The First Art Newspaper on the Net   Established in 1996 United States Sunday, September 22, 2019


Exhibition of works by Lukas Duwenhögger opens at Rodeo Gallery
Lukas Duwenhögger, State of Affairs, collage on paper, 42.6 x 28.4 cm, 1982-1983.


LONDON.- This exhibition puts a portfolio of works on display which have never been shown before. It has been produced and assembled over a timespan of thirty seven years in different countries, even continents, and a great variety of locations and situations, ranging from homelessness to strutting the marble floors of once revered institutions called “Akademie der Bildenden Künste”, in short Kunstakademie. Considering the travails and perils of both portfolio and artist, we must say that, despite its fragile materials, it is supremely preserved. Meaning they have been, like salt and pepper, inseparable. So why this separation now..?

Lukas Duwenhögger considers Walter Abish’s How German Is It to be the best literary portraiture of post WWII Germany. The influences that this portfolio contains begin then: in a deeply polarized and truculent society, constipated with repression, lying and hoarding. So what was on those walls? The frolicsome Picasso, the poetic Klee, the modest Morandi, locked in suburbia. And a couple of years later: Gerhard Richter and black leather, Allen Jones and black leather, Andy Warhol and black leather.

But where did you belong? Did you admire someone or something to the point of self-effacement, pledge yourself unequivocally to a cause, whether guerilla warfare, or becoming a famous artist? And if artists, were you helping to decorate the bedrooms of weapons’ producers? And if your willingness and devotion was rejected because they didn’t like how you looked or spoke or moved, can you imagine the shame? But at your aunt’s fashion house, there was probably a Fragonard, a Carl Spitzweg or an Adolf Menzel; and if you happened to like them more you were in hell’s kitchen; not to mention your vitrine decorations. Antagonisms. Anachronisms. Influences: Lukas Duwenhögger’s first encounter with Hannah Höch in 1971, at the first comprehensive survey of her photomontages and collages in the Akademie der Künste, is obvious in The Avenger and in The Forbidden Fruit, not to mention his use of a found Icarus, his heart becoming the eye of an owl, an eye of control of the labour in the production of fortress-cakes. What about your children’s books? Does the magic ever leave you? If you happen to be familiar with the work of Leo Lionni or Leonore Gaul, amongst many others, you could easily see lingering traces of their magnificent achievements in Duwenhögger’s work. A boy-passenger on his way to school, at sunrise, driving by billboards designed by Pavel Michael Engelman for Roth- Händle cigarettes or by Gerd Grimm for Reval or by René Gruau for Eau Sauvage.

And books, above all the ones of Saul Steinberg.. And record covers, for the Modern Jazz Quartet. And, and, and… Which brings us to the question of referentiality.

A wider, if not all inclusive frame of legitimate references is surely one of the great legacies of postmodernism but it all too often tends to obscure that dogmatic strictures, if not censorships altogether, in not-so-long-ago times, far from causing only uniform misery could have had the unintended result of generating specific formal vocabularies which under less restricted circumstances would not have developed. When influences become references and references become a system of exploitation. The considerable merits of a limited access to information disappear from view. That does not mean that the hanging of homosexuals or the stoning of women are inspiring.

Or the question of scale: a mural can be a celebration of the common man’s victory in her fight for justice; a large scale canvas, a decoration for a corporation lounge.

Bruce la Bruce called his autobiography The Reluctant Pornographer. In Lukas Duwenhögger’s case The Reluctant Autodidact would come pretty close. Devotion to the master and eviction from the master-class.

The question of finish.

The question of finish goes with officialdom, power, respectability, the Res Publica. The Nazi takeover turning a sorrow of completion into polish and gloss. The Nazis - laughable masters of finish. The joke of the democratic unfinish. The surge of the sketch. The smell of the hand. And what is the hand? It’s the hand of the Master. The democratic ideal of the unfinished, the unpolished, the tentative, the open, the inclusive and ultimately the private. What if this turns into factions of cold and warm? The Ingres-Delacroix debate? Brothers called warm but thought of as cold? Another turn of the screw? A liberation becoming domination once again?

