- About the exhibition
New Masters vs Modern Masters
NEW MASTERS versus „Modern Masters“ is one of the ambitious projects curated by Heitsch Gallery. In this case, NEW MASTERS are contemporary artistic positions inspired by the international post-war art movement that set up an updated vision of our contemporary art history. Through the juxtaposition of works by NEW MASTERS and works by „modern masters“ as well as through the classification of the NEW MASTERS in art history, the „modern masters“ will shine in a new light. NEW MASTERS raise in particular the abstract art to a new level without losing the authenticity of the history of art. Thus, one could claim that NEW MASTERS is not only the continuation of the contemporary art history, but also a completely new vision of modern art.
- Artists of the exhibition
Lucas Blok's paintings emanate and pulse with a quiet complexity. One first sees the vivid color fields arranged in geometric tautness, then the subtleties in color and shape begin their work. The pristine surfaces of Blok's paintings vibrate: dominant shapes seem to dematerialize; color chords register their optical strength; phantom colors migrate or surge across the picture plane. The artist ushers the viewer into a world of color relationships that play on optical nerves and emotions alike. Adjacent color areas harmonize or generate delicate discords that become, like musical compositions, harmony, rhythm, discord, balance.
Isabelle Borges’ art is an art of representation. How it relates to and contains the “real world” only becomes clear after closer examination. It is helpful here to distinguish between surface and background. Surface means the material appearance of the painting. Our gaze is arrested by the details of the structure. We recognize words, fragments of pictures, and snippets of newspaper. The decisive momentum here is that of the return of reality in an abstract space such as the painting. Through the letters, time and space can, as it were, be assessed. That also has a literary quality and reminds us of Dada, Kurt Schwitters, and also Max Ernst. In this view, Isabelle Borges’ work is an archeology of modernism from its origins to today.
Marco Casentini explores in his work spatial dynamics of color, texture and shape. He is inspired by designs of urban space and reflects geometrical and architectural questions. By decoding environments and urban structures that he perceives immediately, he deconstructs and interprets designs of architects, engineers and town planners. Casentinis use of radiant, bright or strong colors is stimulated by southern Californian or Mexican paintings of houses and dematerializes their architectural surfaces.
Born and raised in Southern California, painter Alex Couwenberg creates images that are inspired by the elements indigenous to his surroundings. From Los Angeles, Couwenberg’s work references and suggests the aesthetic associated with mid-century modernism, car culture, skateboards, and surfboards. Couwenberg´s paintings give a nod towards the Hard-edge abstractionists, the finish fetish, and the light and space
artists. Not content to replicate, he uses the sensibility of Eames-era design and hardedge geometric abstraction as points of departure for creating paintings. His process, an additive and reductive series of moves and passes, creates multilayered environments that are deep and sensual. He harnesses these ideas into harmonious results, reflecting the visual landscape of his environment.
Angela Glajcar's paper sculptures mostly hang, floating in the air. They seem light and delicate, however they show a strong sculptural presence. Terforation is the title of Angela Glajcar's cubic pieces. The staggered arrangement of the vertically hung series of sheets of white paper, with torn edges, produces cave-like recessions. These extend into the depth of the sculpture. The sharp ridges and deep caverns evoke associations with glacial or rock formations while light and shadow fall on the surface of the sheets, enlivening the interior of the oblong structure. The viewer is led into fascinating rooms of harmony and silence.
Maximilian Heitsch is a Munich-based creative working in the fields of art, graphic design and cultural events. In his work he fundamentally focuses on the interaction of space, movement and simplicity. Evoking Ellsworth Kelly and Frank Stella, the young artist’s collection is a study on shape and color. Recently, noted blogger Bobby Solomon from The Fox is Black called himself a „fan of the tension that’s created between the intersections of the shapes, how the brain creates meaning in the abstract.” Aside his visual portfolio he regularly curates cultural events such as AABER AWARD and Panama Plus.
