Uli Bohnen

  • Gerhard Mantz

    In the hall of an early-baroque building in this late-medieval town, Gerhard Mantz placed 14 objects on two long walls. Their inner construction can’t be determined by their outer appearance, which usually consists of several polished layers of enamel in various colors. (Certain works are covered in felt or gleaming paint.) At first glance, the various surface colors seem to give the works a surrounding aura. This appearance is evoked by fluorescent paint on the hidden side of the objects. These reflections double the circular, spearlike, or irregular shapes of most of them, like an artificial

  • Theo Lambertin

    Theo Lambertin has an antiprogram. Where interpreters like to discuss his work in terms of subjectivity, poetry, psychology, and mystery(the “French disease”), Lambertin actively disappoints such expectations. His paintings are about objectivity, they are prosaic, ironic, and they flirt with banality. Most of all, they are political, though not in the sense of trying to give direct commentaries on the current social situation. Some of the paintings consist of acrylic on photographic linen, confronting the viewer with at least two motifs. One, nearly unidentifiable, is the subject of a

  • Bauhaus Utopien

    It has been 20 years since a Bauhaus exhibition of this size and importance took place. The main organizer, Wulf Herzogenrath, undertook an attempt to offer a representative panorama of work done between 1919 and 1933 at this seminal institution. The aims of such a presentation are quite different today. In 1968, the first and most necessary task was to satisfy the desire for information and to republish the pictorial, architectural, and theoretical statements of the Bauhaus. Most of its participants were still alive to play the role of witness. It was necessary—and fitting to the social and

  • Francq Volders

    At the turn of the century, Ernst Haeckel published Kunstformen in der Natur (Artistic forms in nature), a collection of microscopic photographs of radiolarians. His book lent substance to the analogy between nature and art, an analogy that, aiming at the reconciliation of nature and science, has still lost nothing of its popularity, even today. There is hardly a scientist whose sense of beauty does not thrive in a realm somewhere between the patterns of fractal geometry and holography, an esthetic that conforms to popular notions of beauty more than to a taste for Mondrian, Malevich, or