Achim Zeman

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Achim Zeman (* 1961 in Stuttgart ) is a German painter and installation artist . He is a representative of Op Art . He is known for his extensive room installations that stretch across walls and floors and challenge our perception. By changing the space with painterly means, the installation creates a pull that the viewer cannot escape.

Life

Zeman studied from 1983 to 1989 at the Berlin University of Fine Arts and was a master class student with Kuno Gonschior . Inspired by him, Zeman discovered the design of spaces using painting as an area of ​​his artistic work. He is particularly interested in spatial installations in public buildings and museum spaces. In addition to temporary installations such as in 2008 in the Rheinisches Landesmuseum or in 2009 when designing a room in the Hotel Beethoven in Bonn , he designs and designs installations for international art exhibitions such as B. in Chicago on the occasion of Art Chicago 2010, and 2011 on the occasion of Art Toronto, (entrance hall of the Metro Convention Center). A permanent installation by Zeman can be seen at Concord Park Place in Toronto .

In 1990 Achim Zeman received a scholarship from the Baden-Württemberg Art Foundation , and in the following year a work grant from the State of Berlin. Zeman is a member of the Professional Association of Visual Artists Berlin and the West German Artists Association . He has lived and worked in Cologne since 1992 .

Artistic work

The panel paintings

Zeman works with basic geometric shapes such as lines , circles, and squares . His works are in the tradition of Concrete Art , where the focus is on lines, surfaces and colors. These elements can be found not only in his room installations , but also in his panel paintings . He does not apply the paint to canvases, but to acrylic sheets , which he also works with varnish and grinds: "This creates colored surfaces that overlap and change their effect depending on the incidence of light and the location of the viewer." There are many areas of the Zemans' working method compresses again: the use of geometric shapes, repetition as a structured rhythm of the works, layers, omissions and shifts that create complex picture levels that affect the viewer.

  • Blue panel painting, untitled, 2012 acrylic glass, screen printing ink

  • Panel painting blue, untitled, 2012, detailed view 1

  • Panel painting blue, untitled, 2012, detailed view 2

The room installations

The core elements of Zeman's work can also be found in the room installations: there is a basic module in each case that relates to the room and usually consists of a geometric shape. This module is repeated rhythmically and gives structure to the room. At the same time, Zeman always lets the underlying space shine through by not sticking it all over, but by taking omissions into account when creating his spatial conceptions. Zeman flocked the floor and the walls of the room with wave-shaped blue elements for the production of “Floods” in the Heidenheim Art Museum , which is located in the rooms of a former swimming pool with arcade arches . Here, too, he lets the wall itself shine through. It changes from a closed surface to a translucent space, a diaphanous structure.

Zeman sees himself primarily as a painter who uses painting to alienate and position spaces. When developing the staging, he always takes into account the spatial conditions, such as the incidence of light, which changes the colors. He also consciously works with the subtractive color mixture , which changes the colors in the perception of the visitors on site. In the installation “Green Stripes” (2007) in the Neuer Kölner Kunstverein , for example optical perception, yellow stripes appear between the red and green horizontal foil stripes, although they were not stuck on.

Before Zeman creates the concept for an installation, he visits the location repeatedly, takes photos, measures the space and informs himself about the respective history of the space. After the first test drawings, he works out the final version on the computer. Depending on the material that he uses for his room designs, adhesive foils are then created that are later placed in the rooms.

This is not only a temporary, but also a physical burden: for the work "Fly High" (2015) in the Kunstverein Oerlinghausen , whose exhibition space is in an old synagogue, he designed the dome of the house with his installation and constantly had to use the Work your head back. In some installations, such as the “Sehfest” (2008) in the Rheinisches Landesmuseum Bonn , he spent days attaching the colored and fluorescent foil parts , which put a massive strain on the eye. How exactly Zeman plans in advance can also be seen in his work in the Portikus in Bochum 2010. There he glued around 4,500 foil parts according to an exact construction plan.

