new-york

Antonius Höckelmann

Michael Werner | New York

This exhibition of Antonius Höckelmann’s drawings and sculptures from the ’60s made it clear that he is one of the masters of postwar German art. His work is not unrelated to that of Georg Baselitz, who invited him to participate in the publication of the “Pandemonium Manifesto” in 1961. Though Höckelmann declined, this was not an indication that there was no pandemonium in his art. Everything here moves toward a demonic amorphousness, often triggered by an overly sensitive response to genitalia and excrement. His work also seems genuinely pathological—a fixated expression of profound conflict, shattering the very substance of the self. The artist sometimes twists body parts beyond untwisting, as in the sculpture of an impossibly bent arm, suggesting that the crumbling body-ego is his subject. Expressionistic drawings are known for their troubled gestural surfaces, but Höckelmann’s seem

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