Uwe Lausen

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Uwe Lausen (born January 15, 1941 in Stuttgart , † September 14, 1970 in Beilstein near Stuttgart) was a German painter who, in parts of his pictorial expressiveness a. a. reminds of Francis Bacon and Lucian Freud .

Origin and family

Marriage with Heide Uta Stolz

Uwe Lausen was the son of the Bundestag member Willi Lausen (SPD) and his wife. In 1962 he married the artist and photographer Heide Uta Stolz (born February 2, 1939 in Kupferzell ; † March 28, 1985 in Aschhofen ), a daughter of the pharmacist Karl Stolz and his wife Martha, née. Farmer from Kupferzell and granddaughter of the brewery , inn and large estate owner Richard Bauer and his wife Marie. The daughters Lea, born in 1963, and Jana, born in 1966, come from the marriage of Uwe Lausen to Heide Uta Stolz. Heide Uta Stolz is the sister of Kunigunde Dinnendahl, widowed Brecht, née. Stolz (* 1937 in Kupferzell), who worked as a volunteer carer for the homeless in Heidelberg until she was old . Kunigunde Dinnendahl died in August 2019.

life and work

Encounters SPUR and the Situationist International

After studying philosophy and law at the Eberhard Karls University in Tübingen and continuing at the Ludwig Maximilians University in Munich , but soon discontinued it , Uwe Lausen began to paint in 1961 with the artist group SPUR , after initially working with his school friend Frank Böckelmann had launched the literary magazine ludus .

Through the artist group SPUR , the autodidact Uwe Lausen came into contact with the Situationist International , a cultural revolutionary movement around Guy Debord and Asger Jorn , to which he belonged until 1965. Guy Debord helped Lausen get a job on the group's central council.

First exhibition at Galerie Springer in Berlin

The early works from 1961/62, which were presented for the first time in the Springer Gallery in Berlin in the summer of 1962, bear witness to this cultural environment: They show a gestural-figurative approach that is strongly oriented towards CoBrA and SPUR . Shortly before, Lausen had been sentenced to three months' youth arrest for blasphemous and pornographic statements in the article he wrote for the magazine SPUR 6 , Letter from a Retarded Person .

In 1963, meanwhile married to the photographer Heide Uta Stolz and father of a daughter, Lausen broke away from his role models after personal contact with the Munich artist friends had already diminished the year before with the exclusion of the artist group SPUR from the Situationist International . In a strongly experimental phase, Lausen found - with the help of collage and assemblage - via an ornamental line based on Hundertwasser to get closer to the body , a topic that kept him busy in his other works. Since 1964 Lausen lived with his family on a farm in Aschhofen , approx. 50 km southeast of Munich.

Exhibitions and encounters by Friedrich & Dahlem

Through Franz Dahlem, whom Uwe Lausen met in Munich in the early 1960s, he was in close contact with the Friedrich & Dahlem Gallery , which opened its first exhibition space in Munich in 1963.

Lausen not only showed his current works there in two exhibitions in 1964 and 1966, but also became known through Friedrich & Dahlem with the works of artists such as Francis Bacon , Cy Twombly , Allen Jones , Gerhard Richter and many others and was able to see them there in the original to study. These influences become visible in his own work up to 1965. Uwe Lausen managed to combine these freely and easily in an independent form of expression.

In cooperation with Galerie Friedrich & Dahlem, the Mannheim gallery Margarete Lauter realized from November 20, 1964 to January 7, 1965 an exhibition in Lausen that was unique in the city. The artist designed his extraordinary catalog " Das Lamm No. 6 " with Ute Stolz and on the opening evening there was a raspberry ice cream for all guests. Lausen's spectacular performance and his highly political works left a deep, sometimes disturbing impression in the press and among the citizens, and Mannheim was suddenly the city of the avant-garde.

In the photographs of his wife, the photographer Heide Stolz, the environment-like integration of people and / or objects in front of the large-format works by Uwe Lausen resulted in new congenial artistic creations.

Addressing violence, separation and loneliness

In 1966, in the year his second daughter was born, Lausen developed a phase of realistic expression combined with an almost brutal thematization of violence against the background of Pop Art , which is now also strongly present in Germany .

Many of Uwe Lausen's works from these years transform the political climate in the Federal Republic of Germany at that time, by means of his artistic expressiveness into visual documents of the time and manifestos in paintings. This epoch of his work is widely regarded as his most important.

Together with their daughters Lea and Jana, Uwe and Heide Lausen moved back to Munich in 1968 . Lausen's steadily increasing drug consumption and his separation from his wife, which was documented for 1969 at the latest, led him ever deeper into isolation. In his works this was shown in a clearly reductionist manner of representation. In his paintings, individual motifs that seem lost, such as washbasins, chairs, tubes, are repeated in large areas of color on the canvas, mostly on a deserted picture surface.

In 1969 Uwe Lausen's artistic work finally came to an end after he had not completed the commission for a stage design for Peter Stein's production of Edward Bond's Early Morning at the Schauspielhaus Zurich.

