Tim Eitel
Propositions for Afterimages 2015–2024
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|---|---|
| Editor(s) | Kunsthalle Rostock |
| Author(s) | Michael Bracewell |
| Design | Huelsenberg Studio |
| Size | 24.2 x 32.3 cm |
| Cover | Hardcover with thread stitching & American dust jacket |
| Pages | 112 |
| Illustrations | 72 |
| Language(s) | German, English |
| ISBN | 978-3-96912-211-2 |
Tim Eitel initiates an exchange between recollection and painting. The work on his pictures, he says, is “a conversation about reality and memory” in which he engages the canvas. In the course of this dialogue, Eitel reflects on personal experiences, creating a standalone figural-abstract reality that needs to be internally consistent—the canvas has a strong will of its own. That makes the scenes depicted in his paintings analogues or afterimages of a situation rather than renditions of it. They are characterized by a certain openness that enables the beholders to inject their own recollections into the pictorial space as well. The dialogue between canvas and artist thus gives way to a colloquy between audience and finished work. Not by coincidence, many of the paintings by Eitel gathered in this catalog show people in museums: these scenes facilitate the leap into the pictorial space. The beholders have experienced a situation like the one shown in the pictures in the past or are experiencing it right now, and so they are already at the heart of the works; they become part of the painting, and the picture becomes a particle of their recollection.
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nolde/kritik/documenta (English)
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Each copy is hand-signed by the artist on the spine.
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Ernst Wilhelm Nay
Monograph (EN)68€ Add to cartThe Great German Artist’s Imposing Oeuvre
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Supernatural
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ELMGREEN & DRAGSET
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Zwischen Freiheit und Moderne
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Stephan Kaluza
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Luxus?!
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Clemens Krauss
Antidot | Gegengift40€ Add to cartClemens Krauss restlessly shuttles across history; his vehicles are painting, video art, sculpture, and performance. Yet Krauss is not “just” an artist, he is also a psychoanalyst and physician. As such, he has first-hand experience of time as the defining factor of existence, daring him to play with it. The bosom of painting is where he feels safest after his hazardous excursions back into his youth and forward into death. Executed in thick paints, his work is physical, material, which is also to say, it exists in time: everything passes away, even the picture. Evanescent, more than anything, are encounters of the sort Krauss stages as part of his psychoanalytical practice; all that remains is the indelible impression they leave. To be indelible, to recall the past, while also “letting happen what has never happened,” as he puts it, these are the ambitions he pursues in his art. Preserved between the covers of the present catalogue and reproduced in thousands of copies, his works now fan out in an instant to circulate for an indeterminate period of time among countless hands, whence they will effortlessly penetrate the barriers of our inner lives to bring us one step closer to transcendence.
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Fahar Al-Salih
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Jenny Brosinski
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