Katja Blomberg Boeken

Katsura Funakoshi – Ernst Barlach Der japanische Bildhauer Katsura Funakoshis (1951 geboren) schafft eine harmonische Verbindung der grossen Tradition japanischer Holzbildhauerei mit den Errungenschaften der Kunst der westlichen Moderne. Funakoshi stellt ausschließlich den Menschen dar, den er einerseits realitätsgetreu in seinen aus Kampfernholz (Lorbeerbaum) geschnitzten Skulpturen wiedergibt, andererseits mit hinzugefügten Attributen oder ungewöhnlichen Körperteilen verfremdet. Eine Besonderheit sind die Augen – wichtigstes Merkmal eines jeden Gesichts – die Funakoshi aus Marmor arbeitet und in die Holzfigur hineinSetzt. Es entsteht ein spannungsreiches Spiel mit der menschlichen Wahrnehmung. Ernst Barlach (1870-1938) gehört zu den wichtigsten Bildhauern des deutschen Expressionismus. Seine Holzskulpturen, die stets Menschen in elementaren Seelenzuständen zeigen, sind geprägt von der AuseinanderSetzung mit dem fernöstlichen Kulturkreis. Das Buch stellt diese beiden grossen Holzbildhauer erstmals gegenüber. Es entsteht ein erstaunlicher Dialog zwischen den Kulturen, der die bemerkenswerte gegenseitige Beeinflussung vor Augen führt. Biografie 1951 in Morioka City, Japan, geboren 1971-75 Studium an der University of Art and Design, B. A. 1975-77 Studium an der Tokyo National University of Fine Arts and Music, M. A. Katsura Funakoshi lebt und arbeitet in Tokio (Japan)

Faraway galaxies and a faith in energies outside our current powers of comprehension and perception. In the show, three sculptors reflect on the intersections of art, science and philosophy across a century and from a Berlin point of view. By the early 1920s Naum Gabo viewed art as a means to knowledge of the physics of our planet. The Russian-Jewish artist, who had emigrated to Berlin, was permanently looking for new materials and ways to express himself. His extraordinary constructions made of diaphanous plastics were perceived to be pure science fiction. These days, Berta Fischer primarily works with acrylic glass. Essentially, her practice revolves around the choreography of light, transparency, colour and movement in space. Her installations engage the works of both Björn Dahlem and Naum Gabo in a close dialogue. Björn Dahlem deals with space and time on the basis of theories from the academic disciplines of philosophy, particle and astrophysics as well as recent insights gained in the field of quantum mechanics. Dahlem consciously operates against the backdrop of knowledge, doubt and even the possibility of the sciences failing across the board.

With Christiane Löhr, a strong sculptural position is presented, which was already successful internationally in 2001 at the Venice Biennale. It is characterized by the courage to use small formats and the use of exclusively renewable material. Löhr's sculptures made of grass, seed pods and horsehair are transparent, delicate and vulnerable. As if by themselves, they form architectures that appear interesting for future building. Her0graphic work is also determined more by observation than by constructive action. Löhr's work can be read in the tradition of Landart and Arte Povera, but can also be understood as a response to large-scale sculptural installations made from industrial materials.00Exhibition: Haus am Waldsee, Berlin, Germany (18.06. - 05.09.2021).

Since the 1990s, Bernhard Martin's visual world has consisted of images from advertising, electronic media and European art history. He skilfully uses several techniques, from the Old Masters to today's spray painting techniques. His colour is based on the iridescent materials of the late Middle Ages, but also on the colouration of the Internet.00Exhibition: Haus am Waldsee, internationale Kunst in Berlin, Germany (21.04. - 05.07.2020).

In expansive compositions in light, Susanne Rottenbacher (b. Göttingen, 1969; lives and works in Berlin) visualizes the fire of life in its timebound and fluid dimension. Plotinus called fire the "spiritual potency of beauty." Pursuing a similar vision, Rottenbacher's works orchestrate light as energy in space. To this end, the artist, who studied light and stage design in the United States and the United Kingdom, creates weightless luminous choreographies realized in colorful LED technology in combination with acrylic glass as a translucent vehicle of form. The results are installations in three dimensions that are deeply silent yet unfold in a magical ecstasy of light. In Christian sacred architecture, light has been deployed and perceived since the Middle Ages as the aesthetic equivalent of the divine mind's lucidity. The history of light art, by contrast, is much younger, going back to the years after the First World War. Having built her creative practice over the past fifteen years, Rottenbacher not only continues a century-old tradition of light art in Europe and the U.S.; her works also anticipate a future in which humanity will have room for feelings no less than for scientific knowledge.

Anton Henning inszeniert im Haus am Waldsee eine Altmeistergalerie, die auch Salon, Archiv oder modernes Museum sein könnte. Mit subversiver Leichtigkeit bedient er sich aus dem Fundus der Kunstgeschichte. Selbstbewusst greift Henning nach dem Geist von Frans Hals, Goya, Picasso, Picabia, Polke, Arp, Moore oder Matisse. Plastiken, Gemäldemöbel, Bänke, Sofas und Tische komponiert er zu einer frei fl ießenden Gesamtinstallation, die alle Gattungsgrenzen und Berühungsängste mit historischen Meistern durch leidenschaftlich ironisiertes Sich-Aneignen ersetzt. Ausstellung: • Haus am Waldsee, Berlin 20.09. – 29.11.2009

Lynn Chadwick is one oft he pioneering sculptors of British post-war modernism. The artist’s world of motifs developed from abstractions of human, animal and architectonic elements, including his now virtually iconic ‘Beasts’ in which existential questions and an uncanny sense of humour come together. Chadwick captured the spirit of the times in his sculptures: they illustrate a widely described mixture of civilizational fatigue, utopian faith in progress and existential anxiety that was characteristic for those years. This catalogue is the first comprehensive study in the German-speaking region on Lynn Chadwick, whose oeuvre is also exemplarily examined in relation to the work of two major German sculptors: Hans Uhlmann and Katja Strunz. Text: Katja Blomberg, Dr. Elisa Tamaschke , Dr. Julia Wallner, Natalie Weiland M. A., Dr. Jon Wood