (un/all/located) space in which a unitary self/world has always been “lost.”

Dr Marcus Bunyan

.
Many thankx to the Hamburger Kunsthalle for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Beate Gütschow. 'S#11' 2005

 

Beate Gütschow (German, b. 1970)
S#11
2005
Light Jet Print
180 x 232cm
Hamburger Kunsthalle
© Beate Gütschow / VG Bild-Kunst, Bonn 2012

 

Alexandra Ranner. 'Schlafzimmer II' 2008

 

Alexandra Ranner (German, b. 1967)
Schlafzimmer II (Bedroom II)
2008
Installation, Holz, Teppich, Styrodur, 
Licht, Farbe
H: 240cm, B: 500cm, L: 960cm
© Alexandra Ranner, Galerie Mathias 
Güntner, Hamburg / VG Bild-Kunst, 2012

 

Sarah Schönfeld. 'Wende-Gelände 01' 2006

 

Sarah Schönfeld (German, b. 1979)
Wende-Gelände 01
2006
C-Print
122 x 150cm
Privatsammlung / Courtesy Galerie 
Feldbuschwiesner, Berlin
© Sarah Schönfeld

 

Guy Tillim. 'Apartment Building, Avenue Bagamoyo, Beira, Mozambique' 2008

 

Guy Tillim (South African, b. 1962)
Apartment Building, Avenue Bagamoyo, Beira, Mozambique
2008
(aus der Serie Avenue Patrice Lumumba)
Pigmentdruck auf Papier, kaschiert auf Aluminium
91.5 x 131.5cm
Guy Tillim / Courtesy Kuckei + Kuckei, Berlin und Stevenson, Cape Town
© Guy Tillim

 

Jeff Wall. 'Insomnia' 1994

 

Jeff Wall (Canadian, b. 1946)
Insomnia
1994
Cibachrome in Leuchtkasten (Plexiglas, 
Aluminium, Leuchtröhren)
174 x 214cm
Hamburger Kunsthalle
© Jeff Wall

 

 

In recent years, photography has reached a new peak in artistic media. Starting with the Düsseldorf School, with artists such as Andreas Gursky, Thomas Struth, Thomas Ruff or Candida Höfer, a young generation of artists developed that adopted different approaches by which to present the subject-matter of “space” and “place” in an era of historic change and social crises. With the exhibition Lost Places, the Hamburger Kunsthalle art museum dedicates itself to these new approaches, which document a wide range of different places and living spaces and their increasing isolation through the media of photography, film and installation works.

Joel Sternfeld’s documentary photographs depict places that were crime scenes. Thomas Demand restages real crime scenes, initially as models in order to then photograph them. In turn, in her large-scale photographs, Beate Gütschow constructs cityscapes and landscapes that are reminiscent of well-known places, but that do not allow any true reference. Sarah Schönfeld illustrates “the image of memory in the present space” in her photographs. She visits old places from her GDR childhood and captures these in their present state, whereby both points in time collide. In his fictional video installation Nostalgia, Omer Fast recounts the story of illegal immigrants from three different perspectives.

In his book The collective memory, French philosopher Maurice Halbwachs pointed out the significance of “spatial images” for the memory of social communities. Today the reliable spatial contextualisation of objects and memories (also due to digital photography) is under threat, hence this pretence begins to crumble. What happens to real places if a space loses its usual significance and can be experienced on a virtual plane?

The exhibition comprises about 20 different approaches of contemporary photography and video art with many loans from museums and private collections. The exhibition features the following artists: Thomas Demand (b. 1964), Omer Fast (b. 1972), Beate Gütschow (b. 1970), Andreas Gursky (b. 1955), Candida Höfer (b. 1944), Sabine Hornig (b. 1964), Jan Köchermann (b. 1967), Barbara Probst (b. 1964), Alexandra Ranner (b. 1967), Ben Rivers (b. 1972), Thomas Ruff (b. 1958), Gregor Schneider (b. 1969), Sarah Schönfeld (b. 1979), Joel Sternfeld (b. 1944), Thomas Struth (b. 1954), Guy Tillim (b. 1962), Jörn Vanhöfen (b. 1961), Jeff Wall (b. 1946) and Tobias Zielony (b. 1973).

Press release from the Hamburger Kunsthalle website

 

Thomas Struth (German, b. 1954) 'Times Square, New York' 2000

 

Thomas Struth (German, b. 1954)
Times Square, New York
2000
C-Print
140.2 x 176.2cm
Courtesy Thomas Struth, Berlin
© Thomas Struth

 

Thomas Struth. 'Times Square, New York' 2000

 

Jörn Vanhöfen (German, b. 1961)
Asok #797
2010
C-Print auf Aluminium
122 x 147cm
© Jörn Vanhöfen, courtesy: Kuckei + Kuckei, 
Berlin

 

Thomas Demand. 'Haltestelle' 2009

 

Thomas Demand (German, b. 1964)
Haltestelle
2009
C-Print / Diasec
240 x 330cm
Thomas Demand, Berlin
© Thomas Demand / VG Bild-Kunst, Bonn 2012

 

Thomas Demand. 'Parlament' 2009

 

Thomas Demand (German, b. 1964)
Parlament
2009
C-Print / Diasec
180 x 223cm
Staatliche Museen zu Berlin, Nationalgalerie 2010 
erworben durch die Stiftung des Vereins der 
Freunde der Nationalgalerie für zeitgenössische Kunst
© Thomas Demand / VG Bild-Kunst, Bonn 2012

 

Tobias Zielony. 'Vela Azzurra' 2010

 

Tobias Zielony (German, b. 1973)
Vela Azzurra
2010
From the series Vele
C-Print
150 x 120cm
Tobias Zielony / Courtesy und KOW, Berlin und Lia Rumma, Neapel
© Tobias Zielony

 

Andreas Gursky. 'Sáo Paulo Sé' 2002

 

Andreas Gursky (German, b. 1955)
Sáo Paulo Sé
2002
C-Print, Plexiglas
286 x 206cm
Dauerleihgabe der Stiftung für die 
Hamburger Kunstsammlungen
© SHK/Hamburger Kunsthalle/bpk/ 
VG Bild-Kunst, 2012

 

Andreas Gursky. 'Ohne Titel XIII (Mexico)' 2002

 

Andreas Gursky (German, b. 1955)
Ohne Titel XIII (Mexico)
2002
Photographie
276 x 206cm
Dauerleihgabe der Stiftung für die 
Hamburger Kunstsammlungen
© SHK/Hamburger Kunsthalle/bpk/ VG 
Bild-Kunst, 2012

 

 

Hamburger Kunsthalle
Glockengießerwall 20095
Hamburg
Phone: +49 (0) 40 – 428 131 200

Opening hours:
Tuesdays to Sundays 10am – 6pm
Closed Mondays

Hamburger Kunsthalle website

LIKE ART BLART ON FACEBOOK

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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