Graubner’s painting relies completely on the notional illuminating power of colors. For Graubner, the picture is an organism that develops out of the artistic density of the color matter and, as the equivalent of reality, opens up the field of purely concentrated perception. What is crucial is the space-consuming power of the color space bodies, whose precise arrangement in harmony with the colors are capable of atmospherically tuning the exhibition space in a completely new way.
As early as in the sixties, Graubner responded to the question of whether his painting was even contemporary with a reference whose currentness can be attested to in today’s China: in a time that is becoming more and more fast paced, the experience of which is becoming increasingly determined by a staccato of rampant images, painting marks the stopping place of a perception of slowness—a place at which the senses consider themselves in the contemplation of an image, and do not get lost. As a European, Gotthard Graubner took his exhibition en route through the Chinese Empire, serving as ambassador of a Chinese tradition that is rapidly diminishing and apparently has no place in our current age of turbocapitalism.
For the Neues Museum Weserburg Bremen, Gotthard Graubner is going to again take up his idea of "nebulous space,” one he developed in the late sixties and last carried out in the early seventies. We are very proud that after more than thirty years, the Neues Museum Weserburg is going to be the first institution in which Graubner’s "nebulous space,” one of the most famous experimental art spaces in the sixties, can again be experienced.
For decades, Gotthard Graubner, born in Erlbach in 1930, has counted among the most outstanding contemporary artists. Since the sixties, Graubner has been shifting and reshifting the boundaries of painting with experimental curiosity and opened up new terrain with his color space bodies of painting. His space-consuming works can only be grasped with the concept of Absolute Painting.
To name only a few of stations of his international career: the documenta in Kassel, the Biennale in Sao Paulo, the installation of the German Pavilion at the Venice Biennale, the NORD/LB Art Award in conjunction with an exhibition of works on paper at the Kunsthalle Bremen, or the commissioned paintings for the official residence of the Federal President at Bellevue Palace.
The traveling exhibition, whose final stop is the Neues Museum Weserburg, was developed in cooperation with the Institute for Foreign Relations (IfA). It was made possible by the support of the former Chancellor of the Federal Republic of Germany, Mr. Gerhard Schröder, and funding from ThyssenKrupp and Siemens, the Bremer Landesbank, as well as the Friends of the Weserburg.
Kunst im Spiel
Thursday 23.March, 18.00 Hour
Mir ist das Leben lieber. Sammlung Reydan Weiss
Sunday 26.March, 15.00 Hour
In Memoriam Karl Gerstner. Ein Rundgang durch die Sammlung
Thursday 30.March, 18.00 Hour
Tuesday to Sunday 11:00 a.m.–6:00 p.m.
Thursday 11:00 a.m.–8:00 p.m.
Closed on Monday
Families (2 adults/4 children): €16.00
We’d be delighted to send you information about the Weserburg’s activities.
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