Matthias Weischer, Malerei : painting
Author(s)
Bibliographic Information
Matthias Weischer, Malerei : painting
Hatje Cantz, c2007
Available at 4 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Published on the occasion of an exhibition of the same name held at Museum zu Allerheiligen Schaffhausen, May13-Aug. 12, 2007 ; Kunsthalle Mannheim, Sept. 22, 2007-Jan. 1, 2008 ; Gemeentemuseum Den Haag, Jan. 12-Apr. 13, 2008
Includes bibliographical references (p. 128-129)
Contents of Works
- Welches Gedächtnis spricht? = Which memory is speaking? / Markus Stegmann
- "Es ist eine Suche, die im Koph stattfindet" : Gespräch mit Matthias Weischer / Jean-Christophe Ammann
- Hier wohnt niemand mehr : Matthias Weischers Bozener Wandbild = Nobody lives here anymore : Matthias Weischer's Bolzano fresco / Rudij Bergmann
- "It's a search that takes place in the mind" : a conversation with Matthias Weischer / Jean- Christophe Ammann
Description and Table of Contents
Description
The young Leipzig painter Matthias Weischer, born in 1973, depicts suburban interiors that can appear at once pleasantly furnished and ominously vacated. Abstract patterns in wallpaper or carpet suggest households that have been lovingly attended to, but Weischer invests this decor with an oddly noisy insistence, so that its sheer "effect" invades any space a human presence might occupy. Often an entire ceiling or a part of a wall is omitted, so that Weischer's homes quickly come to seem absurdly staged, like sets that are wholly indifferent to habitation. Subtle perspectival collisions and a frequently clinical treatment of light compound these atmospheres of banal anxiety, and Weischer's impasto paint application further intensifies the claustrophobic pressure--even while imparting his evident enjoyment in detailing ornamental effect. The artist's conceptual preoccupations are consistent, but the emotional nuances of his paintings vary greatly. With over 200 color plates, this is an impressive catalogue raisonn for one of the Leipzig School's most promising stars.
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