Since the 60s, Roland Helmer develops his constructive and concrete work with the utmost consequence. His abstract-geometric early work shows clear forms, quiet areas and is limited to a maximum of 7 or 8 bright colors. The variety of shapes is reduced in later work on narrow and wide lines in a vertical and horizontal screen layout. The color palette expands on certain issues by blends and underpainting with white and black. In painting concrete and constructive, he is one of those designers who bring a personal picture as part of an imaging system.
Jessus Hernandez lives and works in Southern California. He is a self-taught artist drawing inspiration from the diversity that abounds. Architecture and nature converge in his creations where he infuses vibrant color, linear form, dimension, light, and space to create geometric abstract art forms in a vast array of superimposed perspectives. Always intrigued with the placement of shapes and lines in cityscapes, he developed a love for architectural design which became the foundation for his artistic visions.
Antonio Marra’s abstract works remain truly fascinating due to their surprising change of form and colour. Each of his multi-perspective paintings contains several more pictures which reveal themselves by circling around the canvas. Step by step the spectator is drawn into a vivid and dynamic kaleidoscope of shape and colour. Marra’s art is a surprising experience of unique visual and dimensional effects. This painter has come to his very own style reflecting and redefining the techniques of Op-art and Orphism.
Yoshiyuki Miura’s works may be considered a systematizing regulation to the omnipresent chaos. With his sculptures and installations the Japanese artist reflects the relation of space and time. He leads force and counterforce in order to bring them into balanced state of tension and release. Miura creates objects which play with our perception of three-dimensionality and intrigue us by their extraordinary simplicity, precision and beauty.
Jürgen Paas creates circles, rectangles, squares, cubes and translates them into an open painting system, which surveys individual aspects such as color, form and space. Here, he combines system and order with chance and regularity, which manifests itself in an extremely varied and sensuous material painting. Wall-painted, glued and assembled different-color figurations are in dialogue with the archive systems placed on them or on top of them, made of brackets, color plates or ribbons. The interplay of regular geometrical forms suggests a rhythmic spatial sound that, in the context of synesthetic perception, brings a polyphonic overall work of art into view.
Felix Rodewaldt is a recently discovered, young artist of Munich's emerging art scene. Still being an academy student he creates artworks and installations made of tape which are so exciting that he was repeatedly asked to develop designs for clubs and independent stores. Before he used to work on stencils being inspired by Blek le Rat or Banksy. Now, he has replaced the aerosol can by tape and creates artworks which overrule the common understanding of art. In his latest creations Felix Rodewaldtdedicates his compositions 3D polished stainless steel, which are characterized by their polyperspectivity and versatility.
Rita Rohlfing creates color spaces in which she combines sculptural and painted elements in a way that they mutually cancel each other in their respective components and create a third element that is primarily space and color. "Space, color, light is removed from their unambiguousness and appear as a" twilight "that captivates us. This symbiosis between seeing and thinking, between perception and reflection is a central theme in Rita Rohlfing's artistic work, where she approaches painting and spatial architecture in ever new and refreshingly surprising installations and incorporates the observer into a continuum of experience.
Dirk Salz works on paintings whose most striking feature is their high-gloss surfaces. These are the result of the use of multi-layered epoxy resins coated with pigments and the sealing with polyurethane varnish. The images of Dirk Salz always aim at the experience of the temporality of the seeing. They demand an active viewer, who takes the time to move back and forth, back and forth, before the initially closing works, in order to open up their complexity so slowly. Reflection in this work is thus in two forms in the game: optically as the mirroring property of the picture surfaces, as a reflection-aesthetic as the reflection of the viewer on his own visual experience.
Ina von Jan
The painter and sculptor Ina von Jan focuses on the exploration of color, her perception and effect, her luminosity and color intensity at the center of her artistic
work. In her acrylic glass objects and installations ", she makes use of the optical effects of reflection, diffraction and refraction of light, color and transparent material. “It is with the energy of color, its autonomy and its facility as a universal language – liberated from the burden of all such content as critique, violence, and symbolism – that I endeavor to move people and to bring them together.”