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Katsuhito Nishikawa: „Tilapia“
Märchen können wahr werden, jedenfalls war es so für Heinrich Müller, der als uneheliches Kind eines afghanischen Studenten und eine Düsseldorfer Putzfrau geboren wurde und in einer Welt zwischen Schrebergarten und Schloss Benrath aufwuchs und gerne an der Kunstakademie studiert hätte ...
Dem war aber nicht so. Zunächst baute er mir seiner Frau Heidi ein Maklerimperium auf und reiste durch die Welt um Diaaufnahmen von den Werken seiner verehrten Künstler zu machen und später dann die Kunstwerke selbst zu sammeln.
Er lies sich von einem Pariser Kunsthändler beraten, welche Phasen der einzelnen Künstler er sammeln sollte und wie er seine Sammlung am besten bereinigte und aufbaute.
Er lungerte an der Kunstakademie Düsseldorf herum, bis er seinen Künstlerfreundeskreis aufgebaut hatte.
Inzwischen sammelten sich die Kunstwerke und landeten bei ihm zu Hause an den Wänden und stapelten sich unter seinem Bett im Schafzimmer.
So begann die Suche nach öffentlichem Raum um die Bilder der Welt zu zeigen. Fast wäre er ein Teil des Museums Rolandseck geworden, aber er wurde sich mit Johannes Wasmuth nicht einig.
Deshalb kaufte er eine altes Ferienhaus eines Wuppertaler Industriellen an der Erft in Neuss, nahe einer nicht fertiggestellten Eisenbahnstrecke, die Deutschland gebaut hatte um im Kriegsfall besser den Vor- und Nachschub deutscher Soldaten und Kriegsmaterials nach Frankreich gewähren zu können.
Aber auch das Rosa Haus war zu klein für seine Sammlerleidenschaft und sein Ausstellungsbedürfnis und so wurde der zum Rosa Haus gehörende exotische Park innerhalb einer künstlich angelegten Flussschleife (daher Insel) mit ersten Ausstellungsgebäuden bestückt, immer weiter Gelände dazugekauft und die Genehmigungen eingeholt unter Auflagen im Landschaftsschutzgebiet bauen zu dürfen.
Das Geschah mit der Erstellung "begehbarer Skulpturen" von dem Düsseldorfer Akademieprofessor Erwin Heerich und die Museumsinsel Hombroich war in ihrer heutigen Form geboren.
Aber Müller wäre nicht Müller, wenn er damit zufrieden gewesen wäre. Er kaufte nach dem NATO-Doppelschluss die mit Atomflugkörpern bestückte, überflüssig gewordene *Raketenstation, nur wenige hundert Meter von der Insel entfernt.
Er gewann Architekten und Künstler, wie Raimund Abraham, Alvaro Siza, Tadao Ando, Eduardo Chillida, Per Kirkeby, wiederum Erwin Heerich dazu, dort aktiv zu werden. Später kam noch Thomas Schütte hinzu.
Aber das reichte ihm auch noch nicht. Er wollte noch eine Wohnsiedlung bauen, für ein anderes utopisches, soziales Zusammenleben. Das Konzept wurde auf der Biennale in Venedig vorgestellt.
Daraus wurde dann jedoch nichts mehr, weil er 2007 überraschend starb.
Dieser Raum hier war für Zusammenkünfte, Feste, Besprechungen, Vorträge, Musikveranstaltungen, Lesungen gedacht.
Müller hat sich viele seiner Träume erfüllen können und ein großes Umfeld profitiert davon.
* Auf der Raketenstation wurden Nike-Hercules-Raketen (MIM-14) bereitgehalten, die eine Reichweite von bis zu 150 km hatten und mit dem Nuklearsprengkopf W31 bestückt waren.
Sie wären in der Mitte Deutschlands gelandet und explodiert !
English
The American dream in Germany
Fairy tales can come true, at least that was the case for Heinrich Müller, who was born as the illegitimate child of an Afghan student and a Düsseldorf cleaning lady and grew up in a world between allotment gardens and Benrath Palace and would have loved to study at the art academy...