The oil paintings of Lukas Duwenhögger are built on an idea of monumentality, which his works shown here never have intended. If you talk about representation, you are in the field of politics and stop to manoeuvre the movements of your scissors with the abandon which are on display in these works. These works were not meant to enter the public domain, ever. But now they do. It’s up to your judgement how well they do. The question of realism or do you call it representation; you may call it mimicry as well. Mimicry means imitation. You mimic a woman or a respectable family father. Passing for white, class-passing. It also means invisibility, but one is always tracked down. That is called the glass closet. So better take out the winds of other people’s sails. A collage befits the state of homelessness better than an oil painting. The heaviness of an oil painting means officialdom and Guerilla Girls. This show is a novelty because Lukas Duwenhögger shows us his vagabond, his gypsy side for the first time and we are glad that we are given the chance.






Today's News

February 9, 2015

Exhibition at Fondation Beyeler brings together over fifty masterpieces by Paul Gauguin

Captivating new film about Rembrandt, the artist and the man, to be presented in major U.S. movie theaters

'Beneath the Surface: Life, Death, and Gold in Ancient Panama' opens at the Penn Museum in Philadelphia

Philbrook exhibition debuts American Modernist masterworks from the Vilcek Foundation Collection

New fossil finds in the Peruvian Amazon suggest South American monkeys came from Africa

Hammer Museum presents 'Apparitions: Frottages and Rubbings from 1860 to Now'

Find your way to the Bruce Museum for its latest exhibition: Maps and sea charts

Galerie Patrick Seguin announces new boxed set dedicated to Jean Prouvé's demountable houses

'Faces Now: European Portrait Photography since 1990' opens at the Centre For Fine Arts in Brussels

Tomasso Brothers to unveil an exquisite pair of portrait miniatures at TEFAF 2015

Galerie Greta Meert in Brussels opens Belgian painter Koen van den Broek's 'The Dell'

Bridgette Mayer Gallery opens an exhibition featuring the work of noted Philadelphia sculptor Dina Wind

San Jose Museum of Art presents exhibition of contemporary Indian photography

Art Wynwood announces new fair Director

Paul Storr silver will lead the Fine Furniture, Silver, Decorative Arts & Clocks Auction at Bonhams

Mystery cloaks Disney's future Magic Kingdom in China

Exhibition of works by Lukas Duwenhögger opens at Rodeo Gallery

First solo exhibition of Nil Yalter in London opens at MOT International

Survey exhibition of Ricardo Brey's work opens at M HKA in Antwerp

Exhibition at Bohun Gallery presents the work of Wilhelmina Barns-Graham

Lever Prize trophy presented to Manchester Museum in arts and business ceremony

Traces in the Dark: Deanna Bowen, Harold Mendez, and Gregory Sholette exhibit in Philadelphia

Robert Maillart and Isabelle Lartault exhibit at Kunstmuseum St. Gallen

Most Popular Last Seven Days



1.- Holocaust 'masterpiece' causes uproar at Venice film festival

2.- To be unveiled at Sotheby's: One of the greatest collections of Orientalist paintings ever assembled

3.- Bender Gallery features paintings by up and coming Chicago artist Michael Hedges

4.- Lévy Gorvy exhibits new and historic works by French master in his centenary year

5.- Artificial Intelligence as good as Mahler? Austrian orchestra performs symphony with twist

6.- Fascinating new exhibition explores enduring artistic bond between Scotland and Italy

7.- Exhibition explores the process of Japanese-style woodblock production

8.- Robert Frank, photographer of America's underbelly, dead at 94

9.- The truth behind the legend of patriot Paul Revere revealed in a new exhibition at New-York Historical Society

10.- Hitler bust found in cellar of French Senate



Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful