Dear friends of art, dear friends, dear guests.
Welcome to kunsTräume 2 – in our temporary, cultural zone.
Temporarily with a clear, unobstructed look – at: The end.
The chances of continued existence have been minimized to the advantage of our much revered sponsor RFR Management.
There are serious prospective customers for this wonderfully situated rental property and so it can happen to us now quite quickly that we have to leave these rooms.
For three years RFR offered us a home for the art and before that another 3 years in another object, which now houses one of the most beautiful hotels in Frankfurt, the Roomers in Gutleutstrasse.
Our joint cooperation has proved to be harmonious at every moment and hopefully profitable for all sides.
Everyone is now familiar with RFR’s social commitment in the cultural field.
RFR – does good – WE like to talk about it, and others do good.
We would like to thank Abi Rosen – a Frankfurt boy in New York – for his success and interest in art, and we would like to thank Bruno Kozminski, his managing director here in the suburb and the entire RFR team for their support.
Thank you, thank you and welcome.
I would also like to welcome those of our visitors who did not go to the Kirchner exhibition opening in Städel today, but rather to us.
I can assure you – there are no white walls here, all the pictures and sculptures are there and are not scattered in any storage space worldwide.
It is currently a little uncertain whether freight arrives or when…
So let me talk about uncertainty.
Whether you can fly to Malle quickly for a weekend is suddenly uncertain.
The economy is uncertain, even though it has just bravely climbed a few stairs again, there is a lack of material and the authorised signatory is stuck in Bangalore.
Banks apologize for wrong advice, which they have provided only for their own benefit, not for the benefit of their investors.
Everything has become more insecure.
The fat years are SOWAS of over.
Economy today – a dance on the volcano.
But fortunately there is the possibility of investing in GOOD ART.
By the way, this investment is BETTER than ANY fund – you can ask any crying fund manager.
Uncertainty also keeps us in positive, forward-looking tension.
Ulysses made his wanderings in great uncertainty.
He did not know whether he would ever reach his homeland – Ithaca – again.
But through the insecure travel routes he saw the whole known world.
His experiences on this odyssey formed his personality and let it mature.
If I hadn’t had my car accident in New Zealand, I wouldn’t have come to the chainsaw and never could have created this amount of sculptures and not developed my very special handwriting.
All evil has its good.
We hope that our wonderful sponsor for his house and yard art corner will find a new place and we can continue and if not…
Then there will be an exhibition break.
In this break you can create new sculptures, paint new pictures, take new photos, build houses and make heroines… or have grandson-heroesses testify….
In this break you can laugh, love and recover – you can gain strength for a new beginning.
And there will certainly be a new beginning.
And there is a magic in every beginning.
I’m starting with art today:
Marc Kirschvink is exhibiting with us for the first time, but he is so much in demand in the Cologne area that he could sometimes tear himself apart.
I only needed a single glance at his portfolio and I was on fire.
Marc Kirschvink paints by recreating and reinterpreting his daughter Ada’s scribbling drawings.
Some of them have the original drawings, which are 3 to 4 centimetres in size, as a basic stock, and some of the pictures condense several of these circles and strokes into a completely new combination, which has to be skillfully staged.
If you can paint and draw in a figurative manner, it is a matter of attitude whether you want to continue painting in this way or whether you are willing to get involved in the risky experiment of going back to the roots of creativity.
Such an attempt CAN CAN also go wrong, can look amateurish.
Here, on the other hand, we encounter a poetic, joyful and formally absolutely worth seeing journey into childhood and its reflection through the adult spirit.
A child finds a pencil at the age of 1? and discovers that it can be used to leave traces on small notes.
Exciting for a child, like everything new, like every day in this fresh, young life.
Our son liked to paint NECKEN very much at that time.
A snail paints the grain. Hübs off?
Yes, they were very pretty – especially with pen on the brand-new buffalo skin leather couch set, our pride and joy in the late 70s….
Marc Kirschfink has consciously made the reduction to the first contact of a human being “to set an example” to his program.
He has developed the train of thought further, condensed and filled it with colour and I think he succeeded masterfully.
I have fallen in love with 4 of his paintings – they have to be very, very fast and I think I have to be very, very brave!!
You will find the pictures in the main room and along the corridor.
Julia Roppel also reduced, but she always reduces differently.
She draws with colour – suspicions of the mountain world – tender and breathed and yet unobtrusive landscapes in delicate pastels enchant the viewer.
