| |
 |
| |
Christian von Alvensleben
MONINGKOS Ø380 cm 2006
Recom-Ditone-Print 175 x 124 cm
Museumsqualität, Auflage 2 |
| |
TRIALOG SCHWARZWEISS |
| |
|
| |
| 8 November 2020 – 31 January 2021 |
| |
 |
| |
| |
| |
|
| |
 |
| |
Jochen Hein
ANTARCTICA 2020
Acryl auf Holz 40 x 40 cm |
| |
|
| |
| Placing the works by Hack, Hein and von Alvensleben side by side begs the question of the perception of reality. In order to elicit an even more rigorous focus, the artists present works in black and white. |
| |
|
| |
 |
| |
Christian von Alvensleben
MACARÈU FAROL DE NAZARÉ 14
Silver Gelatine Print 200 x 136 cm
Museumsqualität, Auflage 2 |
| |
Christian von Alvensleben is one of Germany’s most relevant and established photographers. His innumerable publications and exhibitions denote a multi-facetted perfectionist who, whatever his chosen genre, is able to engender a high aesthetic density.
The oeuvre of Christian von Alvensleben, whose wife Helga collaborates with him on designing many projects, embraces the full passion of photographic percipience, documentation and actual seeing. In his works, he devotes himself almost entirely to the elemental world, to the inconceivable we are made of. He introduces us to age-old Greek olive trees, gigantic waves off the Portuguese coast, prehistoric cliffs in Brittany, and incorporates dramatic skies in his pictures, all of which are views that define existence as a great miracle. |
| |
|
| |
 |
| |
Jochen Hein
2008, Acryl auf Baumwolle
30 x 25cm |
| |
The strong auratic presence of Christian von Alvensleben’s photography gave rise to the idea of collaborating with the realist painter, Jochen Hein, as Hein has developed a seemingly similar pictorial language. Far removed from the discussions on realism and abstraction, Jochen Hein has evolved an abstract painting which strikes us as being completely realistic.
His water reflections, spuming waves, delicate skyscapes and three-dimensional parklands show the essence of the environment without mimicking it. Jochen Hein’s works from the world of elementary fascination evoke a deep sentiment from the appearance of the depicted things. Jochen Hein achieves his effect through painting the illusion, a deception which draws the observer into a more profound experience of seeing. Hein’s landscapes devoid of people create a lively tension between perception and reality.
The juxtaposition of the photography by Christian von Alvensleben and the painting by Jochen Hein creates a dynamization of the process of seeing, a recognitive enhancement of the question about reality. |
| |
|
| |
 |
| |
Klaus Hack
STEINBOCK 112 x 67 x 32 cm
Foto: Bernd Borchardt |
| |
As a balancing counteraction, the exhibition has positioned the sculptor Klaus Hack with his wooden sculptures of archaically-interwoven, dynamic torsos. Hack addresses the depth of the human experience, the human condition and the shaping of relationships. His sculptures, complex in design and made mostly of whitewashed and blackened wood, revolve around the subject of homo sapiens. The wooden bodies are freshly crafted and disproportionate, with a plastic differentiation and defraction of their "corporality".
Text: Augustin M. Noffke |
| |
|
| |
unsubscribe here
Newsletter was sent to newsletter@newslettercollector.com
© 29 Oct 2020 photo-index UG (haftungsbeschränkt)
Ziegelstr. 29 . D–10117 Berlin
Editor: Claudia Stein & Michael Steinke
contact@photo-index.art . T +49.30.24 34 27 80 |
| |
