Since leaving for France in 1994, artist Elke Daemmrich from Dresden, Germany has been inspired above all by the Mediterranean landscapes with their colourful and at the same time filigree dialogue, with the maritime flora and fauna, as well as the cultural ‚atmospheres‘. The Mediterranean flair is juxtaposed with her Saxon homeland with its Elbe meadows and cool, temperate climate zone – both habitats are reflected in her art in a special way.
In her current exhibition „Between the Worlds“ at the Galerie am Domhof in Zwickau from 08.05. to 10.07.2022, the artist shows the entire breadth of her artistic formal language, also inspired by scholarship stays in Virginia and Ohio (USA), among others, at the Künstlerbahnhof Ebernburg (Palatinate), but also at the Richard Wagner Sites Graupa, where she realised a multifaceted graphic work on Richard Wagner in 2018 and 2019. Her masterful etchings, printed at the Grafikwerkstatt Dresden, evoke a variety of associations ranging from the musical oeuvre to the master’s human relationships.
The works shown, which have been created over the past 30 years, are inspired by the strict reference to nature and the relativisation of human action and will. It is precisely in this dynamic „between worlds“ that her unmistakable artistic signature unfolds.
In this sense, the exposition is more than revealing for the understanding of the work. The early works from the artist’s concrete-abstract phase also speak for this. What here outshines the exhibition hall in terms of space, perspective, illusion and suggestion can certainly be seen as a technical-intellectual preliminary stage of what follows, but also as an independent element of her skill. (Right after 1989, Elke Daemmrich visited Max Bill in Switzerland at the age of 25). Last but not least, it was these concrete works that won the artist a grant from the Stiftung Kulturfonds Berlin in 1993 for her project „The Light of the South“, which enabled her to spend her first working period in the Vaucluse, in the south of France.
Cultural exchange and cooperation are important parts of the comprehensive Sino-European strategic partnership. They play an irreplaceable role in enhancing mutual understanding between people and promoting the value of our relations. At the 14th Sino-European Summit in 2011, the leaders stressed that cultural exchange is one of the three pillars of Sino-European relations.
Because of his origins, Marc Chagall intensely felt the problems of the Jewish community in Europe at the beginning of the 20th century, just as he intuitively experienced the problems that Russia, his native country, was going through with the First World War and the October Revolution.
I did not write to you last month, I had nothing new to tell you and could only have repeated myself, and besides I did not have the courage to do so. Then when the letter carrier came a little later, there was again nothing from Chaudet. Since my health is completely restored, and I therefore no longer have a chance of dying a natural death, I wanted to kill myself.
Auguste Renoir painted two similar versions of Blonde Bather (La baigneuse blonde) in 1881 and 1882, both of which are now published as private collections. The 1882 version is seen above on the left. The model was Aline Charigot, who later became Renoir’s wife. Inspired by Renaissance paintings (especially Raphael’s frescoes) in Italy in 1881, these works are clearly different in style from Renoir’s earlier works. Some commentators have called these works beautiful, while others have called them vulgar.
Barbara Kruger was born in Newark in 1945. In 1965 she began her studies at Syracuse University, Syracuse, which she continued in 1966 at Parsons School of Design in New York. In the sixties and seventies she worked as a graphic designer for the American fashion magazine „Mademoiselle“. In 1980 she received a scholarship at PS1 (Project Studio One), New York. She lives in New York and Los Angeles.
Julius Voegtli’s landscapes set out some of the main concerns and cornerstones for the genre and for art in general in the years before World War II.
Kandinsky can unquestionably be considered the main founder of abstract painting, even if we simultaneously see the appearance of other precursory attempts, such as those of František Kupka followed, shortly after, by Black Square on a White Background by Kasimir Malevitch. It was around 1911 that Kandinsky found the way to abstraction. The length and detours of the path he then followed until 1914 have been exposed in numerous works.