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| Holger Schmidhuber |
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Born Oct. 27 1970 in Germany
Lives and works in Wiesbaden and Bad Schwalbach, Germany
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| 关于此艺术家 |
What do we hear when we don’t hear anything?
Cornelius Lange (Translation: Dr. Jeremy Gaines)
Composer John Cage supplied an amazing answer to this question: a piece of music. He simply called his composition Silence 4’ 33”, and it represents his experiences in a sound-proofed room during his attempt to explore the physical characteristics of silence. Cage came to the conclusion that it is not possible for people to hear silence. We always hear something; the sounds the body makes such as our breathing or heartbeat, for instance. Silence, in the sense of the absence of any sound is a notion only of the mind.
Everything is sound
Silence 4’ 33” consists of three movements, and can be interpreted on any instruments; however, the musician or musicians are not allowed to play them. What then does the audience hear? Nothing? Or silence? In fact, listeners perceive sounds not normally considered to be music: coughing, rustling, traffic sounds, chairs creaking, whispering, dogs barking. Sounds alien to music become its content.
What do we see when we see nothing?
Artist Holger Schmidhuber has came up with a startling answer to this question: “We do not see nothing. We always see something.” In his paintings he presents the visual impressions he experiences with eyes closed, during self-imposed blindness. Schmidhuber uses his art to lend substance and expression to a state that he himself term “unseeable”. Yet his paintings are not as you might first imagine, black and empty and gloomy, but rather reflect the full range of colors, materiality and perspective he sees with his mind’s eye.
Initially, Schmidhuber captures the “unseeable” in sketches. It might be a single impression, or (as was the case recently) a series of impressions that he employs in a painting; for instance, the colours he encounters in the course of a day during his excursions into the “unseeable”.
Quotations that expose the painting
Schmidhuber applies a sandwich system of sorts when transforming his impressions into art. First he applies oils and a painting evolves, then he applies a second layer consisting of pigments and other materials ground into powder such as stainless-steel or glass, which are then scattered onto the painting through a sieve. The effect is surfaces with a silky, soft look, an iridescent, crystaline and elegant appearance. Finally, he opens sections up to reveal and quote sections of the oil paint. “The monochrome may be charming, but it does not satisfy me as an artist. By scratching I destroy the idyll,” explains Schmidhuber, and indeed these openings often act as breaks and divisions, resemble will-o-the-wisps or aimless lines, yet likewise imbue the works with depth and volume, an enigmatic, fragile tenderness. Prior to this there is absolute purity, perfection – an ideal impression of color, yet an image which Schmidhuber withholds from the observer. It is only through the creation of openings that Schmidhuber reveals his paintings, and allows us to gaze at the concealed and intimate. |
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09 - 14 - 05, Texas: Frances Elaine Newton 40 executed
2006 170 x 120 cm |
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06 - 07 - 05, Texas: Alexander Rey Martinez 28 executed
2006 170 x 120 cm |
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11 - 03 - 05, Texas: Melvin Wayne White 55 executed
2006 170 x 120 cm |
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o.T. (Oberer Zürichsee, Nov. 2006)
2007 Mixed media on alu-dibond 140 x 100 cm |
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o.T. (Oberer Zürichsee, Nov. 2006)
2007 Mixed media on alu-dibond 140 x 100 cm |
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o.T. (Garmisch-Partenkirchen Okt. 2006)
2006 Mixed media on alu-dibond 240 x 180 cm |
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Please use me!
2008 Serigraph on 1-dollar bill 6,63 cm x 15,6 cm |
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(Edition of Collection Teunen, Edition of 9) |
THE MIAMI PROJECT in figures IX
2008 Serigraph on 100-dollar bill 6,63 cm x 15,6 cm |
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(Unique Copy) |
THE MIAMI PROJECT in figures VII
2008 6,63 cm x 15,6 cm Serigraph on 100-dollar bill |
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(Unique Copy)
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THE MIAMI PROJECT III
2008 Mixed media on alu-dibond 105 cm x 183 cm |
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THE MIAMI PROJECT IX
2008 Mixed media on alu-dibond 80 cm x 142 cm |
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THE MIAMI PROJECT XI
2009 Mixed media on alu-dibond 136 cm x 242 cm |
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THE MIAMI PROJECT XV
2009 Mixed media on alu-dibond 80 cm x 157 cm |
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THE MIAMI PROJECT XII
2009 Mixed media on alu-dibond 204 cm x 115 cm |
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THE VOLCANO PROJECT I
2009 Mixed media on handmade paper 150,5 cm x 103,5 cm |
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THE VOLCANO PROJECT IV
2009 Mixed media on handmade paper 151 cm x 103,5 cm |
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THE VOLCANO PROJECT V
2009 Mixed media on handmade paper 150 cm x 103 cm |
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THE VOLCANO PROJECT VII
2009 Mixed media on handmade paper 191,5 cm x 94,5 cm |
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| 教育程度与个人自传 |
2009
Residency fellowship SÍM · The Associaton of Icelandic Visual Artists,
Reykjavik, Iceland
since 2008
Professor under contract at the Free University of Bozen-Bolzano (Italy),
Faculty of Design and Art
since 2003
University teaching position at Wiesbaden University of the Applied Sciences,
Design Dept.
1998
Studies at “Parsons School, New York”
1996
Stipend, study trip to Israel, Wiesbaden University of the Applied Sciences
1995
Stipend, Markus Lüpertz Master Class, Irrsee Monastery, Allgäu
1994–99
Studied Graphic Design & Fine Arts, Wiesbaden University of the Applied Sciences
1992–94
Studies at “Haller Akademie der Künste“, Schwäbisch Hall
Selected solo shows
2008
Galerie Joy, Zurich
2007
„DEAD DIARY“, Galerie Carola Weber, Wiesbaden
„Begegnungen. MENSCH... UN MENSCH“, Kunstverein Villa Streccius, Landau
(mit Marlis Albrecht, Hilke Turré und Renato Oggier)
KIAF, Korea/Seoul (One-Man-Show, Galerie Carola Weber)
2006
Galerie Joy, Zurich
KIAF, Korea/Seoul (One-Man-Show, Galerie Carola Weber)
2005
Galerie Kleines Haus, Staatstheater Mainz
Kunsthaus Worms
„unsehbar – Neue Arbeiten“, Galerie Carola Weber, Wiesbaden
2004
Lufthansa Systems Group, Frankfurt
2003
Kunstverein Eisenturm Mainz
Deutsche Bank, Wiesbaden
Galerie Carola Weber, Wiesbaden |
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网站: www.holgerschmidhuber.com |
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