Special Works from our Collection in Dialogue

1st September until 12th November 2022

Online cataloge (PDF)

VR Tour through the exhibition

  • Bargheer 1968 1G H1968-5 Afrikanische Vegetation 1 01

    Eduard Bargheer
    Afrikanische Vegetation (African Vegetation)
    Oil on canvas, 1968. Henze 1968/05.
    Signed and dated on the lower left.
    33 x 40 cm.
    Dated and titled on the verso.
    Item Id: 66234

  • Kirchner 1921 1G G0664 Berghirte im Herbst  Berghirte mit Ziegen  03

    Ernst Ludwig Kirchner
    Berghirte im Herbst (Berghirte mit Ziegen)
    (Mountain Shepherd in Autumn (Mountain Shepherd with Goats))

    Oil on canvas, 1921. Gordon 0664.
    Signed in ink on the upper left.
    120 x 90,5 cm.
    With the estate stamp and with the numbering "KN-Da/Aa 37"
    as well as signed and titled on the verso.
    Item Id: 67942





  • REW Tango 02

    Raymond E. Waydelich
    Argentine - Tango

    Watercolor, ink and sealing wax, 2011/2022.
    On handmade and -coloured relief printing.
    Signed and dated in pencil on the right.
    49 x 37 cm.
    Item Id: 80880



  • Schultze 1987 1G Prothesen-Jemand 01

    Bernard Schultze

    Oil on canvas, 1987.
    Herrmann 87/49 Signed and dated on the lower right.
    200 x 140 cm.
    Item Id: 66653




  • Feininger 1914 4Z Thuringian Village AMFA 0887 01

    Lyonel Feininger
    Thüringer Dorf (Thuringian Village)

    Coloured pencil on paper., 1914. AMFA 0887
    Dated on the upper left "19 IV 14".
    15,6 x 20,0 cm
    Item Id: 80848



  • Indianergrab 01

    Georg Baselitz
    Indianergrab (Indian Grave)

    Linocut, 2002.
    On paper. Edition 6. Copy 3/6.
    201 x 150 on 228 x 170 cm.
    Item Id: 80307




Special Works from our Collection in Dialogue

September 1 - November 12, 2022

Chaos, confusion, turmoil: The synonyms of "Wirr Warr" (Mix Up) all describe a condition that undermines order. Instead of the often demanded desires for system, structure and rule, which suggest clarity and thus security, the Wirr Warr resists the plannable and indulges in the uncertain.[1] This is also where it’s very special charm becomes apparent. While order and structure contain a certain foresight, the Wirr Warr has an inherent moment of surprise. In its colorful clutter, in the motley whole that defies logic, new ways of looking at things and connections can be found that can inspire fresh ideas and thoughts. As a playful formation of the verb "wirren", which is borrowed from the Middle High German "werren" and it’s meaning of "entangling",[2] the Wirr Warr can also have interesting effects on art: If genres, styles, artists and works are suddenly mixed without any discernible reason - in art history, for example, this is a shared epoch or differently treated themes - the human eye is miraculously prompted to take a new look, to gain a new "understanding". The Wirr Warr even inevitably forces us to leave behind the traditional and to re-evaluate it.

It is precisely this moment of surprise and new exploration that the exhibition "MIX UP. Special Works from our Collection in Dialogue" will trace. In a complete jumble and colorful coming together of works from the gallery's holdings, the diversity of the artists we present and their works will be presented. Without structure or order, art-historically significant positions of Modern Art, Abstraction and Informel, New Figuration and Contemporary Art encounter each other and invite to an exciting dialogue.

Of course, in all the plurality in the exhibition, there are also unavoidable overlaps, especially when considering the artist group "Brücke" (Bridge). The art of its members around Ernst Ludwig Kirchner (1880-1938), Erich Heckel (1883-1970), Karl Schmidt-Rottluff (1884-1976) and Emil Nolde (1867-1956), who are also exhibited, produced the most intensive manifestation of expressive painting from 1905 onwards and found with the "Brücke" style around 1910 the actual form of (German) Expressionism that is still valid today. In the jointly developed exaggeration of form, color and gesture as one of the fundamental possibilities of Modernism in the 20th century, techniques, themes and color application are repeated, which can also be traced back in the exhibition. Kirchner's colorful oil painting "Mountain Shepherd in Autumn (Mountain Shepherd with Goats)" (1921) forms a highlight here.

At the same time, Lyonel Feininger's (1871-1956) "Notes after Nature" (from 1906), as the artist himself called the series of small-format drawings, reveals another expression of Modernism contemporaneous with the Expressionists. Even before he became head of the graphic workshops of the Bauhaus in Weimar, the artist visited the region and created drawings in front of nature, a kind of visual diary that captured what he saw on paper in an abstracting manner. Churches, towers, streets with houses and the open landscape found their way into Feininger's documentation to provide inspiration for oil paintings and woodcuts.    

