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Volker Diehl: HERBERT VOLKMANN - 25 Oct 2008 to 6 Dec 2008 Current Exhibition |
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HERBERT VOLKMANN
Von Ribbentrop, 2008 �l auf Leinwand, 55x40cm |
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HERBERT VOLKMANN DIE MORPHINISTEN OPENING: October 24th, 2008, 7 P.M. October 25th - December 6th, 2008 Galerie Volker Diehl is proud to announce the second solo show by Herbert Volkmann to be hosted in its rooms. Volkmann�s latest works, awaited by the Berlin art scene with considerable interest, revolve around drugs and National Socialism. After the phase of obsessive pre-occupation with his own fears and visions, last year saw Volkmann turning to images of collective nightmares. He draws his inspiration from history books, personal photos and pop culture. In collage-style procedures, he crystallises the visual material into radical, painted essences. The unfiltered power of his works motivates insights into borderline experiences of human consciousness. They both mirror and document the life of an artist lived to excess. In his Die Morphinisten / The Morphine Addicts exhibition, Volkmann takes a fictive historicism to project his personal experiences with drugs onto the leading Nazi figures. Yet, not least to his own amazement, the research he carried out for these artistic simulations revealed historical facts indicating persistent drug consumption by Hitler and his entourage. Herbert Volkmann 1954 Born in Berlin 1971 HfBK Berlin (now the UdK Berlin/ University of the Arts), master classes with Professors Bachmann and Bergmann; focus on representational art, later influenced by Beuys, objects/installations/performances 1978 Graduation as a master class student 1978 - 1999 Enters the family fruit wholesaler business and manages the company From 1990, Herbert Volkmann builds up his own art collection. In 1996, the collection is shown as Sammlung Volkmann: Faustrecht der Freiheit (The Volkmann Collection: Jungle Law of Freedom) both at the Kunstsammlung Gera and the Neues Museum Weserburg in Bremen. Volkmann gets to know a range of artists whose works he collected from the early days of their careers; these include Raymond Pettibon, Matthew Barney, Sarah Lucas, Damien Hirst, Peter Doig, Jonathan Meese, Franz Ackermann and Daniel Richter 1999 The family business goes into bankruptcy. The Volkmann Collection is auctioned off, with great success, at Christies in London. Herbert Volkmann starts working as an artist again, encouraged by Jonathan Meese, Daniel Richter and Peter Doig. Ausstellungen (Auswahl) 2008 Rubben - Booked for killing a policeman (together with Jonas Burgert und Jonathan Meese), Laden f�r Nichts, Leipzig 2007 Gebt den wilden M�nnern Frieden, Laden f�r Nichts, Leipzig 2006 Raubebald und Eilebeute, Galerie Volker Diehl, Berlin 2005 The Gone Wait, Gagosian Galerie der Berlin Biennale (Group exhibition) 2005 Falckenberg Collection, Helsinki, Finnland (Group exhibition) 2003 Hommage a Balthus, Centre D`Art Contemporain Fribourg, Schweiz (with Jonathan Meese) 2002 Endstation Sehnsucht, Wiensowski & Harbord, Berlin 1987 Jeder Deutsche m�chte ein Mercedes sein, endart Galerie, Berlin-Kreuzberg 1986 Freier Kunstverein Charlottenburg-West, Berlin 1983 Trap, endart Galerie, Berlin (Group exhibition) 1981 GE-GEN-ALL-TAG, Galerie Ars Viva (Peter Schiller), Berlin 1980 Crash, Galerie Ars Viva (Peter Schiller), Berlin 1979 Kunst wie Kohlen, Atelier Volkmann, Haller Strasse, Berlin �Herbert Volkmanny is the 1st and last baby human shark of TOTAL ART, just like Scarlett Johansson, absolutely metabolic! Herbert V. is like D.A.F., total cuddly toy. DANCE the Herbert Volkmann, thanks ERZ-D.A.F. OCTOPUSSOUPAUTUMN VOLKMANN is the TOTAL GLAND of ultra-art, like Alex de Large, incurable� �ber-fresh� mechanical � meta-metabolic, like DR. Phibes. Sea-serpent-herbert Volkmann is the most powerful nutrient organic state-Moomin, a honey-pout-ham with a wee person�s whatsit.� Jonathan Meese, Article from the �RADAR� series, art-online, 25 August 2008 ��Leave me alone�, he whispered, �or help me.� He wasn�t afraid, even though the person in front of him looked just the way he�d always imagined Mephisto. In reality, though, it was just his best friend, a painter he�d found and fostered and bought, and who he�d once painted so that he looked like the devil himself. �Start again, Johnnie, you must paint, paint, paint, Johnnie. The art, only the art, you create yourself can save you.� And Johannes Vettermann painted, although he hadn�t held a brush in his hand for nearly twenty years. And now his friend Mephisto, who wanted to save him, was there in front of him, obstructing the last half a meter to the telephone and making remarks about almond-shaped eyes. �They were the end and the beginning, weren�t they Johnnie?�� Clemens Meyer, �Das kurze und gl�ckliche Leben des Johannes Vettermann�, in: Die Nacht, die Lichter, Frankfurt am Main. S. Fischer Verlag, 2008, p. 147 ff. (the collection of short stories was awarded the 2008 Leipzig Book Fair prize for Fiction) |
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