Oktober 10, 2017

Eröffnung Lois Renner im Salzburg Museum

September 2, 2017

Makart

Es ist nicht gut über Bildtechnik zu reden, aber die epochale Entwicklung stellt genau das vorne an! Wahrheit steht wie immer am Spiel, für die ganz neuen Möglichkeiten gibt es noch kein System. Regeln will niemand, aber Verantwortung muss sein! Kunst setzt eine Grundeinstellung zu Wahrheit voraus, weil Bild das mächtigste Werkzeug zur Wahrheit ist.

[masterslider alias=“ms-39″]

Die meisten Berufe folgen dem Menschen, sie schaffen Sachen, die der Mensch braucht. Wenige Berufe begleiten den Menschen, wie Medizin oder Rechtsprechung usw…, die Kunst geht voraus, sie schafft etwas, das der Mensch so noch nicht braucht. Um zu leben, steckt die Kunst ihre Wahrheit in eine Form, in ein Bild.

Fotografie ist das Medium, das schnell in die Breite geht, heute schneller denn je, deshalb benütze ich es. Das taten viele vor mir schon, Fotografie wurde immer abgemalt, übermalt…, ich drehe das um, nach einem Foto wird nicht mehr gemalt — es entsteht ein Foto vom Bild!

In meinem Werk „Makart“ zeige ich das im vollen Format. Mein Bild, nach dem Vorbild von Hans Makarts „Der Frühling“, zeigt, wie weit sich die Technik entwickelt hat. In einer Abmessung von 3 mal 5 Meter kann Information perfekt dargestellt werden, wie nie zu vor in der Geschichte der Menschheit. Nicht nur weil dieses Werk von Makart, das in meiner Schulzeit im Eingangsbereich des Salzburger Museum Carolino Augusteum immer für mich erreichbar war, ohne Eintrittsgeld zu bezahlen, heute genau hinter jener Wand eingefriedet ist, auf der demnächst meine Bilder zu sehen sein werden, sondern weil das Narrative, das lange Zeit nur im Film möglich war, wieder für Bild wichtig wird, ohne dass es dabei zur Erzählung wird.

„Makart“, nach Hans Makart, der so wie ich ein geborener Salzburger war, ist also auch ein Bild aus meiner Biographie. Junge Menschen aus meiner Familie performen darin.

Das Bild ist Teil meiner Serie „Instant Garden“. Als großer Fan Monets und seines Atelier-Gartens, schaue ich nach Hollywood, wo der Film, der die Malerei des 19. Jahrhunderts (Makart, Alma Tadema…) abgelöst hat, in einen anderen Garten, der meinem sehr viel näher ist.

Monet nahm sich Zeit für den Garten als Atelier, so wie ich es getan habe mit dem Modell vom Atelier. Der Garten im Modell hat keine Zeit, so wie die Gärten im Film. Die Set Designer mussten schnell sein, heute „Gone With The Wind“ morgen „John Wayne“. Die Wiese wurde ausgerollt, so wie heute ein Fußballfeld, die Bäume standen in Kübeln, so wie sie heute auf den Dachterrassen des Urban Gardening stehen. In meinem Bild „Makart“, mischt sich das alles, vom 19. Jahrhundert bis heute!

Nicht nur der Garten besteht aus Ölfarbe und Pflanzen, vermischt ineinander, auch die Bildsprache selbst mischt Gemälde und Fotografie zu etwas, das es so noch nicht gab, nicht geben konnte — weil die Technik dazu fehlte.

Lois Renner

Instant Gardening

Monet is my role model! Many are able to paint, but the performance of Impressionism is still breathtaking, with its abandonment of drawing in favor of painting, defined as an art of color, with color applied in many layers, painted on top of a rolling field of brushstrokes.

Among the Impressionists, only Monet is mine, because not only he was energized by the tension between image and reality, but he also changed the studio. Monet, while genuinely concerned about  his family, did not focus upon how good everything felt or even how bad — it was all about the image, and its value. His studio in Giverny expanded to include the garden and Monet spent his time and hard-earned money there, and his garden continued to grow, the trees and plants grew and grew again and again.

