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Sounds of Color and Space
sonidos de color y espacio
"Lineament-dancing I" (detail) and "Musical" (detail)
Exhibition in the "Sculpture Hall" ("Skulpturenhalle") of the foundation in Freiburg-Zähringen, Pochgasse 73 from 13 September until 1 November 2020.
The Exhibiton is open every Sunday 11.30 - 16.00. To visit the exhibition outside these opening times, please phone (Dr. Rönn-Kollmann) for an appointment.
Admission is free.
Karl Menzen and Karen Lüderitz met in Berlin in 2018 on the occasion of an artist exchange project between Chile and Germany organized by the artists' group META. A joint exhibition "maleta" in the galery "cleartext" and a subsequent symposium at the Institute for Art and Culture in Kloster Lehnin revealed an artistic affinity in dealing with the "void" and the "in-between" despite the most contradictory materials. To intensify and show this in a joint project spontaneously became a great desire and challenging goal. The Roland Phleps Foundation for Concrete Art with its profile and its "Tandem" program is the ideal "destination".
is a visual artist and color is the main focus of her plastic
Hers is an inquiry into the nature of color,
simple and direct. She does not seek to express herself through
lyrical expressionism, but rather through a synthesis that
emerges from her own sensibility (Edward
Shaw, 2012). Layer after layer, the remoteness of
the sublime is suggested: the color of the Patagonian ice, the
humid forest, the Pacific Ocean and the desert of sun and salt.
In this arrangement of pigments in planes and layers, a light
line crosses randomly, freely and decisively, which comes to
intervene as a testimony of what is definitely human; a
primordial gesture that evokes the very origins of all artistic
expression. In her works color is pure, intense, and immense
(Rosalind Burns, 2015).
artista visual y en sus obras el color es el eje principal de
sus investigaciones plásticas.
La suya es una indagación
sobre la naturaleza del color, realizada de manera
simple y directa. No busca expresarse a través de un
expresionismo lírico, sino de una síntesis que emerge de
su sensibilidad (Edward
Shaw, 2012). Capa tras capa, se sugiere la lejanía
de lo sublime: el color del hielo Patagónico, del bosque húmedo,
del Océano Pacífico y del desierto de sol y de sal.
disposición de pigmentos en planos y capas atraviesa azaroso,
libre y decisivo un trazo ligero, que viene a intervenir como
testimonio de lo definitivamente humano; un gesto primordial que
evoca los orígenes mismos de toda expresión artística. En sus
obras el color es puro intenso e inmenso (Rosalind
is a steel sculptor and was already a guest in the sculpture hall
of the foundation in 2018 with his solo exhibition "Transformation".
His works are reduced to the essentials and, contrary to the
heaviness of the material, sometimes show dancing lightness.
Corresponding encounters between the supposed inside and the
supposed outside are created.
(Fritz Jacobi, 2012)
The empty space becomes an equal sculptural material. In an
impressive way, he shows how the rational approach of Concrete Art
cannot be too dry, too formalistic, but
is in balance
with the aesthetic approach
(Roland Phleps, 2018).