The heart of this exhibition is certainly in the right place. On the front side of the large hall in Frankfurt-on-Oder, the image of Christa Dichgans hangs high up on the wall, a plastic inflatable heart from the year 1970. With its impenetrable surface, and the small plug to Deflate the painting, the banality of advertising and consumption adds a mysterious side. Much more fragile than later, the smooth polished stainless steel heart by Jeff Koons.
such As Christa Dichgans, the other artist were discovered inside the Pop Art only in the last few years. The Exhibition "Real Pop 1960 – 1985. Painting and graphics between Agit Pop and capitalist realism“ takes a new approach. For one, it involves the women. The interior of Almut Heise with their sinister bourgeois are one of the Highlights of the exhibition. On the other hand, the Show establishes a connection between the Pop-Art from the East and the West.
Behind the everyday abysses
In Frankfurt, lurking in the Or one of the most important collections of East German art. However, the Museum does not have its own domicile, but shows its exhibitions in the city hall. Since it merged three years ago with the Cottbus art Museum diesel power station for the Brandenburg state Museum of modern art, commutes to the Director, Ulrike Kremeier. Starting from the Thesis that in the GDR there had been a lack of consumer no Pop, interviewed the Curator Jeanette Brabenetz the in-house collection. The two found numerous examples of Pop Art from the GDR. "Agit Pop" called Hans Ticha, this variant, which was held on advertising on socialist Propaganda.
In the Federal Republic, in turn, artists such as Gerhard Richter or Sigmar Polke, who had fled to the West responded to the visual language of advertising and mass media. They called their attitude in contrast to socialism defiantly "Capitalist realism". Unlike in the American Pop art of the East as of the West German game type together, that behind the everyday abysses lurking.
As a prelude to Gerhard Richter hangs the famous "Secretary" of 1964. The template he had found in a magazine. A woman in a pencil skirt past flits on an office door. The output photo-illustrated Story about an American lawyer who is offered a Million dollars for the murder of his wife, because he was in love with his Secretary. This explains their clandestine body language.
in addition, the Collagen of Ruth Wolf-Rehfeldt, just discovered. The 86-Year-old was shown at the recent Documenta, the Dresden Albertinum, the Mail-Art artist a solo exhibition. With the letters of your typewriter you gave concrete poetry shape. In Frankfurt, your collages to surprise. In 1983 they assembled the image of a car tire on the snout of dürer's hare. Wolf-Rehfeldt was in direct response to another artist, Joseph Beuys, beyond the wall.
All Work is migrated to themes
Together with her husband, Robert Rehfeldt you of East Berlin from the closed System of the GDR. The two Mail kind of contact with the international art scene – to the FLUXUS colleague of Nam June Paik or Wolf Vostell and Joseph Beuys. The graphics of Robert Rehfeldt have a sovereign complexity. In the "Hommage à Ruth" of 1978, he gives a photo of his on the phone the woman by the serial presentation of General validity. The expanded Venetian blinds, the reflections in the window, the telephone handset, open the image to the outside world.
what a pity that the curator does not support such precious items with more detailed information. Still exhibitions with non-conformist works from the GDR in front of this Dilemma. It clearly refers to their origin, the artists in a state, the many gängelte and ostracised. Ulrike Kremeier and Jeannette Brabenetz go the other way: hang all the Works succinctly side by side and call only name, title and year of creation.
In the wall the fun is listening to
while This is fair, but the international networks are not transparent. The performance of these artists had also, by perforating the boundary is minimal, although rare, travel, and the Mail-art. Willy Wolff visited London and Derby and was inspired. Robert Rehfeldt and Oskar Manigk drove in 1977, for Documenta 6 in Kassel. Conversely, those who went away as Klaus Staeck, continue to contact. Many of the images were previously shown little or not at all, such an exhibition would provide a Chance to learn more about their origins.
Vasya idol in the hall was intensively observed by the Stasi. In his cheerfully subversive resistance that has changed nothing. "Hands away from the Bullfinch" from 1970 is reminiscent of a record sleeve of the Beatles. Two birds are caught in the center of the eye, in front of you a Paradise landscape in psychedelic colors.
Vasya idol, father of the artist Moritz Götze, encoded his messages. In 1988, he painted "The lovely wall or here where the fun stops!". Since the wall is shown in pig-Pink to your tools of escape hanging try a ladder or a rope. Pop stands for the Transformation of the bitter political situation in Craftiness and scorn. The Frankfurt exhibition is a first step, to illustrate the diversity of German Pop art. And more should follow.More about
New Museum of Brandenburg, a country Museum for modern art
Brandenburg state Museum of modern art, town hall of Frankfurt (Oder), up to 17. 2.; Tue to sun 11 - 17 Uhr