In my latest model garden I joyfully have touched on all of these themes! No matter if ants then appear in the studio for the first time, because there are so many plant species in there. For the first time I also see progress in the model, when I enter the studio in the morning, helped by brownies everything has become more and more beautiful during night. Immediate care is required — sometimes my interventions are backfiring, or things simply spoil badly, but most of it grows and releases the artwork from the human mind. Dried oil paint on canvas also changes, it changes with time, even when the dice have fallen. What counts in art is soft flowing consciousness, and not the hard, conservative thing!

What is really changing in my picture is the water! This becomes a fluid thing. Foil and a water pump, which brings the water into circulation, keep its movement always in one and the same form. In the age of electricity this is a process which, unlike the river Danube, is switched on and off by a breaker. Running water is undoubtedly the universal trope and the best material for representing time in the picture. Not the form itself becomes fluid, but the dynamic ductus arises through the moving water. Sparkling droplets jump, not allowing the rivulet in the picture to become too woolly through movement.

In the 1920s, ´30s, the film industry, Hollywood‘s studio system, designed movie set gardens which have radically widened the opportunities for gardening by creating the philosophy of instant gardening applicable in any garden needing quickly to be brought to life. Gardeners had little time (or space) for difficult flowers, so artificial turf was rolled out in rectangular strips. There were large trees in small pots, with circles of white stones around them. Using of artificial turf and buying container-grown plants, or even a ready-grown jungle, have made instant gardening a reality at any time and nearly everywhere. No digging, no tilling.

According to a legend, the Habsburg Emperor Matthias, who ruled from 1612 to 1619, is said to have discovered a Schoener Brunnen (beautiful spring or source) while hunting in the woods, which helped nature to find form. This could only become visible through a sculpture in the form of a nymph. In the vicinity of this spring Schoenbrunn Castle was built, and much later my studio at Schoenbrunner Street.

A water feature was made in my studio Schoenbrunner Straße, with a pond liner, not only indoors, but half in the studio model—super indoors, extra indoors…In the studio, the brook springs from a nymph, just as a beautiful (= in German ’schön‘) fountain—Schoenbrunn. The room brightens the spring (bright meaning ‚hell‘ in German)—Hellbrunn.

All these baroque gardens represent a new ideal of order—culture—out of the chaos of nature. Water features turn this process around, culture becomes nature, and again order arises from chaos. The water flow has now been turned, out of the studio, which can be seen today as an immovable castle when compared to the dynamics of computers. Falling water is the realization of a new development in my model building. The water falls from above the architecture back into nature! I have discovered the source in my studio, and just like the history, I will make it visible through a sculpture and elevate it to the status of culture, out of nature — just as then.

 

Mai 14, 2017

Retabel (Das Echo)

 

 

 

 

Lois Renner / S. D.: Grünewald.
Ein Dialog.

Februar 2010

SD: Meine Frage ist recht einfach: würden Sie ein Auftragsbild malen? Es sollte ein Triptychon nach einem christlichen Vorbild sein. Als Vorbild könnte ich mir den Isenheimer Altar von Matthias Grünewald oder ein Triptychon von Rogier van der Weyden vorstellen – das Kreuzigungstriptychon, oder das Sforza-Triptychon? Diese beiden Beispiele entsprechen nicht unbedingt Ihrem opulenten Stil, aber gerade wegen des Zurückgenommenen, insbesondere im Isenheimer Altar, hatte ich an Sie gedacht, um eine zeitgemäße Interpretation zu gestalten. Sie haben ja eine gute Hand für das Ikonenhafte, für das Verbinden der verschiedenen Techniken, und für die Übergänge der Epochen. Die Malereien der flandrischen Renaissance wollen doch eigentlich Photos sein, und Grünewald, der letzte Gotiker, würde heute wohl eine Reportage machen, anstatt zu malen. Und sie träfen damit auf ein Motiv, das die Kunst über fast zwei Jahrtausende beschäftigte – Allerdings nicht mehr im 20. und 21 Jahrhundert, die christliche Kunst ist nun ja fast ganz verschwunden. Wer malt heute noch eine Kreuzigung, eine Auferstehung? Ein Grund, es wieder aufzunehmen. Was halten Sie davon?

