From 19 June to 2 November 2009 the Musée du Chateau de Montbeliard in France will be showing “L’oblique – Un regard sur la géometrie contemporaine”. This exhibition displays over 100 works of geometrical art representing the second half of the 20th century until today. Included in these works is the painting “1-5-7” from Burghard Müller-Dannhausen. This work originates from 2001 and was acquired by the museum in 2003.
The exhibition deals with the slant and its meaning in visual thinking. This meaning – both within and outside of geometrical art – extends from the formal to the far areas of the contextual. The catalog’s introductory essay shows that the slant not only brings instability, movement, flow and infinite variables in the visual form, but also embeds subjectivity, individualism, reflection and insecurity in the visual statement.
It is the reference to El Lissitzky (in the essay from Marcello Faletra), which primarily establishes a connection between the slant and the principle of the epic. According to the author, the slant describes the third possibility: neither the position of the servant nor the master, but rather the path to emancipation. The epic comprises the action, showing courage and also the truth. In this sense the slant becomes an epic energy. These and other thoughts are given much scope in the catalog and are confirmed through the works on exhibit, stimulating the viewer time and again.
to the Museum
of the Castle
of the Dukes
of Wurttemberg
Montbéliard
09-04-002
of the Castle
of the Dukes
of Wurttemberg
Montbéliard
09-04-003
director of the
Museum
and curator
of the exhibition
“L’Oblique”
09-04-004
The painting 1-5-7 found a place in this exhibition with the most varying neighbors. The result is a diversity of comparisons for the viewer. These differences relate primarily to the question if a pictorial solution focuses upon or utilizes its vocabulary. This means: Are the formal means (in this case the slant) the subject of the picture and are these in the visual result clear to the viewer? Or do the formal means merge completely into the picture statement or in other words the poetry on the canvas? In other words: Does the focus lie upon the visual language and it’s meaning on the effect of the picture or the effect of the picture itself? This leads us to the final question: How far does the slant realize its own epic potential? Yet the question is not aimed at the slant but at the formal aspects in general and applies as much to the system as to the colors. To what extent is the formal the subject, or to what extent is it the prerequisite for a thematic effect. Within the context of these questions, the character of 1-5-7 in comparison to other works becomes clear.
Marcello Morandini,
Heinrich Siepmann,
Anton Stankowski,
Filomena Iride Spissu,
Hans Jörg Glattfelder,
Maura Saddi (fr. l.)
09-04-005
Hans Jörg Glattfelder,
Maura Saddi,
César Doméla (fr. l.)
09-04-006
Relief No. 301
from César Doméla
09-04-007
Heijo Hangen,
Marta Iglesias,
Shizuko Yoshikawa,
Julián Gil,
Gottfried Honegger
(from left)
09-04-008
Marta Iglesias,
Shizuko Yoshikawa,
Julián Gil,
Gottfried Honegger
(from left)
09-04-009
Shizuko Yoshikawa,
Julián Gil (from left)
09-04-010
Anton Stankowski,
Lienhard
v. Monkiewitsch,
Gottfried Honegger
(from left)
09-04-011
Maura Saddi,
Najia Mehadji,
Vincent Batbedat,
Opy Zouni,
Franz Spath,
Günter Fruhtrunk
09-04-012
Franz Spath,
Opy Zouni,
Günter Fruhtrunk
(from left)
09-04-013
The exhibition pieces originate from the Musées de Montbéliard
and the following institutions and collections:
Museum für Konkrete Kunst, Ingolstadt
Museum Ritter, Waldenbuch
Musée des Beaux-Arts de Cambrai
Sammlung Würth, Künzelsau, Erstein
Atelier Fanal, Basel
The exhibition displays the works of the following artists:
Josef Albers
Getulio Alviani
Hermann Bartels
Vincent Batbedat
Henryk Berlewi
Ode Bertrand
Charles Bézie
Hartmut Böhm
Bob Bonies
Gael Bourmaud
Pol Bury
John Carter
Geneviève Claisse
Roman Clemens
Gianni Colombo
Carlos Cruz Diez
Ad Dekkers
Norman Dilworth
César Doméla
Edouard Fauve
Günter Fruhtrunk
Tomás García Asensió
Julián Gil
Emile Gilioli
Hans Jörg Glattfelder
Hermann Glöckner
Jean Gorin
Heijo Hangen
Jean Helion
Roland Helmer
Gottfried Honegger
Marta Iglesias
Imre Kocsis
Josef Linschinger
Verena Loewensberg
Giovanni Mario Maesano
Alberto Magnelli
Najia Mehadji
Juan Mele
Adelberto Mecarelli
Manfred Mohr
Vera Molnar
Lienhard von Monkiewitsch
Charles-Henri Monvert
Marcello Morandini
Francois Morellet
Inaki Moreno Ruiz de Eguino
Mitsouko Mori
Mehdi Moutashar
Burghard Müller-Dannhausen
Istvan Nadler
Joan Pala
Nausica Pastra
Maud Peauit
Lucio del Pezzo
Torsten Ridell
Jaume Rocamora
Sigurd Rompza
Albert Rubens
Nelly Rudin
Maura Saddi
Bernhard Sandfort
Diet Sayler
Heinrich Siepmann
Rudolf Sikora
Franz Spath
Filomena Iride Spissu
Anton Stankowski
Klaus Staudt
Norbert Thomas
Günther Uecker
Victor Vasarely
Ludwig Wilding
Shizuko Yoshikawa
Hans Helmut Zimmermann
Opy Zouni
The catalog contains articles from:
Jacques Hélias, mayor of Montbéliard
Bernard Fauchille, director of the Musées de Montbéliard
Marcello Faletra, professor at the University of Palermo
Alexandre Mare, essayist, reviewer and lecturer
Dietmar Guderian, professor at the teachers university
of Freiburg im Breisgau
Gilles Plazy, author and reviewer
Diet Sayler, professor at the Art Academy Nürnberg