Page 37 - Studio International - October 1966

A. Leissler
Fluidum eines Möbel 1963
Oil on canvas
41 3/8 x 39 3/8 in.
Gallerie Brusberg, Hanover

Konrad Klapheck belong to Cologne. Munich does not figure at all and fication with his objects. As Moore finds all forms in the
• Top Berlin scarcely gets a mention. Sculpture, of course, human body, so Klapheck finds all human traits in his
Der Kuss (The Kiss) 1966
Oil suffers especially, because its distribution is so slow. machines. He projects the unconscious elements so
• 35 1/2 x 27 1/2 What follows therefore is but an indication of what still strongly that the result sometimes amounts to a participa-
lies buried here. tion mystique, an hypnotic quality such as one finds in the
• Centre
. Das Leben in der Gesellschaft art of the primitives. His strong sense of formal design
(Life in Society) 1964 One might describe the first group as neo-objectivist. By lets him swing freely between naturalism and stylization,
• Oil that I mean quite simply artists who concern themselves invention and reality.
331 x 391 in.
Collection: Prof. Josef with objects entirely in terms of their images. Here Kon- The sculptor Utz Kampmann of Berlin is the same age
' Zander, Heidelberg rad Klapheck of Düsseldorf, now 31, immediately comes as Konrad Klapheck. His development has been slower,
to mind. Since his exhibitions at the FRASER GALLERY in but I do not think his potential is any less. With Kamp-
1964 and at ILEANA SONNABEND the following year (when mann the object is less specific. One might say that his
his exhibition was sold out), he has become known out- coloured sculpture has become an object in itself. It has
side Germany. He regards himself as a Surrealist, and three lines of action and effectiveness: formal, optical,
Breton wrote the catalogue for Klapheck's Paris exhibi- and associational. The first is on the whole constructive,
tion. More important, however, is his exclusive identi- bringing him near to the 'New Abstraction'. The second
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