Johann König, Berlin is pleased to announce the group exhibition 50 years from now paintings and objects dating from the 1960s and 1970s by Thomas Bayrle (b. 1937), Axel Dick (1935-2006), Rolf Meier glass (1945-2003), Manfred Kuttner ( 1937-2007) and Posenenske (1930-1985 to present).
Bayrle Thomas (b. 1937) is one of the most important representatives of German pop art, as both his pictorial motifs, as well as its central design principle of the modern world of commodities reflect the serial accumulation of multipliable as repeatable forms. Accordingly there since the 1960s in the form of Serigraphs produced, so-called super forms from an accumulation of identical shapes and pictograms such as cups, cans and shoes. The resolution of each image in units of mass of the picture deals with the relationship between the individual and society.
Bayrle, one of the first German artists, the computer-generated animated and produced art, lives and works since the 1960s in Frankfurt / Main, where he is since 1975 professor at the Städelschule. In 1964 he participated in the documenta III in 1977 at Documenta VI in part and in 2009 was on the 53rd Venice Biennale represented. Solo museum exhibitions were held in the Museum of Contemporary Art, Barcelona (2009), Musée d'Art Moderne et Contemporain, Geneva (2009), Museum Ludwig, Cologne (2008) and others
The previously little-known artist Axel Dick (1935-2006) worked after graduating from the Academy of Fine Arts Berlin (until 1960) as a professional art teacher in Brunswick. In parallel, however, he created graphical, pictorial and sculptural works that as of 1967 - are committed to the aesthetic concepts of Op Art, which dominated most lasting since the early 1950s by Victor Vasarely and Jesus-Raphael Soto - under the impression of two U.S. visits was. With Dick's so-called light programs, partly plastically designed paintings of precisely spaced and nuanced color strip, it was the artist for an association of energy and light.
Dick Before 1979 his work greatly reduced, he had several exhibitions in Germany, especially regional galleries, including in Rolf Meier's Glass Studio Gallery in Gelsenkirchen (1974, 1976). After he had in the 1990s included his work in art again, he was from the 2000s, again more often represented in group exhibitions.
After an apprenticeship as a typesetter studied glass Rolf Meier (1945-2003) visual communication at the Ulm School of Design (1965-1968) and had been the center of his life while in Gelsenkirchen. The concrete for the art of the 1960s, the central concept of structure is also relevant to Meier's glass art practice. This leads, in addition to early drawings and prints from 1967 to his so-called store-objects, where glass Meier joins most industrially manufactured objects such as door handles and curtain rings into wall objects on each other and the viewer becomes part of the interaction provides. With the department store Meier glass objects ironically the formal austerity of concrete art, the serial nature of the modern world of things in mind and leads them to a playful use of the beholder.
Glass Meier received many awards including the 1969 first Sculpture Prize at the 6th Paris Biennale and the following year the Villa Massimo Prize, Rome. After countless international participations in group exhibitions and solo exhibitions at the Neue Sammlung in Munich and the Museum Folkwang, Essen, found in 2008 at the Museum for Concrete Art and Design Ingolstadt a comprehensive retrospective at the presentation of his estate instead.
Manfred Kuttner (1937-2007) first attended the art academy in Dresden, before he left East Germany in 1961. After moving to the West, he studied under Karl Otto Goetz at the Düsseldorf Art Academy, along with Gerhard Richter, Sigmar Polke and Konrad Lueg. As the latter also broke Kuttner, but by 1965, from his artistic career. In just four years ago he created a work with a very unique design language, which includes drawing, painting and sculpture in particular. The time was wearing neon colors on the market Kuttner on everyday objects, or used them for his abstract, kinetic 'compositions on canvas, old curtains and other fabrics.
Kuttner's early work has worked variously as part of the exhibition The Artist's Dining Room (2007) at Tate Modern in London to see (along with works by Anselm Reyle and Thomas Scheibitz), which was followed in 2008 a solo exhibition at West London Projects.
Posenenske (1930-1985) artistic development began in the 1950s when she studied at the Stuttgart Art Academy under Willi Baumeister. With him, they worked together at the same time as a stage in Darmstadt, near Frankfurt / Main, where she graduated from the 1960s, a close friendship with Thomas Bayerle and the artist Peter Roehr. Your room sculptures from industrially produced elements such as rectangular tubes, which varies over again to be created, until 1966 - before quitting in 1968 her work, she came to the conclusion that "art, nothing can contribute to solving pressing social problems" and then earned a degree in sociology and was active in social projects. Although they are from 1968, completely withdrew from the art world had, especially their spatial sculptures have a strong influence on the conceptual art of the 1970s.
Until 1968 Posenenske had solo exhibitions in galleries around by Dorothea Loehr, Frankfurt / Main (1961, 1966, 1968) and Konrad Fischer (Konrad Lueg), Düsseldorf (1967). After her death, solo exhibitions were held around the galleries Grasslin-Ehrhardt, Frankfurt / Main and Paul Maenz, Cologne (1986), New State Gallery of Stuttgart (1989), Museum of Modern Art, Frankfurt / Main (1990), Artists Space, New York (2010), Mehdi Chouakri Gallery, Berlin (2007, 2008, 2011). In 2007 she was at the documenta 12 and 2009 in the exhibition In & Out of Amsterdam: Travels in Conceptual Art represented, from 1960 to 1976, MoMA, New York.