Page 59 - Studio Interantional - May 1967
P. 59

Above left Edward Micus Coudrage 43
                                                                                                    1966
                                                                                                    oil on canvas 39⅜  x 51¼ in.
                                                                                                    Galerie Thomas, Munich

                                                                                                    Above Gernot Bubenik Genitals of the
                                                                                                    Venus (scheme) 1965
                                                                                                    oil on canvas 51+ x 63 in.
                                                                                                    Galerie Thomas, Munich

                                                                                                    Far left K. T. Lenk Structure 28 (model
                                                                                                    for a sign in the plain) 1965
                                                                                                    aluminium 13; x 13¾ x 4 in.
                                                                                                    Rowan Gallery, London

                                                                                                    Left Lothar Quinte Untitled 1966
                                                                                                    acrylic on canvas
                                                                                                    Galerie Muller, Stuttgart




           shown by the gallery in March, also works with   pressionist graphic cycles in the galleries along the   a city where every artist tries his hand at angular
           effects of reflected light. Entire walls were covered   Maximilianstrasse, but he will look in vain for   shapes, colour gradations and complex forms—
           with gigantic mirrors, in front of which metal foil   young German art. Recently the GALERIE THOMAS   usually against a background of more troublesome
           rose up like plant life—a cross between the giant   alone has shown significant young German artists   problems. It is precisely this kind of schizophrenic
           aquaria of Florida and the Hall of Mirrors at   with examples of work by Eduard Micus or Gernot   experience with the international avant-garde which
           Versailles. These effects are in no way so convinc-  Bubenik. The work of the 25-year-old Bubenik,   makes Bischofsberger's exhibitions a corner-stone
           ing as the stark structures which led to Mack's   one of the most successful young German artists,   of artistic life in Zürich: one can see how other
           membership of the ZERO Group, but the silvery   is certainly well worth looking at; just as Lichten-  artists do things differently, but not always better.
           landscape was ready-made for Hans Frieder   stein uses comic strips, so Bubenik takes drawings   Early in January the same gallery exhibited works
           Mayer, the gallery's manager, to stage one of his   from biology textbooks and turns them into a kind   by a young Swiss artist, Müller-Brittnau (born
           famous opening spectacles when silvery 'fairies'   of `biomorphic soft-edge painting'.   1938), who applies concrete systematic concepts to
           and Heinz Mack, representing a blond astronaut,   The position in Zürich is much the same. But   an ambitious style of colour painting; he creates
           glided through those grottoes of cool art to the ac-  there the reduction of artistic life to a level of   free colour signals without departing from the
           companiment of beat music.               regional insignificance is not a result of historical   static weight of serial symmetry.
           The (op)-art Gallerie shows that the regional dis-  exhaustion; it is much truer to say that the inter-  Earlier in this article I raised the question as to
           persal of activities does allow an important gallery   national recognition given to Richard P. Lohse or   the extent to which a gallery should join its
           to be set up in a small town. On the other hand,   Max Bill has led to a massive eruption of concrete   regional roots to the claims of international art
           cities like Munich or Zürich prove that inter-  art in Switzerland which casts a shadow even on   life; the international influence, it seems, is very
           national centres are not necessarily privileged to   the work of the great protagonists. How invigorat-  important, provided it finds a genuine counterpart
           house artistic life of more than regional impor-  ing to see an exhibition of works by those incredible   in regional traditions. In Germany, however, the
           tance. Munich, once the centre of German expres-  Americans whose exploits we read of in magazines !   problem becomes more complicated because of
           sionism, is today almost a dead city in so far as   At least one would expect it to be invigorating. But   the big gap in the national tradition created by
           living arts are concerned. The visitor, it is true,   all the promised liveliness vanished when  GALERIE   twelve years of Nazi rule; as a result internation-
           will find representatives of modern South American   BISCHOFSBERGER recently exhibited works by Frank   alism tends to replace the real artistic tradition.
           art at  GALERIE BUCHHOLZ  and inexhaustible Ex-   Stella : the New York messiah's halo soon faded in    It is worth considering this possibility before
   54   55   56   57   58   59   60   61   62   63   64