Markus Lüpertz: Architecture Dithyrambic. Drawings and Paintings (1964–1977)»The capriciousness, as well as the freedom, with which Markus Lüpertz approached this theme, but also painting and life in general, was something I found unique, and which expanded my state of consciousness, oriented as it was towards the Bauhaus and nurtured by Protestantism, to reach its greatest possible extent. This was the happy and logical progression of what had already changed for me in the studio of Hans Scharoun (...). Discovering these spaces, which for me were so new and spiritual, awakened me from a long, deep sleep. The right angle was replaced and the aesthetics changed,« writes Johannes Gachnang of his late 1960s meeting with Markus Lüpertz in Berlin, where the later curator and publisher had worked as an assistant to Scharoun. What today’s critics sometimes state vitriolically to be »anti-modern« behavior by Lüpertz was, in reality, a revelation for art in post-War Germany, as the material contained in this publication clearly shows. This applied especially since this attitude arose from a deep confrontation with the historic and utopian architecture that artists were already discussing and working on even following the First World War, such as Wenzel Hablik, but most notably Bruno Taut with his »Alpine Architecture«. From Lüpertz’ works we can see that since 1964 he has focused on the theme of the house, which he interprets as a house to live in, a studio, a family house, a settlement—all the way through to the idea of »Lüpiland«. The volume shows the formation of a pictorial language by Markus Lüpertz, which was subsequently to become a principle in his work, »namely the deliberate confrontation of opposites in the individual work,« as Siegfried Gohr writes in his excellent article.Exhibition: Kunstverein Heilbronn, 1/10–17/11/2013

Markus Lüpertz: Architektur dithyrambisch: Kat. Kunstverein Heilbronn

Arts & Photography

Gohr, Siegfried

Lüpertz, Markus

Löbke, Matthia

History & Criticism

Snoeck Publishing Company

Words wait at painting’s gateWorks by Michael Venezia, born 1935 in Brooklyn, undoubtedly represent some of the most original artistic works of Minimalist Art. His »spray paintings« and »bars« duly follow the minimalist dictum of a spatialization of color and extension of the pictorial space. In contrast to Dan Flavin and Donald Judd, however, who chose the opposing path, namely to renounce painting entirely, Venezia devoted himself solely to painting. Inherent in his works are the characteristics of an aesthetic presence, as it can only be developed through painting: texture, paint application and processing. Michael Venezia, taking minimalism into consideration, performs a particular maneuver: he leads painting toward a condition of being a »specific object«, adding to the history of abstract expressionism a chapter on minimalism. This catalogue endeavors to assign Michael Venezia’s work its rightful place, from its beginnings right up until today. The careful presentation of the works is, therefore, interspersed with various autobiographical materials, as well as an entertaining and very informative interview with Michael Venezia by Tiffany Bell, herself known as an expert interpreter of Agnes Martin and Dan Flavin.Exhibition: Kunstverein Heilbronn, 6/2–29/5/2016  

Michael Venezia: Painting: Kat. Kunstverein Heilbronn

Bell, Tiffany

Venezia, Michael

<p>Anselm Reyle is one of the internationally most renowned German artists of his generation. Born in Tü bingen, he grew up in Heilbronn where he exhibited his work at Kunsthalle Vogelmann. The list of places where he has exhibited reads like a who' s who of the art world: from Kunsthalle Zurich to Palazzo Grassi in Venice, from Deichtorhallen Hamburg to museums in the United States. His collaborations, such as with Dior for an exclusive series of handbags, are legendary. Anselm Reyle mixes styles, colors, and materials in a rather intriguing way, working with car paint, PVC and mirror film, spray paint, LED lights, concrete, and clay. Found objects as source material tend to play a prominent role in his work; these may be elements from works by other artists, as well as everyday objects, architecture, or design objects. This approach to his own work as reflection, appropriation, rephrasing and reformulation is thus made visible and addressed time and again. The viewers get caught up in the surprising beat of opposing formal as well as material samplings, in which the entire pictorial repertoire of modern abstract image development finds itself.</p>

Anselm Reyle: Teenage Wasteland: Cat. Kunstverein Heilbronn / Kunsthalle Vogelmann

Kikol, Larissa

Reyle, Anselm

Individual Artists

Solweig de Barry. Zwischen Dicht und Dünn: Cat. Kunstverein Heilbronn

de Barry, Solweig

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