Also included in the "tangled" mesh of diverse works from our holdings are Eduard Bargheer's (1901-1979) oil painting "African Vegetation" (1968), George Grosz's (1893-1959) landscape "Rocks at Bornholm, Denmark" (1940), darkly painted in oil, and three organic sculptures (between 1939-1950) by Karl Hartung (1908-1967), carved in bronze. They complement the expressive "Brücke" artists and bear witness on a small scale (in the field of Modern Art) to the big picture (the curatorial exhibition concept): A mixed gathering, a veritable confusion of artistic positions, techniques, and themes.

This approach of a jumbled, yet intentional, clash of disparate works continues in the art movements that follow Modernism, and which we present in the new exhibition: As a departure from the abstract approach of Informel, represented in the exhibition by Fred Thieler (1916-1999), Bernard Schultze (1915-2005), and Fritz Winter (1905-1976), the "New Figuration" emerged, which describes figurative painting after World War II. It was about overcoming abstraction through a renewed approach to the "lost" object. In part, this amounted to a radicalism in that the found object itself was elevated to the status of a work of art. Just as we find this again in Daniel Spoerri's (*1922) works to this day. He sometimes makes bronze casts of his assemblages, thereby giving the everyday objects a permanence, as can be seen in "Cephalopode" (1989) or in "Testa di Bue - Bull Skull" (1989).

In 1959, Jürgen Brodwolf (*1932) also literally clung to the only concrete object in his actually "abstract" studio, namely a paint tube made of lead. In doing so, he playfully deformed it, turning it into a human-like figure. This tube figure became his theme, which he has since varied endlessly in all techniques, dimensions and meanings: Pure figure. To date, he thus uses the tube figure in his    work, such as in the group of "Pigment Figures" from the years 2000/2001.

Another representative of the contemporary position is Giovanni Manfredini (*1963). The work of the Italian artist is characterized by his special technique, which he developed himself. Manfredini uses fire to blacken surfaces, which he previously has covered with a mixture of shell flour and resin. He then imprints parts of his body, among other things, on the picture support, as in the large-format untitled work from 2009. This creates bright areas that reflect the light and form a strong contrast to the sooty picture support, creating a fascinating chiaroscuro.

The Spanish artist Darío Basso (*1966), who is three years younger, has also discovered his own pictorial language and, above all, technique for himself, while his work is primarily concerned with nature. The self-taught artist uses entirely unconventional means, paints, often casts his pictures outdoors in nature horizontally on the ground, and incorporates the environment and also the weather and direct or indirect forces of nature. In the one-meter by one-meter work "Persamoz" (2008), the many layers and integrated natural materials literally create a relief.

Born in Strasbourg in 1938 as the son of a sculptor, Raymond-Émile Waydelich is certainly considered the most humorous position in the exhibition. The artist is especially known for his watercolor collages, in which he alienates real existing creatures, animals, and this usually on a special and unusual image carrier, such as antique letters, some of which he acquired on trips, for example, to Crete: On view in the exhibition in "Hotel Crete - Good Morning" (2006/2022). His works are based on multiple perspectives; the motifs and elements are borrowed from prehistoric cave paintings or Greek mythology. Words or even whole sentences are often found in the works, which sometimes lend them the humor mentioned above. A whole series of new, never before shown works from the year 2022 can be seen in our exhibition.

Georg Baselitz (*1938) is regarded as a polarizing artist who, in the mid-20th century, with his return to the figuration ostracized after World War II, contributed to a radical upheaval in art history, offering a way out of contemporary abstract painting. The large-format linocut "Indian Grave" from 2002 shows a motif turned upside down - the artist's trademark.

The exhibition also features a new position of the gallery: Claire Ochsner (*1948). The sculptures of the Swiss artist form a special attention by their form and colorfulness. An important concern of the artist is that her art brings joy with bright colors, verve and optimism. Small and large sculptures balancing on one leg like mythical creatures as well as a lively mobile seem to come from another world.

The juxtaposition of the numerous art styles and positions creates a new world of thought and allows for new perspectives and confrontations with the oeuvre and motifs of the artists. Above all, the parallels and new insights that emerge are unexpected.

Please discover in the exhibition works from over a century of art history in an exciting dialogue and let yourself be surprised by the “MIX UP" and experience a new view of our collections.

Susanne Kirchner and Katharina Sagel
(translated by Uli Nickel)


[1] Cf. Dictionary Duden, available online at the link: https://www.duden.de/rechtschreibung/Wirrwarr

[2] Ibid., available online at the Link: https://www.duden.de/rechtschreibung/wirren

Galerie Henze & Ketterer
Kirchstrasse 26, CH 3114 Wichtrach
Tel. +41 (0)31 781 06 01
modernart (at) henze-ketterer.com
Galerie Henze & Ketterer
Wettsteinstrasse 4, CH 4125 Riehen
Tel. +41 (0)61 641 77 77
ghk.riehen (at) henze-ketterer.com