In most of his spatial works, Zeman also includes the respective history of a room, its previous use or its position in a city in his concepts. For example, for the mural in “Weststrasse 3” in Radevormwald, he designed a work that is based on the slate look of the city: “First I looked to see which colors are predominant here: green, white, gray. Then it quickly became clear that I wanted to get the wall moving ”. “In Motion” is the name of the work in which he was able to freely design 60 square meters of space that was permanently preserved as a work of art in public space.

Zeman was repeatedly active in the Villa Zanders in Bergisch Gladbach : “Zeit Raum” (2000), “Horizonte” (2006) and “Nah und Fern” (also 2006) were the titles of these spatial productions. In these exhibitions he sometimes used not only geometric shapes, but also representations based on binary code . In “Periods of Time”, a barcode arranged in several lines - consisting of dots and lines based on the binary code - became part of a surrounding wall staging. The presentation was a coded text on the subject of "time".

For “Horizonte” he developed an installation entitled “Scattered”. As a basic module of his work, she takes up the existing parquet on the first floor of the villa (the spatial start of the exhibition) and, like a parquet strip, creates blue foil elements with which he sticks the floor.

For the ice stadium in Cologne , Zeman painted the ice surface with so-called track images , circular movements in different colors. The installation was called "cycle". These images are graphic representations of the figures in the ice dancing that tell the performers how to skate the dances. Zeman painted the colors on the ice surface, which was then covered with additional layers of frozen water.

  • Ice stadium Cologne, 2012

  • Ice stadium Cologne, 2012, detail

  • Eisstadion Köln, 2012,
    The application of paint

The flooding and swirling

Zeman measures the rooms of his installations in order to be able to plan his work specifically in such a way that he can create a distorted perspective, expansion or contraction in the respective room, which together with the selection of the material - adhesive film, paint or the one applied electromagnetically Flocking - can affect all the senses of the beholder.

For the exhibition “Through and Through” (2003) at the Ludwig Forum for International Art in Aachen, for example, he chose the rectangle that matches the dimensions of the room as the basic module, but at the same time varied this continuously in the execution of the entire installation so that it the spatial distortions he wanted could come. His room installations often spread across the entire room, not only encompassing the wall or the floor, but also everywhere, creating the impression of a real flood or current in the room.

Zeman often refers to the element of water either indirectly or directly. Many of his spatial concepts take place in rooms that were formerly assigned to the water, such as in the Portikus , in the Heidenheim Art Museum , which was originally used as a swimming pool, or in the installation in the Keitum Art Bath in 2005. For the 2004 art installation in the former “Watertoren "(Water tower) of the city of Vlissingen , he worked with diagonally attached stripes, which were kept in different light and dark shades of blue:" This makes it look as if some of the stripes are further away than others. The viewer's balance is taken. "

  • Installation floods, Kunstmuseum Heidenheim 1998

  • Installation floods, Kunstmuseum Heidenheim 1998, detailed view 1

  • Installation floods, Kunstmuseum Heidenheim 1998, detailed view 2

Effect of the room installations

The artist is fascinated by the possibility of conveying an awareness of the perceptual processes to the visitor through the respective arrangement of the artistic means. In almost all of his spatial installations, the visitor is always part of the experimental set-up and an overview-like point of view is impossible. As a result, the viewer no longer stands as a separate unit in front of a work that hangs on the wall, but becomes part of the installation, the art is experienced as a “walk-through image” through one's own physicality. For the space-exhibition "laylines" (2013) at Galerie Lausberg has Zeman different marking lines, so-called laylines placed on the floor, ceiling and walls to a multi-perspective merged Gesamtkunstwerk. They should pull the visitor into the room and lead them out of the room. Here, too, the visitor is indirectly part of the installation.

