WILLI BAUMEISTER AND PHOTOGRAPHY

EXHIBITION Sep 13 — Dec 15, 2019

FLORIS M. NEUSÜSS (* 1937)

Untitled (Body Image, Berlin), 1963

3 gelatin silver prints, framed

235 x 195 cm

© Floris M. Neusüss / Courtesy Kicken Berlin

LÁSZLÓ MOHOLY-NAGY (1895–1946)

Fotogramm / Photogram, 1926

gelatin silver print, copy print, printed ca. 1926

19 x 13,5 cm

© Hattula Moholy-Nagy / VG Bild-Kunst, Bonn 2019 / Courtesy Kicken Berlin

WILLI BAUMEISTER (1889–1955)

Tennis, 1931

oil and sand on canvas

100 x 81 cm

© VG-Bildkunst, Bonn 2019 / Willi Baumeister Stiftung / Courtesy Galerie Friese

EDWARD WESTON (1886–1958)

Model for Mould, 1936

gelatin silver print, mounted on original cardboard, printed ca. 1936

24 x 19,2 cm

© Collection Center of Creative Photography, Arizona / Courtesy Kicken Berlin

OTTO STEINERT (1915–1978)

Strenges Ballett / Strict Ballet, Hommage à Oskar Schlemmer, 1949

gelatin silver print, mounted on original cardboard, printed ca. 1949

39,9 x 30,4 cm

© Estate Otto Steinert, Fotografische Sammlung, Museum Folkwang, Essen / Courtesy Kicken Berlin

WILLI BAUMEISTER (1889–1955)

Szene aus Gilgamesch / Scene from Gilgamesh, 1946

oil with synthetic resin and filler on cardboard

40 x 52,5 cm

© VG-Bildkunst, Bonn 2019 / Willi Baumeister Stiftung / Courtesy Galerie Friese

BERND AND HILLA BECHER (1931–2007; 1934–2015)

'Raffinerie bei Metz, Frankreich / Refinery near Metz, France, from the Portfolio 'Industrial Buildings', 1965

gelatin silver print, printed 1968

19,5 x 15,5 cm

© Estate Bernd and Hilla Becher / Courtesy Kicken Berlin

WILLI BAUMEISTER (1889–1955)

Fliegende Formen / Flying Forms, 1938

oil on canvas

38,3 x 28 cm

© VG-Bildkunst, Bonn 2019 / Willi Baumeister Stiftung / Courtesy Galerie Friese

WILLI BAUMEISTER (1889–1955)

Formen in Perforation / Perforated Forms, 1949

charcoal, partly with stump, fixed, on buff-colored Ingres

31,4 x 47,9 cm

© VG-Bildkunst, Bonn 2019 / Willi Baumeister Stiftung / Courtesy Galerie Friese

BERND AND HILLA BECHER (1931–2007; 1934–2015)

Kalköfen, Harlingen, Holland / Lime Kilns, Harlingen, The Netherlands, 1963

gelatin silver print, mounted, printed ca. 1963

30,4 x 39,9 cm

© Estate Bernd and Hilla Becher / Courtesy Kicken Berlin

MARTA HOEPFFNER (1912–2000)

Feuervogel / Firebird, 1940

gelatin silver print of a photogram, printed ca. 1940

16,5 x 12,1 cm

© Estate of the Artist / Courtesy Kicken Berlin

WILLI BAUMEISTER (1889–1955)

Tori mit Punkt / Tori with Dot, 1937

oil on canvas

32 x 23,5 cm

© VG-Bildkunst, Bonn 2019 / Willi Baumeister Stiftung / Courtesy Galerie Friese

OTTO STEINERT (1915–1978)

Kommutierende Formen / Commutating Forms, 1955

gelatin silver print, printed ca. 1955

46,9 x 61,3 cm

© Estate Otto Steinert, Fotografische Sammlung, Museum Folkwang, Essen

WILLI BAUMEISTER (1889–1955)

Formen und Linienfiguren / Forms and Linear Figures, 1937

oil on canvas

38 x 34,5 cm

© VG-Bildkunst, Bonn 2019 / Willi Baumeister Stiftung / Courtesy Galerie Friese

LÁSZLÓ MOHOLY-NAGY (1895–1946)

