Markus Lüpertz, Mike MacKeldey, Arnulf Rainer
"Der Hase im Laufhaus"
September 6th - Oktober 8th
Opening reception for the artist:
Friday, September 12th, 6pm
Der Hase im Laufhaus
With extrovert Markus Lüpertz who is also known for the care of the Kults around own genius like for his extensive and multi-layered work and with Arnulf Rainer, one of the most important and most argumentative contemporary artists of Austria to whom already while still alive own museum was established, the gallery presents two Grand Masters whose respective work alone is a guarantor for good again exciting and spectacular single exhibitions. However, the gallery puts this titan of the art still comparatively to young and far less known artist Mike MacKeldey self-confidently and on eye level to the side, and at the latest now the (desired) question positions itself: Does this function? Not only are Rainer and Lüpertz already too big in each case and too differently for a show? Does the young MacKeldey not threaten to set between them? No, it functions quite very well. Since with all differences in personality and work, so, nevertheless, there are amazing content parallels and common characteristics which connect the three and lead to the fact that their works are complementary to a consistent exhibition.
Markus Lüpertz is represented with compact sculptures and matching paper studies. The anyway already abstracted, partly absurdly proportioned and sometimes only in details identifiable (possibly Fortuna by her cornucopia) plastics in which signs of cubist, expressionist and African art can be found Lüpertz makes unfamiliar, in addition, by a coarse, often garish overpainting. Arnulf Rainer went forward quite alike in his "Face Farces" before, only that these are here photographs, often self-portraits over which the artist painted and oversubscribes and charged them thus with new contents and contexts. Here join nearly seemlessly surreally to absurdly seeming pictures Mike MacKeldeys. Also he deals, like Rainer, with the face, the portrait which becomes with him, however, the often nightmare-like caricature. The pastos applied colour, blurs, destroys and paints to nearly in the abstract seeming faces form. The artist often scratches or scrawls intuitively remembered texts or drawings in the still humid colour which deal in ironic manner with the work.
Less in a dialogue than in a confrontation the exhibition shows how the to borders of abstraction reaching alienation of the real object connects the works of the so different artists. At the same time the three positions stand exemplarily for the artistic profit, the media different by melting and forms of expression (Lüpertz: sculpture, graphics, painting; Rainer: photograph, drawing, painting; MacKeldey: painting, text), as well as by breaking through thinking specific for type can originate.