  • Lausberg Gallery, Laylines, 2013

  • Lausberg Gallery, Laylines, 2013, detailed view 1

  • Lausberg Gallery, Laylines, 2013, detailed view 2

Through the rhythmization of the room by means of recurring basic modules, through the mathematically precise calculation of the necessary deviations from the right angle so that an installation can develop a suction effect on the viewer, and through the precisely predetermined color design, the artist is able to the viewer with all of their Addressing the senses and turning the spatial experience into a spiritual one. People perceive the space and the necessary orientation in space mediated by the body, while the sense of space develops essentially through active movement through a space. By placing the viewer in a “walk-in picture”, making him part of the installation and at the same time making it impossible for him to get an overall view, Zeman puts him in an irritation that stimulates thinking about the components of his own perception. On the occasion of the exhibition “Visible” in the Städtische Bühnen Münster (2002), a reviewer describes the effects of serial repetitions and the staging of Zeman as the “innate human fear of the dissolution of boundaries” as their consequences.

  • Mural Swirl, 2013, acrylic glass, screen printing ink

  • Mural Swirl, 2013, detailed view 1

  • Mural Swirl, 2013, detailed view 2

For the exhibition “Sehfest” (2008) in the Rheinisches Landesmuseum in Bonn, Zeman covered the space available to him with a large number of red horizontal and vertical fluorescent foil parts, which have a very vitalizing and energizing effect. Gabriele Uelsberg , the director of the museum, says: “Because moving in a room designed by Achim Zeman is like an excursion into a world full of fantasy and the ability to experience, in which one can indulge in color and immeasurably in structures and optical illusions can lose. "

Further installations

Installations on the occasion of international art fairs

  • 2009: Rooms of Wonder - Over flow , (Installation on the occasion of the Art Fair in Toronto) Gladstone Hotel, Toronto, Canada
  • 2010: Insight on site ,, (installation on the occasion of Art Chicago), Chicago, USA
  • 2011: Strud @ l ,, (installation on the occasion of Art Toronto) Entrance hall of the Metro Convention Center, Toronto, Canada
  • 2013: Laylines - Passing through , (Installation at Artfair ), Cologne, Germany

Installations in public space

  • 2009: Fully Booked - Hotel Beethoven , Moving Locations eV, Bonn, Germany
  • 2016: In Motion , mural Weststrasse, Radevormwald, Germany
  • 2016: Straight Forward , (working phase from 2012–2016) Concord Park Place, Toronto, Canada

Videography (selection)

  • 2016: Straight Forward - Achim Zeman , 01 ′ 49 ″ (about the exhibition in Toronto)
  • 2012: Straight Forward - Achim Zeman , 01 ′ 15 ″
  • 2018: Achim Zeman: Laylines - Passing Through , 00 ′ 40 ″

Solo exhibitions (selection)

Participation in exhibitions (selection)

  • 1990: now Berlin! , Malmo Konsthall , Malmo , Sweden
  • 1991: Calculi , Neuer Berliner Kunstverein , Germany
  • 1992: The Diptych in New Art , Museum Folkwang , Essen, Germany
  • 1998: Dreams - 15 artists work with paper , Städtische Galerie Villa Zanders , Bergisch Gladbach, Germany
  • 2000: Time Spaces - Eight installations on the subject of time , Villa Zanders, Bergisch Gladbach, Germany
  • 2001: E – editions , Galerie Witzel, Wiesbaden, Germany
  • 2003: Colourfast - Genuine Color , Ludwig Forum for International Art , Aachen, Germany
  • 2004: Blue as a color , Galerie Bernd A. Lausberg, Düsseldorf, Germany
  • 2004: Paper - The Artist's Material , Städtische Galerie Villa Zanders, Bergisch Gladbach, Germany
  • 2005: Kunstbad Keitum , Art Galerie Scheel, Morsum, Sylt, Germany
  • 2007: Anna Schuster - Achim Zeman: clearings , New Art Forum Cologne, Germany
  • 2008: Objectless , Society for Art and Design , Bonn, Germany
  • 2010: Beyond Painting - Lausberg Contemporary, Toronto , Galerie Minus Space, New York, USA
  • 2010: Change of view. Achim Zeman and Gaby Terhuven , Edition & Galerie Hoffmann, Friedberg, Germany
  • 2010: Landpartie - An overview exhibition of the West German Artists Association , Ahlen Art Museum, Beckum City Museum and Liesborn Abbey Museum , Ahlen, Beckum, Liesborn, Germany
  • 2011: The Ornamental Gesture , Künstlerhaus Dortmund , Germany
  • 2011: Winter Thaw , Lausberg Gallery, Toronto, Canada
  • 2014: The Image of a City , Kunstverein Ellwangen, Germany
  • 2018: Squares in Motion - Kinetic Art from the Marli Hoppe-Ritter Collection , Museum Ritter , Waldenbuch, Germany
  • 2019: Dots, Points, Circles , Claudia Weil Galerie, Friedberg, Germany

