Heinz Mack

Licht im Blick - Blick im Licht

Arbeiten 1958 - 2018

2. Februar – 29. Juni 2019

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Diashow der Austellung

  • 01 RS1584 for PICABIA 1958 03

    Heinz Mack
    for PICABIA.

    Kunstharz auf Nessel 1958. 1958/66.
    100 x 120 cm.
    Obj. Id.: 80487

  • 02 RS650 wings of gabriel 1965 03

    Heinz Mack
    Wings of Gabriel.

    Aluminiumnetz, Plexiglas, Holz, Edelstahl
     1965. 205 x 164 x 10 cm..
    Obj. Id.: 80485

  • 03 RS1702 Vibration der Schatten 1959 03

    Heinz Mack
    Vibration der Schatten.

    Kunstharz auf Nessel 1959. 1959/19.
    79,5 x 101 cm.
    Obj. Id.: 80488

  • 04 RS2119 Rotor  Kinetik  Mirror-Rotation 2014 03

    Heinz Mack
    Mirror-Rotation.

    Rotor / Kinetik 2014. (Idee: 1960er Jahre).
    150 x 150 x 30 cm .
    Obj. Id.: 80433

  • 05 RS2127  Ohne Titel Rotor Kinetik 1970 03

    Heinz Mack
    Ohne Titel.

    Rotor / Kinetik 1970. (Entwurf 1960),
    151 x 151 x 43 cm
    Obj. Id.: 80430

  • 06 RS8617 Ohne Titel Aluminium 1968 2012 03

    Heinz Mack
    Ohne Titel.

    Aluminium, Wellenglas, Edelstahl, Holz,
    Motor 1968/2012. 60 x 90 x 40,5 cm.
    Obj. Id.: 80432

  • 07 RS853 Ohne Titel 2014 03

    Heinz Mack
    Ohne Titel.

    Plexiglas, Edelstahl 2014. (Replik einer Arbeit von 1963).
    300 x 45 x 6 cm.
    Obj. Id.: 80438

  • 08 RS7662 Skulptur Edelstahl Ohne Titel 2014 03

    Heinz Mack
    Ohne Titel.

    Edelstahl 2014.
    248 x 35 x 12,5 cm.
    Obj. Id.: 80490

  • 09 a RS7911 Skulptur  Stele Transparente Stele 1966 restauriert 2010 01

    Heinz Mack
    Transparente Stele.

    Plexiglas, Aluminium, Motor 1967 - 2010.
    302 x 55 x 55 cm.
    Obj. Id.: 80439

  • 10 RS8867 Zeichnung Tusche OhneTitel  2015 03

    Heinz Mack
    Ohne Titel.

    Tusche auf BĂĽttenpapier 2015.
    76 x 112 cm. 
    Obj. Id.: 80454

  • 11 RS8866 Zeichnung Tusche Ohne Titel 2015 03

    Heinz Mack
    Ohne Titel.

    Tusche auf BĂĽttenpapier 2015.
    76 x 112 cm.
    Obj. Id.: 80453

  • 12 RS8861 Zeichnung Tusche Ohne Titel 2015

    Heinz Mack
    Ohne Titel.
    Tusche auf BĂĽttenpapier 2015.
    76 x 112 cm.
    Obj. Id.: 80455

  • 13 RS8854 Malerei Chromatische Konstellation Ohne Titel 2016 03

    Heinz Mack
    Ohne Titel (Chromatische Konstellation).

    Acryl auf Leinwand 2016.
    208 x 247 cm.
    Obj. Id.: 80441

  • 14 RS6977 Malerei  Chromatische Konstellation Ohne Titel 2017 03

    Heinz Mack
    Ohne Titel (Chromatische Konstellation).

    Acryl auf Leinwand 2017.
    147 x 133 cm.
    Obj. Id.: 80442

  • 15 RS8955 Ohne Titel Chromatische Konstellation 2012 03

    Heinz Mack
    Ohne Titel (Chromatische Konstellation).
    Acryl auf Leinwand 2012.
     66 x 73 cm..
    Obj. Id.: 80440

  • 16 RS7350 Malerei Chromatische Konstellation Ohne Titel 2017 03

    Heinz Mack
    Ohne Titel (Chromatische Konstellation).
    Acryl auf Leinwand 2017.
    212 x 219 cm.
    Obj. Id.: 80468

  • 17 RS4971 Malerei  Chromatische Konstellation  Ohn Titel 2016 03

    Heinz Mack
    Ohne Titel (Chromatische Konstellation).
    Acryl auf Leinwand 2016.
    52 x 59 cm.
    Obj. Id.: 80480

  • RS8843 Malerei Chromatische Konstellation Ohne Titel 2018 03

    Heinz Mack
    Ohne Titel (Chromatische Konstellation).