In this world you hear nothing, except perhaps ONE eagle, which seems to circle in a weightless and silent way.
Or a pigeon from Rödelheim; -)
The pastel-coloured pictures remind me of the late work of the painter De Kooning, who gradually faded out the world and painted less and less on canvas….
The other side of Julia Roppel can be found in the strongly coloured pictures in the corridor at the front wall and in the last room of the corridor on the right.
The paint becomes a magnet – nothing with pastel shades and noble restraint…..
There she lets it rip and yet refuses to complete the classic project.
Here, too, it ends after the basic drawing.
That requires courage.
Nothing is painted here – there are deliberately gaps that invite the visitor to dream – the visitor is drawn into a frenzy of colour, a restless flickering from which familiar figures appear again and again.
As in the world of opera, she is concerned with showing with the verse of our “actual reality” a world that seems new and mysterious, yet consists only of the parts of our everyday life.
This can be the crane in Offenbach harbour or an excavator in the forest, inviting the viewer to invent his own story.
And again and again this girl….
Animals accompany the girl through this world and it can also happen that one of the pictures shows the space she has already left…
Look at it.
Rainer Raczinski specializes in Polaroids.
His photos hang in the corridor and in two small rooms at the end of the corridor.
Polaroids are the only photos that definitely exist only once.
As some of you may know, Polaroid sailed into bankruptcy 2 years ago and if not some crazy people from Vienna (a city that sees death as a bizarre friend of the living) would have bought the shop, that would have been the end.
Now they had the machines, the specialized workers, but unfortunately they didn’t have the patents for the films.
What do you do when you can build cameras but you don’t have movies for them?
Invent it yourself.
So they developed something completely new and Rainer Raczinski, who followed all this with fascination, could buy 4 (!) black and white films called FIRST FLUSH, directly in New York on the relaunch party.
These films were only available in a 1,000 copies – it couldn’t be more exclusive.
The name of the Polaroid restart project: IMPOSSIBLE PROJECT.
The result in gentle sepia tone can be seen in the penultimate room of the corridor.
Pictures that could also be from the beginning of daguerrography.
Rainer Raczinski also brought us impressions from Paris and New York on original Polaroid film, which he keeps in the refrigerator and always just before bringing them back to life, freeing them from their icy calmness.
We see in his pictures that there is a French quarter in the middle of New York where it looks like… oh, what – look at it yourself and take your glasses with you!
What makes me very happy as a local patriot is a small series of pictures from Frankfurt.
Each individual is a treasure from a treasure chest that makes time calculation irrelevant.
Many of Rainer Racinski’s pictures might just as well have been taken in the 40’s, or at the beginning of the photographic age.
Take a trip through time with Rainer Raczinski, a demanding individualist and “Polaroid-dependent”.
Andrei Medvedev cannot be here today – but the married couple Fudim will represent him worthily. (where are they?)
If you have any questions, please contact them.
To the right and left of the entrance you will find the pictures of Andrei.
He is an established contemporary Russian painter, represented in many museums around the world.
Works by him hang among other things with President Putin or Madonna or in the BFG-Bank here in Frankfurt!
When I first saw the pictures of Andrei Medvedev, the memory of Velasquez “Infantin” jumped me only to be overlayed by a touch of Chagall and Städelmalerei.
Even Botero is quoted.
He quotes and then plays with the quotations, mixes everything and lets the figures slide into dark depths – animals and demons are the companions of his characters on their journey, which they perform surprisingly laconically.
They are impressions that, in combination with surrealism, abstraction and medieval perfection, enter into an open marriage and thus become a completely new genre.
The classics become blurred, abstract forms of painting tumble between almost medieval reality, somehow not to be classified.
The Jewish theme is strongly represented – death – the threat and one wonders who the demons are, who the main characters take for granted.
None of the main actors seems frightened – they accept their fate laconically as God-given, surrendering in almost serene calmness.
I hope so, because they instinctively know that everything is going well for them.
Can a picture be almost old-fashioned yet modern?
It can: Here we see the proof – in the creation of a new art genre.
I’ve been told the name for it is: Post-Avant-gardeism.
Nico Wallfarth’s shadow images – he calls them “Decomposed” – at the very end of the corridor run the risk of dissolving in their own darkness and melting into themselves.
Photographed in the cellar of a winery, the white, naked body of a woman can be seen.