literature

  • René Hirner (Ed.): Achim Zeman: Kunstmuseum Heidenheim / Wilhelm-Hack-Museum Ludwigshafen , exhibition catalog . Ludwigshafen 1999.
  • Karin Stempel (Ed.): Achim Zeman . GD Gotha Printing and Packaging, Günthersleben-Wechmar 1994, ISBN 978-3-9803902-3-1 .
  • Moving Locations eV (Ed.): Fully booked . Köllen, Bonn 2009, ISBN 978-3-88579-146-1 (German, English).
  • Rheinisches Landesmuseum Bonn; Gallery Bernd. A. Lausberg (Ed.): Achim Zeman. Catalog for the exhibition Sehfest 2008 in the Rheinisches Landes Museum Bonn . Bacht, Essen, ISBN 978-3-9811834-1-2 .

Web links

Commons : Achim Zeman  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ a b Wolfgang J. Türk: Visible. Munster Municipal Theaters 2002 . In: Rheinisches Landesmuseum Bonn; Galerie Bernd A. Lausberg (Ed.): Achim Zeman. Catalog for the exhibition Sehfest 2008 in the Rheinisches Landes Museum Bonn . Bacht, Essen 2008, ISBN 978-3-9811834-1-2 , pp. 70 , p.70 .
  2. ↑ a b International Art Exhibition Fully Booked. In: www.moving-locations.de. Retrieved July 14, 2018 .
  3. ^ A b Jyoti: Art Chicago, 2010. In: Public Art in Chicago (blog). May 3, 2010, accessed July 16, 2018 .
  4. ^ A b Ian Epstein: Art Break: Just Passing through Achim Zeman's Site-Specific Installation. In: art.newcity.com. April 26, 2010, accessed July 17, 2018 .
  5. ↑ a b Artist Achim Zeman releases final design DA CAPO for The Continental Dance Club same week accepting invitation by Concord Adex Developments to a special event. In: www.thecontinentaldanceclub.com. March 30, 2016. Retrieved July 17, 2018 .
  6. ↑ a b Craig White: Achim Zeman's Straight Forward Unveiled at Concord Park Place. In: urbantoronto.ca. July 29, 2016, accessed July 14, 2018 .
  7. ↑ Achim Zeman. Biography. In: Website of the Lausberg Gallery. Retrieved July 12, 2018 .
  8. ^ The artist database - Zeman, Achim. In: bbk-kulturwerk.de. Retrieved July 12, 2018 .
  9. ↑ West German Artists Association V. - Members. In: www.westdeutscher-kuenstlerbund.de. Retrieved July 12, 2018 .
  10. ↑ Jutta Eileen Radix: Spacious horizontal lines. In: www.ksta.de. April 28, 2006, accessed August 3, 2018 .
  11. ↑ René Hirner: Floods. Heidenheim Art Museum 1998 . In: René Hirner; Richard Gassen (Ed.): Achim Zeman: Art Museum Heidenheim / Wilhelm Hack Museum Ludwigshafen, exhibition catalog . Heidenheim Art Museum / Wilhelm Hack Museum Ludwigshafen, Heidenheim; Ludwigshafen 1999, ISBN 978-3-931182-61-8 , pp. 5-8 , p.8 .
  12. ↑ Karin stamp: green strip. In: Rheinisches Landesmuseum Bonn; Galerie Bernd A. Lausberg (Ed.): Achim Zeman. Catalog for the exhibition Sehfest 2008 in the Rheinisches Landes Museum Bonn . Bacht, Essen 2008, ISBN 978-3-9811834-1-2 , pp. 12-13 , p.12 .
  13. ↑ Marcus Römer: New art in the old toilet. In: Westdeutsche Allgemeine Zeitung . November 20, 2010, accessed August 5, 2018 .
  14. ^ Joachim Rüttgen: Wall on Weststrasse 3 in motion. In: www.rp-online.de. July 22, 2016, accessed August 5, 2018 .