But that wasn't the case. First he built up a brokerage empire with his wife Heidi and traveled the world to take slides of the works of his admired artists and later to collect the works of art himself.
He got advice from a Parisian art dealer about which phases of each artist he should collect and how best to clean up and build up his collection.
He hung around the Düsseldorf art academy until he had built up his circle of artist friends.
In the meantime the works of art began to accumulate and ended up on the walls at home and piled up under his bed in the bedroom.
And so the search for public space to show the pictures to the world began. He almost became part of the Rolandseck Museum, but he couldn't come to an agreement with Johannes Wasmuth.
So he bought an old holiday home belonging to a Wuppertal industrialist on the Erft in Neuss, near an unfinished railway line that Germany had built to ensure that German soldiers and war materials could be supplied to France in the event of war.
But the Pink House was also too small for his passion for collecting and his need for exhibitions, and so the exotic park belonging to the Pink House within an artificially created river loop (hence the island) was filled with the first exhibition buildings, more and more land was bought and permission was obtained to build in the landscape conservation area under certain conditions.
This happened with the creation of "walk-in sculptures" by the Düsseldorf academy professor Erwin Heerich, and the Hombroich Museum Island was born in its current form.
But Müller wouldn't be Müller if he had been satisfied with that. After the NATO double-deal, he bought the *missile station, which was equipped with nuclear missiles and had become redundant, just a few hundred meters from the island.
He persuaded architects and artists such as Raimund Abraham, Alvaro Siza, Tadao Ando, Eduardo Chillida, Per Kirkeby and Erwin Heerich to work there. Thomas Schütte joined later.
But that was not enough for him. He wanted to build a housing estate for a different utopian, social coexistence. The concept was presented at the Venice Biennale.
But nothing came of it because he died unexpectedly in 2007.
This room was intended for meetings, parties, discussions, lectures, music events and readings.
Müller was able to fulfill many of his dreams and a large circle of people benefited from it.
* Nike Hercules missiles (MIM-14) were kept ready at the missile station. They had a range of up to 150 km and were equipped with the W31 nuclear warhead.
They would have landed in the middle of Germany and exploded!
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eine Menschenwelle von Cragg, die über mich schwappt und die Raumdecke von Unger ...
a human wave by Cragg, which is floating over me and the ceiling by Unger ...
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London Stadium, West Ham United FC
of a hall and a stairway ...
diving into space ...
no ground, just deepness ;-) ...
2x ƒ/7.1 28.0 mm 1/50 500
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Dorsett Shepherds Bush London, UK
I walked to work this morning and it was cloudy and the lights on the front of the art deco hotel under renovation across the street from my building were still lighted. I really like the way they look.
4 images stitched together with a huge contrast range ...
Josef Albers (1888-1976) was an important teacher at the Bauhaus, designer of stained glass windows and furniture. After emigrating to the USA, he began to paint in 1935. The paintings - including the famous series "Homage to the Square" - are meant as perceptual experiments, to change the perception hues through their neighborhoods regardless of their physical qualities. In Germany, the Josef Albers Museum im Quadrat Bottrop has been honoring the achievements of the German-American glass artist, painter and color expert since 1983.
Josef Albers was born in Bottrop in the Ruhr region of North Rhine-Westphalia on March 19, 1888, and died on March 25, 1976. After training as an elementary school teacher (1905-1908), he discovered Josef Albers works by Paul Cézanne and Henri Matisse at the Folkwang Museum in Hagen in 1908. This experience was followed by several years of training at the Royal Academy of Art in Berlin (1913-1915), the School of Arts and Crafts in Essen (1916-1919), the Academy of Fine Arts in Berlin (1919) and the Royal Bavarian Academy of Fine Arts in Munich (1919-1920), before he discovered the Bauhaus in Weimar. In 1920, the 32-year-old Josef Albers began his training at the Bauhaus, where he attended the stained glass workshop and took the preparatory preliminary course with Johannes Itten (1888-1967), the founder of the theory of color types.