LR: Für die Aneignung von fremder Kunst für das eigene Formenvokabular nütze ich gerne die Anregung und Unterstützung eines „Komplizen“! Den Isenheimer Altar kenne ich gut. In meiner Zeit an der Hochschule für Gestaltung in Karlsruhe war ich, angeregt durch meinen Freund und Kollegen im Lehrkörper, Hans Belting, öfter in Colmar, um das „Wunder“ zu sehen.

SD: Ich dachte an eine ähnliche Umsetzung wie bei Flora II. Von da aus kamen mir dann etliche Ideen, die mich von einer Umsetzung wie im Atelier wegbrachten. Zunächst hatte ich die Idee, dass man das neue Bild dem Colmarer Original direkt gegenüber stellen könnte, sozusagen als Altarbild des Altars. Das ruft das Motiv zurück in die Erinnerung. Wieso malt man denn heute keine Kreuzigungsszene mehr, obwohl es sicherlich das am meisten verbreitete Kunstmotiv überhaupt ist, und man weiter fleißig Kruzifixe produziert? Weil es zu viele Photos von sterbenden Menschen gibt? Eine Alternative dazu wäre die Präsentation in einem ganz anderen Kirchen/Atelierraum, einer Art protestantischem white cube: weiß, schlicht, schmucklos, kahl, wie etwa einer aufgelassenen Fabrikhalle. Golgota war ja eher ein zugiger Vororthügel. So käme das reine Kunstwerk in den Mittelpunkt. Am Ende rückte die bewährte Ateliervariante wieder in der Vordergrund meiner Gedanken.

LR: Warum nicht Kruzifixe malen? Die Frage ist berechtigt. Immerhin ist dieses Kürzel Teil unserer kulturellen Grundausstattung. Zumindest in meiner Kindheit war in jedem Zimmer eines montiert. In den Jahren 1995–2000 habe ich Kruzifixe häufig in meinen Bildern benützt. Gestohlen wird was gut ist, oder, wie Picasso meinte: „Gute Künstler kopieren, große Künstler stehlen“. Wenn man abstrahiert und in ein Modell oder eine Idee zurückverwandelt, dann sind viele, vielleicht die meisten Geschichten schon erzählt worden. Heutige Malmittel erlauben einen fließenden Verlauf von Original und Reproduktion, immer entsteht dabei etwas Neues, einfach auch deshalb, weil die Mittel neu sind. Grundsätzlich halte ich den read more

Januar 27, 2017

Heliogabalus

Heliogabalus 5400

 

„Heliogabalus“, nach „The Roses Of Heliogabalus“ von Sir Lawrence Alma-Tadema ist die Darstellung eines Mythos aus der Geschichte des jungen römischen Soldatenkaisers Heliogabalus. Als Anlass zu seiner Ermordung im Jahr 222 im Alter von nur 18 Jahren wurde ihm ein exzessives Leben unterstellt, mit dem Wunsch nach Geschlechtsumwandlung und dem mutwillig herbei geführten Erstickungstod zahlreicher Gäste mittels eines Rosen-Regens.

Alma-Tadema war ein sehr erfolgreicher Maler im 19. Jh., warum seine Kunst ganz plötzlich als die schlechteste Malerei des 19. Jh. galt, bleibt ein Rätsel. Die Erfindung der Fotografie war nicht der Grund, sie hat der Malerei zunächst zu noch höheren Flügen im Umgang mit dem Stillstand der Zeit (Bild) verholfen. Vielleicht war der Film ein besseres Medium zur Erzählung von Geschichten, durch viele Bilder hintereinander, also eine Abwicklung von Zeit, so wie im Theater oder in der Literatur. Das Bild konnte sich fortan nur noch als Darstellung von Zeit behaupten, nicht mehr als Erzählung der selben.

Ausgerechnet ein Filmproduzent hat die unmodernen Bilder von Alma-Tadema gekauft und diese zu neuem Erfolg geführt, als Vorlage für die erfolgreichsten „Sandalen- Filme“ wie Ben Hur oder Cleopatra, und später durch den Verkauf der Bilder zu Höchstpreisen.

