Johannes Meinhardt

  • “Trans/Mission”

    Lars Nittve’s “Trans/Mission. Art in Intercultural Limbo” proceeds from concerns he formulated in 1987 as curator of “Implosion—A Postmodern Perspective” at the Moderna Museet in Stockholm. The thesis he states as a condition for new directions in art assumes the complete leveling and homogenization of art (and everything else to the extent that it is subject to commodity dictates) by the mass media and the culture industry. The media-presentation of art-as-information has increasingly obliterated traditional cultural distinctions linked to time and place. The significance of cultural centers

  • Christa Näher

    This selection of 15 large-scale paintings by Christa Näher constituted the most difficult and also the most interesting portion of her oeuvre. These works, dating from 1984 to 1990, chiefly diptychs and triptychs, depict intensely dramatic scenes, somewhat resembling baroque and mannerist pictures of catastrophes. These scenes take place in darkness, at an immeasurable depth that is no longer illuminated by a neutral, reasonable light. In this terrifying darkness, only individual subjects, glowing wanly, emerge from an optical opacity—ghostly or blasphemous motifs that are penetratingly

  • Joseph Beuys

    Joseph Beuys’ Plastische Bilder (Sculptural images, 1947–70), which have not been shown together since the early ’70s, are formally heterogeneous; it is their spiritual content that provides their continuity as a group. The materials in these collages, mounted behind glass in wooden cases, are vastly disparate: plaster casts or models, small religious statues from Beuys’ initial sculptural phase, paper, newsprint, cardboard, cloth, clay, lead, wax, plaster, and other amorphous materials are often wrapped in gauze and tied up. Normally, the combinations and confrontations are reworked, treated

  • Anselm Kiefer

    Although Anselm Kiefer has exhibited his books for some time now, this exhibition is the first to treat them as a distinct body of work. In this overview, which covers the period from 1969–90, the importance of the books becomes apparent. In these works,Kiefer obsessively probes his subjects for their evocative power; he intensifies them, overlaps them, and places them in an allegorical frame of reference as part of his syncretic mythology of catastrophe. Kiefer also tests the affective and semantic capabilities of materials that are derived from natural substances affected by natural or historical

  • Hinrich Weidemann

    In this exhibition of drawings and india ink paintings, Hinrich Weidemann gains a formal and reflexive subtlety by joining the serial and the repetitive, the stringently formal installation of uniform elements in space and the immanence and autonomy of each individual work. Covering three freestanding inner walls with four rows of ten drawings each, the 119 drawings in large white frames, hung at close intervals, constitute a potentially endless grid, which, as a formal pattern, subdivides the wall into identical units and produces a minimalistic order. By leaving one place empty, the artist