GERHARD RICHTER, ANDY WARHOL, MARKUS LÜPERTZ, MATTHIAS MEYER, YIGAL OZERI,
STEFAN HUNSTEIN, JAN DAVIDOFF, ANNA KRAMMIG, HAYING XU, JOEL GREY, TIM MAGUIRE,
IZIMA KAORU, GIOVANNI CASTELL, LUZIA SIMONS, THOMAS STIMM, TINA BERNING und
Opening: Wednesday, February 7, 2018 | 7pm
Exhibition: February 8 April 7, 2018
Under the title EDEN NOW, Andreas Binder Gallery presents paintings, photographic works and sculptures by contemporary artists that reflect time and context-related ideas of paradise. Floral and landscape motifs merge in a constructed space into a unified image of Eden, thus revealing the deep-rooted longing for a life in harmony with nature.
The history of the Garden of Eden has always been anachronistic and paradoxical. In many religions, paradise is both the beginning of creation and the end of this worldly existence. At the same time civilization brought to the foreground the beauty of the domesticated garden, once the uncontrollable natural powers were tamed and the primary needs of the sedentary man were satisfied. As worlds between divine and human nature, however, they are always pictorially perfect for complete happiness.
And yet the reception of the mythical Garden of Eden in the visual arts is subject to historically conditioned changes in content and aesthetics.
If the garden was always adorned with the label of a petty-bourgeois pseudo-idyll after World War II, the motif of the flower in art was also avoided because of its seemingly unimportant, harmless beauty. The artists of the avant-garde encountered the depiction of a world that was only healed on the surface with the refusal to depict figuration and a denial of the expressiveness of language. At the same time, a popular aesthetic of harmlessness and kitsch became more and more popular in society. A slowly progressing dissolution of this socio-cultural, distinctive split between higher and lower art forms can be observed for the first time in the Pop Art, which deliberately reacts to abstract, intellectual art. In his Flowers series, for example, Andy Warhol takes up the motif of the flower in all its figurativeness and completely reminisces it in an ironic way and in an advertising aesthetic.
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