Dank der neuen Bildmittel heute ist es möglich, die Moderne zu überbrücken, und am Ende der Malerei des 19. Jh. anzuschließen. Anlass genug um die Geschichte des Rosen-Regens noch einmal in ein Bild zu packen, und um die Geschichte des Heliogabalus auf den Punkt zu bringen.
Lois Renner

Heliogabalus, also known as Elagabalus, born in Syria, served as a high priest of the sun god Baal; at age 14 or 15 he became emperor. Four years later, at the age of 18, he was murdered. Soldiers slew the painted sun-priest, who had been dressed as women. His corpse was dragged through the streets of Rome, and finally thrown into the Tiber in March 22. Despite his short life, the traditional image of Heliogabalus, who wanted to change his sex, includes a man with visions of luxury cruel or sadistic enough to dream up something so weird. Here, an orgiastic tragedy, Dionysian dream image, spiritual pleasure, and Apollonian death trip meet and become one.

 

The piece „Roses of Heliogabalus“ by Sir Laurence Alma-Tadema not only depicts the suffocation of people in a highly artistic fashion, but also shows the „Making of“ by presenting a timespace, thousands of roses that had to be painted next to- but also after each other.

It is conspicious that the dying underneath the rose carpet seem to keep still-, almost calm. Yet this way of dying surely does not relate to any death that was common for the people living in Pompeii, almost frozen by the shock due to the extreme heat, but is more a fight against suffocation. This violent act though looks different, which is why the film expels the painting to become history. Painting at that time required the models to remain completely still, not only to be portrayed correctly by the brush and paint but also for the slow exposure of photography. Film got rid of that problem, though not in the quality of a single image, but with thousands successive ones.

The Roses of Heliogabalus is a representation of one of the loudest and most well-known (probably invented) stories about the third-century Roman soldier emperor Heliogabalus showing his unsuspecting guests being suffocated by a shower of rose petals to the amusement and entertainment of the viewers. The original tale of the event mentions violets as the flowers of death. The myth about Tadema‘s sophisticated piece of salon art includes both, his choice of roses being the Victorian symbolic of sensual beauty, corruption, and death, and also his great efforts to get fresh roses from the French Riviera during the last few months of 1887, when it was too cold for English roses to bloom. In order to be able to paint the petals with his special precision, running against time, fighting against corrupted nature, he arranged for rose blossoms to be shipped every week for as long as it took to complete the artwork in dark London (the great realism swindle…).

Like other artists before me, I tried to update this theme by mythization of my own aesthetics, of my own life as an artist. I was not interested so much in the historical figure itself, or the pure history, but in the historical disguise of my own intentions in making art. For me, the young Syrian emperor is also a different Lois, as I dream myself as an artist: Heliogabalus, by virtue of an Imperial command, had the power to shape his empire according to patterns in his imagination, and to transform reality into a boundless orgiastic theatre, in which he appeared as the main figure. He also had the power to overcome Roman rationalism by the introduction of the cult of Baal, and to realize the boundless liberty and anarchy of bodies instead of bounded, rational language. In other words, what I want to realize in art, my faunish heliogabal realizes IN the picture. Just as I want to reconcile art with what we call „life“, a renewed effort, Heliogabalus transforms the Roman throne into a huge Renner model, where all limitations are fully accepted so that they cease to be limitations.

Why took Tadema roses instead of violets? The connection between rose and language/text is evident, especially in Christian iconography. The red rose stands for martyrdom, the white for innocence. Tadema’s products of reality construction are one possibility to see beneath the surface, and so are mine. It is not only about receptions of antiquity in art, or myth, that would be too superficial. I do not want symbols. I want things. Heliogabalus shows flowers.