On September 14, 1970, after a restless year without a permanent residence, Uwe Lausen ended his life in his parents' house in Beilstein near Stuttgart.

Exhibitions (selection)

  • 1962 Rudolf Springer Gallery , Berlin
  • 1963 Märcklin Gallery, Stuttgart; Galerie Casa, Munich (catalog)
  • 1964 Galerie Friedrich & Dahlem, Munich
  • 1965 Margarete Lauter Gallery , Mannheim
  • 1966 Galerie Friedrich & Dahlem, Munich (catalog, reprint 2006 in: "Uwe Lausen, Daniel Richter", Contemporary Fine Arts, Berlin, Verlag der Buchhandlung Walther König, Cologne); Strecker Gallery, Berlin
  • 1968 Galerie Gmurzynska, Cologne (catalog); Galerie Stangl, Munich (catalog)
  • 1971 Ruth Berner Gallery , Stuttgart
  • 1972 Galerie Franzius, Munich
  • 1973 Gunzenhauser Gallery, Munich (catalog)
  • 1984 Kunstraum München (catalog); Städtische Galerie im Lenbachhaus , Munich (catalog)
  • 1986 Lore Saußele Gallery, Bietigheim-Bissingen (catalog)
  • 1986 Daniel Buchholz Gallery , Cologne
  • 1992 Gunzenhauser Gallery, Munich (catalog)
  • 1994 Klewan Gallery, Munich
  • 1996 Art Association Augsburg
  • 2000 Markt Bruckmühl Gallery, Upper Bavaria
  • 2005 Gallery Schlichtenmaier, Stuttgart, Dätzingen Castle
  • 2006 Contemporary Fine Arts, Berlin (catalog); Marie-José van de Loo Gallery, Munich
  • 2007 Academy of Fine Arts, Vienna
  • 2008 Uwe Lausen-Raum as part of the permanent collection, Pinakothek der Moderne, Munich; Gunzenhauser Gallery, Munich
  • 2010 All's well ends , exhibition: Schirn Kunsthalle Frankfurt , Museum Villa Stuck Munich, Falckenberg Collection Hamburg
  • 2010 retrospective in the Phoenix-Hallen Hamburg-Harburg (October 22, 2010 to January 23, 2011)
  • since 2011 DASMAXIMUM KunstGegenwart, Traunreut
  • 2020 You just never live - Uwe Lausen and Heide Stolz, an artist couple from the 1960s , Staatsgalerie Stuttgart

Literature and sources (selection)

  • Selima Niggl, Uwe Lausen. Catalog raisonné of the paintings 1961-1969 , Bremen 2010
  • Selima Niggl, Pia Dornacher, Max Hollein (eds.), Uwe Lausen. All's well that ends well , exhib.-cat. Frankfurt am Main 2010 ( Schirn Kunsthalle ), Bremen 2010
  • Contemporary Fine Arts: Uwe Lausen - Daniel Richter , exhib.-cat. Berlin 2006 (CFA), Berlin 2006
  • Gunzenhauser Gallery: Uwe Lausen. Oil paintings and drawings 1962-1969 , exhibition cat. Munich 1992 (Gunzenhauser Gallery), Munich 1992
  • Municipal gallery in the Lenbachhaus (ed.): Uwe Lausen. Pictures, drawings, texts , exhibition cat. Munich 1984 (Städtische Galerie im Lenbachhaus), Munich 1984
  • Uwe Lausen: The comic strip. Rosamund goes for a walk . Published on the occasion of the exhibition Uwe Lausen in the Kunstraum München , Munich 1984
  • Axel Hinrich Murken: Between heaven and hell on the edge of perception. The unusual life and work of the artist Uwe Lausen (1941-1970) . In: Kunst-Nachrichten Volume 16, Issue 5, Zurich 1980, pp. 113–123, reprinted in: Uwe Lausen 1941-70 . Exhibition cat. Munich 1984 (Kunstraum), Munich 1984.

Quote

“Everyday life is the only possibility for future art. We have to look for radical friends - there are some. The ancients say: 'In our youth we were radical' That's true. They were still alive in their youth. Then you forgot what you wanted. One sleeps. One is dead. We must call on those who are awake, rousing the sleepy, and burying the dead. That means: we have to start. "

Web links

Individual evidence

  1. ↑ Home >> History >> Heide Uta Stolz
  2. ^ Kunigunde Dinnendahl, members of Homeless eV in Heidelberg
  3. ↑ Spex # 325 (March / April 2010)
  4. ^ Galerie Margarete Lauter: Uwe Lausen, Das Lamm No.6, magazine, Center of Reaction (ed.) Mannheim, November 20, 1964 - January 7, 1965. [1]
  5. ↑ A picture of the poster: [2]
  6. ↑ Ingeborg Wiensowski: Beyond the hype. The most important art shows in 2010. Spiegel Online, December 29, 2009, accessed on May 7, 2017 .
personal data
SURNAME Lausen, Uwe
BRIEF DESCRIPTION German painter
DATE OF BIRTH January 15, 1941
PLACE OF BIRTH Stuttgart
DATE OF DEATH September 14, 1970
Place of death Beilstein