    Acryl auf Leinwand 2018.
    91,5 x 82,5 cm.
    Obj. Id.: 80478

Heinz Mack

Licht im Blick– Blick im Licht

 

Arbeiten 1958 - 2018

__________________________________________________________________________

 

“To enter paradise during one’s lifetime.” A sentence from Heinz Mack. With his recent exhibition at the Goethe-Museum Düsseldorf and the accompanying, positively marvelous catalogue Acts of Light: Mack & Goethe, he has at least arrived on Mount Olympus. In fact, the body of work of the now 87-year-old artist is the culmination of the development of his oeuvre—not a late oeuvre, and if so then only in the very best sense, for example, in the sense of the likes of a Monet—and not a late derivation of his beginnings in ZERO, but a summa artis of his creative output, which is as extensive as it is diverse.

We are exceedingly fortunate to be able to—and to be allowed to—present his work in our spaces at this point in time. As we are to have won the Mack expert and admirer Beat Wismer to contribute the text to our catalogue.

One may wonder about our enthusiasm for Heinz Mack, since we are proven experts on Kirchner, the Brücke group of artists, and Expressionism, and grew up with the abstraction of the École de Paris that spilled over from the prewar period into the 1950s or of Tachism (which, however, had already taken powerful, concrete shape).

Now: Aside from the fact that great art, regardless of at what time, in what language, or in what style it was formulated, always goes together, there are indications of vitae parallelae, for example, between Kirchner and Mack both in terms of their biography as well as their art.

Both of them were the co-founders of extraordinarily productive collaborations, artists’ groups whose impact extended far into the world of art and each of which   was active for approximately eight years: BrĂĽcke and ZERO. Although half a century and two generations as well as the experience of the destruction of a large share of the human race—and even of the humanity that largely removed the subject from art—separate these two laboratories for basic artistic research, there are nevertheless artistic analogies, for example with Kirchner.

Heinz Mack, the master of light—and hence of color—definitely finds himself in what Kirchner forethought with No One Else Has These Colors; and in the same way, the intensely vibrating structures of a Heinz Mack find themselves in Kirchner’s intensely vibrating lines and splitting brushstrokes when he also used them to describe and depict things, which Mack, following his new start at the absolute zero point, substituted with the depiction of grids and structures.

What both artists moreover share is their “fate” of having attention called to their beginnings in their respective artists’ groups with considerable yet unnerving regularity, indeed, of having their oeuvres reduced to this, which for the reasons mentioned at the outset is pure nonsense. In both cases, the individual stages of development of their respective body of works build on the preceding stages and lead to even greater artistic insight. We just have to measure up to this achievement of genius without prejudice.

We have many people to thank for this wonderful exhibition, above and first of all the master of light and hence of color himself, Heinz Mack. Followed by his wife, Ute Mack, for the excellent and committed curatorial supervision and organization of the exhibition and the catalogue; Beat Wismer for his outstanding text; Mack’s daughter, Valeria Mack, for her assistance; our colleague Alexander Baumgarte from the Samuelis Baumgarte Galerie Bielefeld for the idea for and mediating of this exhibition; our colleagues Beck & Eggeling, who are in charge of Heinz Mack’s early oeuvre, for their friendliness; the graphic artist Dominik Lanhenke for the design of the catalogue; Oeding print in Braunschweig for its printing; and in our gallery, Angela Mattioli (registrar, exhibition organization, and transportation), Hans Brubacher (exhibition technology and transportation), as well as Nicolas Bischoff (photography and exhibition technology).

Despite—which we have surprisingly had to establish from time to time—our “remote” location (even for us Swiss), but which is by all means easily accessible and whose abundant light ideally accommodates Mack’s work, we hope that numerous visitors find their way here to view this exhibition.

Ingeborg Henze-Ketterer and Wolfgang Henze

 

Text accompanying Exhibition No. 121 at Galerie Henze & Ketterer, Wichtrach/Bern

 

Galerie Henze & Ketterer
Kirchstrasse 26, CH 3114 Wichtrach
Tel. +41 (0)31 781 06 01
Galerie Henze & Ketterer & Triebold
Wettsteinstrasse 4, CH 4125 Riehen
Tel. +41 (0)61 641 77 77