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
Exhibition Text
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. (Carolin Förster)
