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This category contains the following articles
- Kunstsammlung NRW - Everyone is an artist. Cosmopolitan exercises with Joseph Beuys
- Royal Academy of Arts - David Hockney: The Arrival of Spring, Normandy, 2020
- Beuys at the PalaisPopulaire - Early works from the Deutsche Bank Collection
- Ways of Seeing Abstraction: Fabian Marti, Untitled, 2011
- Back in Town - Frieze New York Launched in New Format
- Tate Britain - Lynette Yiadom-Boakye: Fly In League With The Night
- Ways of Seeing Abstraction: Jo�o Maria Gusm�o + Pedro Paiva
- Museum f�r Fotografie - America 1970s/80s: Hofer, Metzner, Meyerowitz, Newton
- Ways of Seeing Abstraction: Beat Zoderer, Polygon I-VI, 2019
- Ways of Seeing Abstraction: Yto Barrada, Autocar - Tangier, 2004
- Schirn Kunsthalle Frankfurt - Gilbert & George: The Great Exhibition
- Sammlung Goetz at Haus der Kunst - Cyrill Lachauer. I am not sea, I am not land
- Kunsthalle Z�rich - Pati Hill: Something other than either
- Ways of Seeing Abstraction: Karla Knight, Spaceship Note (The Fantastic Universe), 2020
- ICA Boston - "i�m yours: Encounters with Art in Our Times"
- Ways of Seeing Abstraction: Lada Nakonechna, Merge Visible. Composition No. 45, 2016
- Tel Aviv Museum of Art - "Desktop: Artists During COVID-19"
- Ways of Seeing Abstraction: Tobias Rehberger, Ohne Titel, 2000
- Deutsche Bank Collection Live - Meet the Artist
- New Museum - "Grief and Grievance: Art and Mourning in America"
- Painter. Rebel. Teacher. - K.H. H�dicke at the PalaisPopulaire
Painter. Rebel. Teacher.
K.H. H�dicke at the PalaisPopulaire
He was a rebel of German postwar painting. At the beginning of the 1960s in Berlin, the painter K.H. H�dicke
was one of the spokesmen for a small group of impetuous young lateral
thinkers who sought to revolutionize painting. After the war, Germany
rejoined the European art scene through abstract painting trends such
as Informel and Tachism.
And it almost completely turned away from the figuration that was
ideologically burdened by National Socialism and Stalinism. Abstract
painting devoted itself primarily to inner, transcendental cosmoses.
But H�dicke sought to counteract this with his figuration. With his
surprisingly fresh contemporary visual worlds, he, like other artists
of his generation, abruptly set himself apart from the abstract
generation. His early big-city subjects, which concentrated on motif
extracts and which he entitled Reflections, bear his
unmistakable signature. Painted with a dynamic flowing gesture that
oscillates between form and non-form, they shine in luminous expressive
coloration. In 1974, K.H. H�dicke was appointed professor at the West
Berlin Academy of Arts.
His direct painting would have a formative influence on an entire
generation of subsequent artists who in the 1980s were known as the Neue Wilde.
The retrospective K.H. H�dicke, which opens at the PalaisPopulaire on October 9 after its premiere at the Staatliche Graphische Sammlung Munich, gives insight into a virtually inexhaustible artistic oeuvre. The combination of drawing, painting, and sculpture demonstrates that while H�dicke, born in 1938, is undoubtedly one of today’s classics, his work has retained an astonishing freshness and topicality over half a century.
For the first time, K.H. H�dicke gave a curator, Michael Hering from the Staatliche Graphische Sammlung Munich, the opportunity to view works in the artist’s possession for a period of two years, to bundle and thematically arrange groups of works. The works are returning to Berlin, the city in which H�dicke, together with Markus L�pertz and Bernd Koberling, founded one of the first producer galleries in 1964, the legendary Gro�g�rschen 35. Like no other artist, H�dicke captured walled-in West Berlin for decades, the Wall, the ruins, the courtyards, the Gropius building, the streets at night, the neon signs, the snow—and repeatedly the nervous energy and the attitude to life of this frontline city, things that he helped influence with his art.
K.H. H�dicke
October 9, 2020 – March 8, 2021
PalaisPopulaire, Berlin
The retrospective K.H. H�dicke, which opens at the PalaisPopulaire on October 9 after its premiere at the Staatliche Graphische Sammlung Munich, gives insight into a virtually inexhaustible artistic oeuvre. The combination of drawing, painting, and sculpture demonstrates that while H�dicke, born in 1938, is undoubtedly one of today’s classics, his work has retained an astonishing freshness and topicality over half a century.
For the first time, K.H. H�dicke gave a curator, Michael Hering from the Staatliche Graphische Sammlung Munich, the opportunity to view works in the artist’s possession for a period of two years, to bundle and thematically arrange groups of works. The works are returning to Berlin, the city in which H�dicke, together with Markus L�pertz and Bernd Koberling, founded one of the first producer galleries in 1964, the legendary Gro�g�rschen 35. Like no other artist, H�dicke captured walled-in West Berlin for decades, the Wall, the ruins, the courtyards, the Gropius building, the streets at night, the neon signs, the snow—and repeatedly the nervous energy and the attitude to life of this frontline city, things that he helped influence with his art.
K.H. H�dicke
October 9, 2020 – March 8, 2021
PalaisPopulaire, Berlin