陈列您的艺术作品给每天无数的访客观看

Expose of the new sculptures of KRAUSEKRAUSE

Dr. Hubert Begasse
Scholar of Art at the
Sorbonne University, Paris

This expose aims to establish a dialogue with the artist and to facilitate keen insights into the conceptual intention of KRAUSEKRAUSE. Reference to the history of art shall elucidate the exceptional character of the works.

During the last years of his artistic life, KRAUSEKRAUSE has achieved merits as painter and sculptor. The conceptual point of departure of the sculptures dealt herewith has been set up since many years and was brought into reality by a thorough setting forth of the problems implicated. The artist´s intentions enclose sculptural interrogations as well as general aspects of reception of sculptural works, and philosophical-ideological concerns.

In summary, it can be stated that KRAUSEKRAUSE with his new sculptures questions the principle of perceiving reality by eyes. He opens up altered perspectives of dealing with sculptural art which doubtless characterizes the new development of sculpture. A portrait of one of his works will give more clarity. Live-sized human figures marked by injuries are set in a space which at first seems nonsensical. In the center of the installation one figure is hanging head down from under the metal grate supported at the corners by thin poles about 6m high and fixed in the floor ground: a master work in statics considering the heavy weight of the figure.

It is startling to look at this figure not standing on the floor under the force of gravity and forming the vertical relation to the horizontal line of the floor but, in a fragile balance, seeming to await its sudden fall. One way associate the idea of men walking at the ceiling with their heads down under the conditions of weightlessness. The expression of this injured figure symbolically represents the disunion of man in our time.

KRAUSEKRAUSE has transposed the subject of emptiness in human relationships through various artistic media. With his new sculptures he has achieved a lucidity of expression which forces the spectator to immediately perceive the phenomenon implied. This became possible only after the artist having questioned not only, but reversed the principles of perceiving reality. We are no longer concerned with the classical perspective but with a newly defined reality. Taking a position right beneath the figure in the center of the installation, the spectator has to face an unusual spatial constellation.

The nearness to the injured figure forces him to come to terms with the phenomenon of todays violated men and raises questions leading to a solution of existing contradictions. As he meets an unknown sensation, he undergoes irritations of his mode of perception and of his consciousness.

Being part of a society which tends to stupefaction and fragmentation in many fields and which suffers a state of ignorance through mean emotional substitutes created by an amusement industry and advertising, arts must be allowed to establish a sharpened consciousness of reality.
The sculptures of KRAUSEKRAUSE are to be conceived in this context as they constitute a paradigmatic representation of our time.
Because of their dimensions they are well suited for public localities, thus emphasizing another of their characteristic aspects.

In the reflections expressed above, we have repeatedly touched on one of the central problems of 20th century sculpture: the space. Naturally, sculptural works have dealt with space problems in any period of the tradition, but in context with KRAUSEKRAUSE´s works, the question of space is raised in a new way.

Since the 19th century, the relation between a sculptural form and the surrounding space has been known by art theory as an essential problem which brought forth newly formulated questions and demands on sculpture. No philosophical system of values is put first any longer, but only the questions directly growing between the spectator and his opposite, the sculpture in space, matter. The act of seeing has been problematicized – how to see a sculpture, the perception, became the point of departure for aesthetical considerations.

Regarding the work of the artist KRAUSEKRAUSE within these contextual matters, one has to call his sculptures an artistic climax at the time being because not only the sculptural working practice but also the mode of reception in art theory are being enlarged with an important component.

Düsseldorf, January 1988

Hubert Begasse
Scholar of Art at the
Sorbonne University, Paris

EXPO 2000

1997
model, world exhibition Hannover, Germany
Modell, Weltausstellung Hannover, Germany

Der deutsche Michel, german Michel

2003
indoor installation, KulturOFEN NRW. Düsseldorf, Germany
Innenrauminstallation, KulturOFEN NRW. Düsseldorf, Germany

Jeder für Alle, eachone for anyone

1994
memorial installation in memory of the peaceful revolution, Leipzig Gewandthaus, Germany
Mahn- und Gedenkinstallation in Gedenken der freidlichen Revolution, Leipzig Gewandthaus, Germany

Königshauspassage

1993
first draft for a indoor installation, Leipzig, Germany
Entwurfsskizze für eine Innenrauminstallation, Leipzig, Germany

Die Macht der Figuren, the power of human being

1991
outdoor installation, Langenfeld people´s garden, Germany
Großrauminstallation, Langenfeld Volksgarten, Germany

Kunst am Bau, art meets architecture

2001
model, competition national inner department Berlin, Germany
Modell, Wettbewerb Bundesinnenministerium Berlin, Germany

Kunstbegehung, walk on art

1997
project draft for a new charactere ofthe historic location of art Kunstpalast Düsseldorf, VEBA AG, Germany
Projektskizze für die Neugestaltung des historischen Künstlerstandortes Kunstpalast Düsseldorf, VEBA AG, Germany

Götterfunken, title following the 9th symphony of Beethoven

2007
model, competition Beethoven foundation Bonn, Germany
Modell, Wettbewerb Beethoven-Stiftung Bonn, Germany