Teacher at the Bauhaus
As a Bauhaus journeyman, Josef Albers had already taken over the technical management of the glass workshop in 1922. He gave basic courses in materials science and produced assembled "lattice pictures" from glass waste. Three years later, he was appointed as a junior master and became the foreman of the glass painting workshop at the Bauhaus. Among Albers' principles was the teaching of an economical use of available resources.
After Itten's departure, Josef Albers was appointed teacher at the Bauhaus in 1923 and, under the direction of the form master László Moholy-Nagy (1895-1946), took over the preliminary course (1925-1928), which was completely restructured from October 1923. The architect Walter Gropius (1883-1969), who had founded the Bauhaus in 1919, appointed him Young Master two years later. In the same year, he married Annie Fleischmann (1899-1994), who was still studying at the Bauhaus and also taught at the Bauhaus in the late 1920s as a textile artist and fabric designer.
In 1928, Josef Albers took over the furniture workshop, and in 1929 he became head of the carpentry workshop. In the years before, he had designed the side tables now known as "Nesting Tabls" made of wood and lacquered glass. As early as 1928, Albers became deputy director of the Bauhaus alongside Mies van der Rohe, but continued to teach glass technology and woodworking zw. led the preliminary course and taught drawing and writing.
Josef Albers in America
When the Nazis closed the Bauhaus in Berlin on August 10, 1933 and dismissed all teachers, Albers emigrated to the United States with his wife Anni. From November 1933 to 1949, Josef Albers taught at Black Mountain College in Ashville, North Carolina. Anni Albers became assistant professor of weaving. In 1939 he received American citizenship. From 1950 to 1959 Josef Albers was Director of the Art School of the Institute of Fine Arts at Yale University in New Haven. The international importance of Josef Albers can be gauged by his membership in the Parisian artists' group Abstraction-Création (1934-1936).
From 1936 Albers taught worldwide as a visiting professor, for example at the invitation of Walter Gropius at the Graduate School of Design at Harvard University, at the University of Hartford in Connecticut, at the Cincinnati Art Academy in Ohio, at the Instituto Superior de Arte in Havana, at the School of Architecture of the Universidad Católica in Santiago de Chile, and in 1954 and 1955 at the Hochschule für Gestaltung in Ulm, which continued the Bauhaus traditions.
Albers as a painter
Josef Albers first began painting in the United States, and during the Bauhaus years in Germany he emerged as the designer of stained glass windows or as a designer of furniture. Around 1935 date the first non-objective oil paintings, which were triggered by travels, especially to Mexico and South America. The local architecture deeply impressed Josef and Anni Albers, as can be clearly seen from the surviving photographs.
In den Jahren ab 1940 beschäftigte sich Josef Albers mit Abstraktion und ungegenständlicher Farbfeldmalerei.
1941/42 Serie „Graphic Tectonic“: mehrere überlappende Bildebenen in unterschiedlicher Farbigkeit werden durch ein weißes Liniengefüge gegeneinander aufgeklappt.
1946–1966 Serie „Variant/Adobe“
1949 „Structural Constellations“ oder „Transformations of a Scheme“, in denen er Raumwahrnehmung auf planer Fläche als Funktion eines phänomenalen und in der Physiologie verankerten Sehens demonstrierte. Dominante Strukturmuster werden von den Betrachtenden zu logischen Formen zusammengeführt.
1950–1972 Serie „Hommage to the Square“: Die Nachbarschaft von Farbtönen beeinflusst die Wahrnehmung derselben. Albers entwickelte auf Basis von Verhältnissen ein System von Quadraten, die er mit unvermischten Farben und scharfen Kanten ausmalte. Damit zählt Josef Albers zu den Vertretern der Neuen Konkreten, bereitete die Op-Art mit vor wie auch die Hard-Edge-Malerei der amerikanischen Kunst.