My studio is always the model for my paintings, and the space to arrange models to work from. In the studio, the site of making, where pictures are created, the problem of the picture time disappears, “half-finished” is always possible, because inside a studio always half-finished and unfixed are to be found. After Modernity, it is hard to do something wrong or bad, the incomprehensible turns into art, anyway. So it’s about time. Man has a beginning in time and an end, often it is better to take a photo than to draw, or to start a 3D print instead of carving. Time goes by, therefore, the handling of time is the most critical issue and a very interesting task. So I create pictures that compare the timing of yesterday’s visual language and imagery with that of today. To find a new visual language, the linking, combining and merging of past, present and future (images, techniques, things) is essentially. My pictures of Heliogabalus are no isolated windows onto one possible dreamworld. Seeing my artwork is somehow like having access to my studio, an invitee to my place of construction.

Next to film being the new medium for art, painting turned to the stillness of time. It is the oversized format and color, that allow time to be shown (Jeff Wall), becoming the best painting technique of all time by digital alterations!

The creator of The Roses of Heliogabalus was born in 1836 in the Netherlands as just Lourens Tadema. Years later, he changed his first name into Lawrence to be more British & International, and, so it is claimed maliciously, he added Alma to his last name to appear first (or at least at the beginning) in exhibition catalogues. Although he enjoyed great wealth and significance during the Victorian Era, his works began to fall out of favor and his reputation declined up to unsaleability. Tadema was even declared „the worst painter of the 19th century.“ This was to remain until a Met exhibition of a collection of works owned by Allen Funt, an US-American TV producer and creator of Candid Camera (the first Hidden Camera in TV), caused their appreciation and value again to skyrocket in the early 1970s. Tadema worked so meticulously when he studied and researched ancient Greece and Rome, particularly Roman architecture and spatial situations….so that later Hollywood directors and set designers appreciated very much his attention to detail, his paintings, his tableaus have been used as references and ideas for Ben Hur (1926) and Cleopatra (1963).. Gladiator (2000)

From violets to roses to paper, a violet is a rose, is a paper.

 

Januar 25, 2017

Deutsche Literatur

„Deutsche Literatur“ (German Literature) is an overwhelming term indeed. I actually know someone who collected it entirely and someone else, who knows all about it. This „German Literature“ is just a part of the the unbelievable collection of Arno, whose surname I do not remember right now – a former resident of Salzburg, just like me.

At the antiquarian right around the corner, there were once these tiny books on display, perfectly fitting for the model of my studio on a scale of 1:4. I acquired ten pieces, urging the salesman for more, but he could not comply, informing me though that just minutes from here the probably most important collector of miniature books in Austria, maybe even all of Europe, would be in business. He would call me, if I´d leave my number, and that´s exactly how it happened: a familiar speech sound from Salzburg … and just after a few weeks we met in the suburbs of Vienna, in his small apartment, where all copies of world literature in miniature were stored in closets on the wall.

Within just a few sentences I realized that Arno actually read every word from his books, that no one could rip a page of the small print from one of his books without him noticing. Even the american „Miniature Book Society“ is looking for an open position for a gynecologist in Boston now, so Arno can become the next President of the society in America, with all of his know-how, which can become a weapon through the right use of google! Thousands of automated search queries send him various offers each day. Arno buys lots of books but keeps only one, using its value to buy a thousand new ones etc. ..

A freak? One who lives just for books..? No, quite on the contrary, Arno is a typical high-minded individual, just like his sister and his brother, even his parents are special.

Months later Arno brought his collection to my studio, requiring a complex insurance with lots of documents. Now he finds the time for love, looking for his future bride and subsequent wedding plans.

I have to hurry with my work in the studio, for the series „Bibi“ is coming to live and, three years later, a comparatively sober, less baroque continuation, starting with the piece „Deutsche Literatur“.

 

 

DeutscheLiteratur_2_k01

September 18, 2016

Halle Barlach, Hamburg 2016

September 15, 2016

Faun

For 30 years the beautiful Faun, better known as Barberini Faun, has accompanied me. He fits perfectly into my model, as a baby in its stomach area, for always being the sweetest fruit of art, since about 200 BCE, when the old Greeks exchanged their weapons for art until the ancient Romans came with a budget for violence as today’s Israel‘s war budget..

Ancient Rome was going down, and so was the fair Faun. The statue was found again in the moat below the Castel Sant‘ Angelo in the 1620s, and somebody informed Gian Lorenzo Bernini and his team. All the artists, who were not frightened by the sight of this perfect Hellenistic marble sculpture, went home, improved their own arts, made a switch to fit in with the so called rebirth of the fine arts, the European Renaissance.

