ARTISTS
Wolf Vostell: Berlin Fieber
WeGallery is pleased to announce the second personal exhibition in its Berlin gallery by the German artist Wolf Vostell. The Berlin Fieber show celebrates and continues the years-long cooperation with the artist, which began with Gino Di Maggio at the Galleria Multhipla in Milan in the 1970鈥檚.
Berlin Fieber presents three historical works by Vostell, centred on the city of Berlin, the city where the artist died during a journey: the Berlin Fieber series, from which the exhibition takes its name, the d茅-coll/age Der Fall der Berliner Mauer and the file of graphics V40 edited by Multhipla.
The four large works hanging on the wall, which constitute Berlin Fieber, 1973 鈥� scores from the homonymous happening held at the Neuer Berliner Kunstverein in that same year 鈥� examine the capital of the then German Democratic Republic, torn by warfare and split in two parts by the iron curtain, like a mirror for an intolerant social reality in ruins. Vostell鈥檚 oeuvre is a bitter indictment, present throughout the show, of the current political debate, and even more a wounded lament for human behaviour in times of desperation, fear and death. Vostell tackles the History of a nation and his own story as German citizen by using cold, industrial, non-artistic materials as elements to distress society and for an anthropological refounding of man himself. The superimpositions that the artist achieves through processes of mixing, over-painting and covering the canvas divide the area of the picture, forming a complex texture of associations, concreteness and evocation.
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WeGallery is pleased to announce the second personal exhibition in its Berlin gallery by the German artist Wolf Vostell. The Berlin Fieber show celebrates and continues the years-long cooperation with the artist, which began with Gino Di Maggio at the Galleria Multhipla in Milan in the 1970鈥檚.
Berlin Fieber presents three historical works by Vostell, centred on the city of Berlin, the city where the artist died during a journey: the Berlin Fieber series, from which the exhibition takes its name, the d茅-coll/age Der Fall der Berliner Mauer and the file of graphics V40 edited by Multhipla.
The four large works hanging on the wall, which constitute Berlin Fieber, 1973 鈥� scores from the homonymous happening held at the Neuer Berliner Kunstverein in that same year 鈥� examine the capital of the then German Democratic Republic, torn by warfare and split in two parts by the iron curtain, like a mirror for an intolerant social reality in ruins. Vostell鈥檚 oeuvre is a bitter indictment, present throughout the show, of the current political debate, and even more a wounded lament for human behaviour in times of desperation, fear and death. Vostell tackles the History of a nation and his own story as German citizen by using cold, industrial, non-artistic materials as elements to distress society and for an anthropological refounding of man himself. The superimpositions that the artist achieves through processes of mixing, over-painting and covering the canvas divide the area of the picture, forming a complex texture of associations, concreteness and evocation.
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