  15. ^ Wolfgang Vomm: Nah und Fern. Scattered . In: Rheinisches Landesmuseum Bonn; Galerie Bernd A. Lausberg (Ed.): Achim Zeman. Catalog for the exhibition Sehfest 2008 in the Rheinisches Landes Museum Bonn . Bacht, Essen 2008, ISBN 978-3-9811834-1-2 , pp. 18-21 , p.19 .
  16. ↑ Ursula Wiegand: cycle . In: Rheinisches Landesmuseum Bonn; Galerie Bernd A. Lausberg (Ed.): Achim Zeman. Catalog for the exhibition Sehfest 2008 in the Rheinisches Landes Museum Bonn . Bacht, Essen 2008, ISBN 978-3-9811834-1-2 , pp. 64-65 .
  17. ↑ Nico Out: Circled . In: Rheinisches Landesmuseum Bonn; Galerie Bernd A. Lausberg (Ed.): Achim Zeman. Catalog for the exhibition Sehfest 2008 in the Rheinisches Landes Museum Bonn . Bacht, Essen 2008, ISBN 978-3-9811834-1-2 , pp. 32-34 , p.33 .
  18. ↑ On January 18, 2007 the exhibition 'Lichtungen' with installations by Anna Schuster (Berlin) and Achim Zeman (Cologne) will open in the new art forum Cologne. (PDF, 155 KB) In: www.neues-kunstforum.com. January 3, 2007, accessed August 5, 2018 .
  19. ↑ Gabriele Uelsberg: Sehfest . In: Rheinisches Landesmuseum Bonn; Galerie Bernd A. Lausberg (Ed.): Achim Zeman. Catalog for the exhibition Sehfest 2008 in the Rheinisches Landes Museum Bonn . Bacht, Essen 2008, ISBN 978-3-9811834-1-2 , pp. 6-8 , p.7 .
  20. ^ Alison: Over flow. In: www.alternavox.net. November 15, 2009. Retrieved July 15, 2018 .
  21. ↑ Installations at the Gladstone Hotel. (pdf, 528.89 KB) In: www.gladstonehotel.com. October 15, 2009, accessed July 15, 2018 .
  22. ↑ Dagmar Kabala: Art Market Art.Fair 2013 started in Cologne. In: www.report-k.de (Internet newspaper Cologne). October 30, 2013, accessed July 16, 2018 .
  23. ↑ Nadja Lehmann: Mural. Artist lets the facade dance. Achim Zeman created a mural on Weststrasse. In: Remscheider General-Anzeiger. July 21, 2016, accessed on July 12, 2018 (article is behind a pay wall).
  24. ↑ Straight Forward - Achim Zeman. In: vimeo.de. Inklot Media, April 22, 2016, accessed July 12, 2018 .
  25. ↑ Straight Forward - Achim Zeman. In: vimeo.de. Inklot Media, February 21, 2012, accessed July 12, 2018 .
  26. ↑ Achim Zeman: laylines - Passing Through. In: vimeo.de. Christian Rademann, accessed on July 12, 2018 .
  27. ↑ Achim Zeman. Exhibitions. In: www.kunstmarkt.com. Retrieved July 11, 2018 .
  28. ↑ René Hirner and Richard G. Gassen (eds.): Achim Zeman. Exhibition catalog . Wilhelm-Hack-Museum, Ludwigshafen 1999, ISBN 978-3-931182-61-8 .
  29. ↑ a b exhibitions 2001. In: www.galerie-witzel.de. Retrieved July 13, 2018 .
  30. ↑ a b c d e f Directory of the special exhibitions in the Art Museum Villa Zanders since 1992. In: www.villa-zanders.de. Retrieved July 13, 2018 .
  31. ^ Dortmunder Kunstverein exhibitions from 1985 to 2010. (pdf, 154.81 KB) In: www.dortmunder-kunstverein.de. November 10, 2017. Retrieved July 12, 2018 .
  32. ↑ Achim Zeman. Biography. In: www.galerie-lausberg.de. Retrieved July 12, 2018 .