When the new Romans also perished, it was Ludwig‘s, Crown Prince of Bavaria, and Germany‘s business talent that brought the Faun to the Glyptothek in Munich. In the middle of the 1980s I made my first drawings of the Faun, since 1995 he lives with me in Vienna.

(Is it a Faun, a Satyr? The original depictions of fauns and satyrs in their respective mythologies —satyrs were followers of Dionysus, fauns were followers of Pan — were once very clearly defined, until they got blended into one in the late Roman mythology. Whereas fauns were often half-man and half-goat, satyrs originally were depicted as stocky, hairy dwarves with the ears and tails of mainly horses. Satyrs were more woman-loving than fauns…and fauns were described as rather foolish!)

 

Lois und der Faun, 2016
Der Barberinische Faun
Glyptothek, München, Germany
1985
Der Faun im Atelier
Sammlung Landesbank Hessen-Thüringen, Frankfurt am Main
1997
Atelier 500, 2001
Das Rascheln der Feigenblätter
Museum Moderner Kunst, Wien, Sammlung Ludwig,
Museum Kunst Palast, Düsseldorf
1999
Snow, 2004
Aquarell, 2006
Der Künstler in der Glyptothek, 2009
The Making Of Satyr (Marco, Ironische Antikenimitatio), 2013
Glyptothek II, 2012
Drums 2013, 2013
Valerie II, 2014
Samstagvormittag eines Fauns, 2016
August 29, 2016

Drawings

30 years ago I drew nude studies in the academy of Düsseldorf, where images were painted from photographs to deconstruct the medium of painting. At that time, I did not paint from photographs, my whole body completely rejected this practice.
My only „painting comrade“ was Stefan H. (the devil knows where he is today), this guy was very intelligent and painting was his religion. We constructed and arranged still-life tableaux before painting, and Richter commented “Okay”, but meant that a photo would work so much better as basis for the painting. Stefan’s love of painting went so far as to paint for news papers in a court of law, where cameras are not allowed to preserve privacy.

Since no one else wanted to draw nude, Stefan and I approached people to model, in restaurants or on the street. They got vouchers that could be exchanged for cash in the office of the Kunstakademie Düsseldorf. In 2016, 30 years later, I myself posed as a nude model in the Summer Academy of Venice (see Studio, Giudecca).

August 28, 2016

Giudecca

The painting „Giudecca“ is the final result of a wonderful time I have spent in Venice, Italy, as a teacher for painting in the summer Academy 2016. The meeting with painting- amateurs from around the world has given me a completely different approach to life as an artist clearly. In order not to disturb the students at painting I stood as an act model available in the middle of the studio.

 

 

 

August 28, 2016

Athene und der Kentaur

Europa auf Minotaur

 

Athene und der Kentaur [05-2015]

Der Titel ist unwichtig, den entnehme ich einem meiner Hefte zur Kunstgeschichte. Das Bild könnte auch „Karl“ oder „Maria“ heißen, aber „Athene und der Kentaur“ passen besser zu der weiblichen Figur und dem Objekt, das im Vordergrund steht. Das Objekt im Vordergrund ist ein Schnitzwerk nach dem Vorbild „Muschi“, meinem Motorrad, welches sich so überraschend wie selbstverständlich in mein Leben gestellt hat, und noch viel schneller wieder hinaus.
Dieses Bild handelt zunächst von der Quelle der Information – mit Information als höchstem Wert. Natürlich hatte die Information über die Lottozahlen von morgen schon immer einen hohen Wert, jene Information aber, die ich meine, wird benötigt, um einen Schöpfungsakt einzuleiten, vergleichbar mit dem Akt des Kinderkriegens, nur mit dem Hirn anstelle des Gemächts.