Fotogramm III / Photogram III, 1925

gelatin silver bromide print, printed ca. 1929

39,7 x 29,8 cm

© Hattula Moholy-Nagy / VG Bild-Kunst, Bonn 2019 / Courtesy Kicken Berlin

SIGMAR POLKE (1941–2010)

Untitled (Paris, Obelisk), 1971

unique gelatin silver print

23,4 x 17,5 cm

© 2019 The Estate of Sigmar Polke / VG Bild-Kunst, Bonn 2019

WILLI BAUMEISTER (1889–1955)

Auf dem Weg zum Motiv / Enroute to the subject, ca. 1948

oil with synthetic resin on thin cardboard

46,5 x 35 cm

© VG-Bildkunst, Bonn 2019 / Willi Baumeister Stiftung / Courtesy Galerie Friese

LÁSZLÓ MOHOLY-NAGY (1895–1946)

Untitled (Photogram), Dessau, 1925

unique gelatin silver print, printed ca. 1925

23,9 x 17,9 cm

© Hattula Moholy-Nagy / VG Bild-Kunst, Bonn 2019 / Courtesy Kicken Berlin

WILLI BAUMEISTER (1889–1955)

Fussball / Soccer, 1938

oil and sand on canvas

100 x 81 cm

© VG-Bildkunst, Bonn 2019 / Willi Baumeister Stiftung / Courtesy Galerie Friese

WILLI BAUMEISTER (1889–1955)

Boxer (Athlet), 1926

halftone print of collage on white laid paper

30,5 x 22,5 cm

© VG-Bildkunst, Bonn 2019 / Willi Baumeister Stiftung / Courtesy Galerie Friese

JAROSLAV RÖSSLER (1902–1990)

Abstraction (Cartons), 1923

gelatin silver print, printed ca. 1923-1925

8,6 x 8,3 cm

© Sylva Vítová-Rösslerová / Courtesy Kicken Berlin

WILLI BAUMEISTER (1889–1955)

Form in Bewegung / Moving Form, 1937

oil on canvas

65 x 46,5 cm

© VG-Bildkunst, Bonn 2019 / Willi Baumeister Stiftung / Courtesy Galerie Friese

MAN RAY (1890–1976)

Rayograph (de la série avec Kiki), 1922

gelatin silver print of a Rayograph, printed 1920s

20,3 x 15,2 cm

© Man Ray Trust, Paris; VG Bild-Kunst, Bonn 2019 / Courtesy Kicken Berlin

WILLI BAUMEISTER (1889–1955)

Schwimmer / Swimmer, 1933

oil and sand on canvas

54 x 65 cm

© VG-Bildkunst, Bonn 2019 / Willi Baumeister Stiftung / Courtesy Galerie Friese

FLORIS M. NEUSÜSS (*1937)

Untitled (Body Image, Munich), 1965

unique photogram, gelatin silver paper, mounted on linen, 1965

231 x 83,5 cm

© Floris M. Neusüss / Courtesy Kicken Berlin

FLORIS M. NEUSÜSS (*1937)

Untitled (Body Image, Kassel), 1971

unique photogram, gelatin silver paper, 1971

197 x 104 cm

© Floris M. Neusüss / Courtesy Kicken Berlin

HANS-CHRISTIAN SCHINK (*1961)

Bach Ma 2a, from the series 'Vietnam', 2005

c-print / diasec, framed

121 x 143 cm

© Hans-Christian Schink / Courtesy Kicken Berlin

In the new gallery headquarters on Kaiserdamm 118, Kicken Berlin, in cooperation with Galerie Klaus Gerrit Friese and the Willi Baumeister Estate, presents a selection of photographs and paintings that refer to the visual language of modernism. The presentation centers around the work of German artist Willi Baumeister, who exemplified the development of abstraction and the avant-garde in the twentieth century, from its constructivist beginnings, via organically flowing, prehistoric-inspired forms, into his iconic non-figurative works of the 1950s.
Here, Baumeister’s oeuvre dialogues with photographs from contemporaries such as Lászlò Moholy-Nagy, Otto Steinert, and Marta Hoepffner. This challenge continues up to contemporary art. Sigmar Polke turned to photography in the late 1960s with a fresh eye, open to the unexpected. The typological work of Bernd and Hilla Becher, on the other hand, focused strictly on the factual forms and conditions of industrial architecture, transforming them into a referential system of cultural history.