In seinem 1963 publizierten Hauptwerk „Interactions of Color“ legt Albers die Relativität der Farbwahrnehmung dar.
wife
Anni Albers: Anni Albers. Textilkünstlerin mit Folgen
Schüler von Josef Albers
Robert Rauschenberg (1925–2008): Die rigiden Lehrmethoden von Josef Albers hätten Robert Rauschenberg dazu angeregt, es genau anders machen zu wollen.
Donald Judd (1928–1994)
Willem de Kooning (1904–1997)
Robert Motherwell (1915–1991)
Eva Hesse (1936–1970)
Richard Serra (* 1939)
Sheila Hicks (* 1934)
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Chinesische Papierkunst in österreichischem Barock ...
von Ai Weiwei im Schloss Belvedere, Wien ...
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Black and white photography workshops, London, Iceland, Valencia, Venice, Frankfurt and Berlin
Next workshop in Valencia April 20th - 22nd 3 days of tuition £399
Please follow my work on my website www.vulturelabs.photography on my Instagram account and my 500px account
DAM, Deutsches Architekturmuseum, Frankfurt a. M., www.dam-online.de/portal/en/Start/Start/0/0/0/0/1841.aspx
Acrylic on canvas 23.75" x 28.75" October 6, 2023 www.saatchiart.com/art/Painting-Ancient-Alien-Structures-...
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TOTOミュージアム - 建築グラビア Architecture Gravure
Gallery : photowork.jp/christinayan01/architectural/archives/2814
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TOTO Museum (TOTOミュージアム).
Architect : Azusa Sekkei (設計：梓設計).
Contractor : Kajima Corporation (施工：鹿島建設).
Completed : May 2015 (竣工：2015年5月).
Structured : Steel frames (構造：鉄骨造).
Costs : $60 million (総工費：約60億円).
Use : Museum, office (用途：博物館).
Height : ft (高さ：m).
Floor : 4 (階数：4階).
Floor area : 118,876 sq.ft. (延床面積：11,044㎡).
Site area : 101,051 sq.ft. (敷地面積：9,388㎡).
Location : 2-1-1 Nakashima Kokura-Kita Ward, Kitakyushu City, Fukuoka, Japan (所在地：日本国福岡県北九州市小倉北区中島2-1-1).
Referenced :
www.toto.co.jp/company/press/2015/03/pdf/20150330.pdf
www.azusasekkei.co.jp/projects/6/6/detail/310
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I remembered Marshmallow Man on Ghostbusters. :D
マシュマロマンのような。
Discotheque - there was a legendary bar in Düsseldorf in the eighties with small dance corners, which was dismantled and rebuilt true to the original in the new Düsseldorf Kunstpalast ... It will be open again on Saturday nights in the museum ...
Prism wall and fog machine ...
Alcazar - Crying At The Discoteque [Remastered]
www.youtube.com/watch?v=xkPu6SNKEjA
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2015 Memory - Tokyo, Japan
einem Glacier gleich ...
ein erfolgreiches Wiener Architekturbüro - DMMA - Porsche Museum, The Eye in Amsterdam und hier ein Festspielhaus ...
eine charismatisch prismatische Architektur, die von allen Seiten sehr unterschiedliche Anmutungen bekommt und nicht über die Außenansicht entwickelt wurde sondern über erste Gebäudeschnitt-Ideen ...
;-) ...
das hier ist eine von mir umgestaltete Fassade ... ich denke, dass dies die bessere Lösung gewesen wäre ... die Originalfassade seht ihr beim Vorbild / im vorletztem Bild ...
ich werde das Gebäude noch aus anderen Perspektiven zeigen, weil es schon eine imponierende Architektur ist ...
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die Ankündigung eines bestimmten Lichtes, hervorgerufen durch das künstliche Licht im Raum und eine spezielle Metallbedampfung der Glasscheiben zum UV-Schutz ...
3x
ƒ/5.6
16.0 mm
1/60
1250
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