Woher bezieht der Maler seine Information? Aus dem Inneren, aus dem Äußeren? Aus dem Inneren kommen Emotionen, aus dem Äußeren kommen Dokumente. Ein gutes Bild speist sich aus beidem. „Innen“ ist die Ablagerung von Erfahrungen, vermischt mit Instinkt und Erbe, „Außen“ ist das Neue, das dazu kommt. Athene im Kreise ihrer Musen, mit ihrer Entourage, mit all den Disziplinen, Architektur, Bildhauerei, Malerei, Buchkunst usw. — so war es früher. Heute genügt allein Athene als Universalistin, alle Programme und Plots hat sie drauf. Bildhauerei hat sie längst gegen Video eingetauscht, Malerei gegen Foto. Das Performative liegt ihr sowieso. Sie macht alles, sie kann alles! Athene wird zur Frau, die Wache schiebt, während der Künstler arbeitet – eine Schönheit, die sanft auf den Künstler blickt, stets mit den Worten auf den Lippen:

„Du kannst mich jederzeit haben, wann immer Du magst. Mach Dir darüber niemals Sorgen! Ich gebe Dir die Zeit, die DU auf der Suche nach der „Richtigen“ vergeudet hast. Du brauchst auch keine Kinder, die Dich bei der Arbeit stören, weil ich bin kindlich für Dich genug.“

Mittelalterliche Heraldik heute:

Kawasaki = grün
Honda = gold
Harley = schwarz
BMW = blau
KTM = orange
Ducati = rot

 

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Juli 7, 2015

Selbstverständlich Malerei

„Sammeln ist für mich Abenteuer und Erlebnis – es geht weit über das Entdecken und Besitzen hinaus. Ausschlaggebend sind das Verstehen der Kunstwerke und der Künstler sowie die Faszination an der totalen Individualität der Künstlerpersönlichkeit.“ (Heinz Ploner)

Das Belvedere zeigt im Sommer 2015 im Belvedere in Wien einen repräsentativen Querschnitt aus der Sammlung Ploner, darunter auch die Arbeit „Accademia (außen) 1000“ von Lois Renner aus dem Jahr 2003. Die Ausstellung ist vom 08.07.2015 bis 27.09.2015 zu sehen.

www.belvedere.at

Oktober 20, 2014

Geschützt: 3D Lois

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September 29, 2014

Bibi

 

An image always shows something that is not really there. For a long time, a library is as a collection of information, rather than a collection of books. The photograph of a library exists as a photograph, never as an image (at best it is art). Bibi is the photo of a library that does not really exist but is a sculpture, merely the model for the image, which was produced over a long period of time, which exists only for a short time and which is shot photographically in an instant. Thus the image of a library is created: Bibi.

BIBI

Human culture is about passing on intellectual information. It is crucial, however, that this information is stored in material structures outside the body such as stone tablets, books or data carriers and that it remains accessible via these structures. Information does not equal knowledge. The question of what knowledge is and how it differs from non-knowledge is as old as philosophy itself. Since the middle of the 20th century a linguistic philosophy concept has been stating the following: Knowledge and language are directly linked; outside of language there are no criteria for understanding and experiencing the world. Or more informally: While a dog’s knowledge decays in its animal cemetery grave the knowledge of the “man of letters” (Canetti) lives on. Moreover, humans are physically equipped with the potential and ability to think and repeatedly re-create not only written but also optical, visual and acoustic signs as well as their encoding and classification systems. Prior to the media revolutions, information was accessible only to a very few whereas (in comparison) it is available to everyone today. For a long time, knowledge as a context-related combination of pieces of information has been available only to elites. Before the Enlightenment in Europe access to libraries and books was limited to a very small circle. Bibliophilic interests as well as the decisions of aristocratic court societies and the clergy determined the composition of a library.

The size of the world depends on knowledge; a space is only as big as it is filled with knowledge thereof. In this sense library spaces are the largest existing spaces. BIBI is an image of a library, the summary of all libraries, and at the same time an apotheosis of  books and libraries, which far exceeds the topic. A library consists not only of books as artefacts that articulate world experience and cultural heritage; it primarily holds the enormous concentrate of compressed time, combining centuries of human thinking recorded on parchment or paper – a homage to the long-term (and aesthetic) programmes and stagings of (already bygone) culture in which they were bound to the printed word, in which books were maybe the most important, at least the most astonishing tool (Borges).

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