Heike weber biography of martin

Via Lewandowsky 5 - Michael Reiter 4 - Roland Schappert 4 - Valentin Beinroth 4 - Countries - Top 3 of 3 Germany 36 Turkey 1 Netherlands 1. Venues no. Galerie Martina Detterer 9. Galerie von der Milwe 7. Gabriele Rivet 3.

Heike weber biography of martin

Otto Schweins 2. Nassauischer Kunstverein - NKV 2. Curators no. Vielen Dank, auf Wiedersehen. Galerie Martina Detterer. Galerie von der Milwe. Access detailed sales records for overartists, and more than two decades of past auction results. German We have been seeing some incredible installation artwork recently, and we just came across these installation, or full gallery transformations.

Log in Sign up. Access complete market analysis. For: the medium of different graphic undertakings is only an exception to the rule of the classically guided pen. Clotheslines or hairnets, carpeting or light tubes, video loops on PVC or window paint on pins give the lie to the presumed flatness of the drawing. The specific object-orientation of Minimal Art, whose new three-dimensional objects want neither to be painting nor sculpture and yet borrow essential aspects from both, is something Heike Weber thinks out to its logical end.

The reductional gesture gains in volume, the line enters space, and sculpture and drawing become communicating components. On the periphery of these expressive forms that can no longer be clearly differentiated, various interpenetrations are formed that set gesture and space, volume and sculpture into new respective relationships. The lines that gradually surge into the room, the convolutions of an endless loop that are expertly cut into the carpeting, or the clothesline that meanders across the wall all take on a life of their own that is difficult to hold onto.

Floor and ceiling begin to float, walls to shift, and an Icarus who plummets head first into a bottomless deep is only secured by the slimmest of pins. The only things minimal here are the rudimentary game rules and the formal guidelines. What Heike Weber makes of these — despite all her manifest reduction — has more in common with seductive sensuous complexity and an unerringly orchestrated ambiguity.

The neutralized and clean-swept spaces seem now to radiate once again the energy that was invested and stored for days as the moment of fullness and satiety, of outflowing sensual pleasure and Baroque plenitude. Heike Weber took both of them. At the end of one of the paths beckoned a figurative duplication of impressions from the real world or from a familiarity with artworks.