  33. ↑ Marcus Römer: New art in the old toilet. In: www.waz.de. November 20, 2010. Retrieved July 12, 2018 .
  34. ↑ Achim Zeman: laylines. Installation and pictures. In: Website of the Lausberg Gallery. Retrieved July 12, 2018 .
  35. ↑ Karin Prignitz: When looks wander upwards. Exhibition: Achim Zeman creates completely new perceptual experiences in the synagogue. The painter lets elements fly under the ceiling. In: www.lz.de (Lippische Landeszeitung). October 27, 2015, accessed July 12, 2018 .
  36. ↑ Holger Lodahl: Tips for Seeing Good Art: What Galleries Show in Summer. In: www.rp-online.de. Rheinische Post , July 18, 2018, accessed on July 11, 2019 .
  37. ^ Exhibition archive Düsseldorf. In: www.galerie-lausberg.de. Retrieved July 11, 2019 .
  38. ↑ Tidigare Utställningar. In: www.konsthall.malmo.se. Retrieved July 13, 2018 (Swedish).
  39. ↑ Achim Zeman. Biography. In: www.galerie-lausberg.com. Retrieved July 14, 2018 .
  40. ^ Archive Museum Folkwang. In: www.museum-folkwang.de. Retrieved July 14, 2018 .
  41. ^ Ludwig Forum for International Art: Colourfast - Genuine Color. In: www.germangalleries.com. Retrieved July 14, 2018 .
  42. ^ Exhibition. Blue as a color. In: artfacts.net. Retrieved July 13, 2018 .
  43. ↑ Kunstbad Keitum. The outdoor seawater pool becomes an art pool. In: www.artopening.de (website of the gallery). Retrieved July 13, 2018 .
  44. ↑ clearings. (pdf, 153.44 KB) In: www.neues-kunstforum.de. January 3, 2007, accessed July 14, 2018 .
  45. ^ No object - exhibition in Bonn. (No longer available online.) In: www.art-report.com. Archived from the original on August 13, 2018 ; accessed on July 14, 2018 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.art-report.com
  46. ↑ Beyond Painting. In: www.minusspace.com. April 10, 2010, accessed July 14, 2018 .
  47. ↑ Change of view. Gaby Terhuven and Achim Zeman. In: www.galeriehoffmann.de. Retrieved July 14, 2018 .
  48. ^ Westdeutscher Künstlerbund (Ed.): Landpartie: Westdeutscher Künstlerbund, exhibition catalog . Kettler, Dortmund 2010, ISBN 978-3-86206-028-3 .
  49. ↑ The ornamental gesture. In: www.kuenstlerhaus-dortmund.de. Retrieved July 14, 2018 .
  50. ↑ Winter Thaw. Inaugural Exhibition at our new gallery space. In: www.galerie-lausberg.com. Retrieved July 14, 2018 .
  51. ↑ exhibitions. Review. In: www.kunstverein-ellwangen.de. Retrieved July 14, 2018 .
  52. ^ Burkhard Meier – Grolman: Exhibition. When squares swirl. The Knight Museum in Waldenbuch is now demonstrating what kinetics means in art. In: www.tagblatt.de. Schwäbisches Tagblatt , October 23, 2018, accessed on July 11, 2019 .
  53. ↑ Rainer Zerbst: And yet it moves! Squares in Motion in the Museum Ritter. In: www.rainer-zerbst.de. Retrieved July 11, 2019 .
  54. ^ Dots, Points, Circles. In: artfacts.net. Retrieved January 9, 2020 .
personal data
SURNAME Zeman, Achim
BRIEF DESCRIPTION German painter and installation artist
DATE OF BIRTH 1961
PLACE OF BIRTH Stuttgart