He appears like a light in the darkness, a confusing promise.
No one suspects what this female creature is doing there in secret, but it can end dangerously for them.
It could be a future crime scene, the viewer a spectator, the scenery murderous.
Or do the pictures show us a hiding place of love in which forbidden, secret desires break with each other’s agreement?
I think of a fragment of the wonderful poem by Francois Villon:”I cried my lungs sore for your white body – you woman…
When light penetrates into the room, it overshadows everything, fraying the shadows. Glaring.
The viewer will try to discover the meaning of the context in the picture sequence, this search is surely a part of the fascination…
I was fascinated by the photos in their darkness, but I haven’t seen a series of pictures of Nico Wallfarth that I didn’t like.
The photographic work decomposed was selected together with few other works from a small list of all previous prizewinners of the Epson Art Photo Award for the renowned gallery “Epson Kunstbetrieb” in Düsseldorf.
Alongside Nico Wallfarth as a newcomer, there are world-famous artists such as Charles Wilp or David Lynch in a small but very exquisite selection.
Not only Nico Wallfarth can be proud of this, but we are too!
Michael Purtz is a concrete painter.
His pictures can be found in the first small room on the right side of the corridor and one next to the vault.
Almost photorealistically he paints his bath scenes after real holiday photos.
Uh-huh, a family on the beach. And?
Only if you look closely and discover a tattooed family man, or find out that the fleshy spot in the water desert is not a bathing cap or skull, but a lonely, flesh-coloured buoy, you can see the humour that Michael Purtz flashes in his pictures.
If he only paints the legs of Angelina Jolie and Brad Pit, for example, or a too beautiful part of the mountain world, then one is surprised – why don’t I let go of this or that other picture?
What is the fascination of landscape?
The special feature is the selection of details, which radiate inner peace and tranquillity.
When I’m really fed up with everything, I look at the small grey cumulus cloud of Michael Purtz in my hallway, whose white edges show that the sun is shining behind it and everything is fine.
Michael Purtz paints pictures that make you happy, pictures that you like to have around you, when otherwise everything is in chaos.
Karin Goetz always remains true to herself.
From cocoons to robes and wire dresses to clothing collages – she always focuses on covers.
She has designed a beautiful room in the archive room – because down the corridor on the left side – and she is the only one in the archive.
Collages are this time – garments with nervous strokes bordered tears – arranged into a laundry fiddle.
They dance cheerfully and tone-in-tone on the walls of our magazine.
They surround three showcases in which there are real art book treasures.
No one I know has such a feeling of creating something completely new and exciting with paper shreds and tears.
She writes OWN, wonderful poems in these books.
With her beautiful handwriting, paper and colour she designs these books from cover to content herself.
Books made of handmade paper.
A gem of bookbinding.
But not only that – art objects – unique pieces – a treasure of each and every one of them.
Every year, she is represented with her art books at the “Minipressemesse” and also at the Frankfurt Book Fair.
The books are torn out of her hand.
No wonder – they are poetic pieces of art.
Without Karin’s help I would sometimes be overwhelmed – she is my co-organizer and a dear friend.
I am grateful to her for her clear opinion, her expertise and her tireless help.
Karin You are not only a wonderful artist, but also a treasure!
So far to the most reliable and stable (except me)
Living inventory of the artDreams.
RAINER about me…?
If you would like to see more of my work, you can still find it parallel in Bad Homburg Ober Erlenbach in the gallery Zehntscheune.
The Boderke family is looking forward to your visit.
Back to insecurity.
Faust’s uncertainty he described:
“I can say at the moment, stay here, you’re so beautiful”
Instead, he let it be open to any development, and very, very curious…
Well,” Curiosity killed the cat” can also be said in this case, but if we humans hadn’t been curious, we would still be in the caves around the campfire, so:
Satisfaction makes sluggishness, dear friends of the mushrooms.
Therefore, they will not give themselves over to the buffet, but will first indulge in a very special enjoyment of art – OUR PERFORMANCE today.
artDreams proudly presents:
Ina Kleine-Wiscott and Martin Lejeune.
The audience can expect a premiere here – including improvisation and random music.
The two musicians, however, are a well-rehearsed team and can already look back on several joint theatre music and radio play projects.
With the radio play “Nächster Halt” they won the Plopp! award 2003 for free radio playmakers at the Akademie der Künste Berlin.