Andreas Horlitz

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Andreas Horlitz (born June 11, 1955 in Bad Pyrmont , † August 9, 2016 in Munich ) was a German artist .

Life

In 1975, Andreas Horlitz began studying graphic design in the design and media department of the Hanover University of Applied Sciences in the photography class with Heinrich Riebesehl and continued it from 1976 to 1980 as a study of visual communication / photography at the comprehensive university in Essen away from Otto Steinert and Erich vom Endt . From 1980 to 1983 he was a research assistant for the photographic collection at the Museum Folkwang , Essen. In 1985 Horlitz moved into a studio in Cologne. From 1985 to 1989 he held a teaching position for color photography at the University of Applied Sciences for Art and Design, Cologne, and from 1986 to 1991 he was a lecturer in photography at the European Academy of Fine Arts in Trier. Andreas Horlitz had had his studio in Munich since 1993.

Works

General

Based on his photographic practice, Andreas Horlitz dealt early on in a self-reflective and media-critical manner with the possibilities of technical image generation. In ever new media and forms, he has created an oeuvre that combines visual precision and technical and technical perfection with a deeply thoughtful artistic attitude. Essential characteristics of his work are their literal complexity and the integration of codes, writing and sign systems.

Important museums and art collections such as the Bayerische Staatsgemäldesammlungen , the Kunstmuseum Stuttgart , the Mönchehaus Museum Goslar , the Deutsche Bank Collection , the DZ BANK art collection , the Sprengel Museum Hannover , the Staatliche Kunstsammlungen Dresden and the collection of the Goethe Institute are in possession of works by Andreas Horlitz.

Photo series

In the early photographic series, Horlitz still largely approached his subjects in a documentary manner. He emphasized the alienating effects of the color film material, flashes and unfamiliar excerpts ( Deutsche Feste , 1978-80) or added collages of ghostly empty, nocturnal cityscapes with still images from the current television program (Essen, spring 1981) . In doing so, he already touched the narrow limits of the photographic program of the "decisive moment" as well as the supposed objectivity of reportage photography, which he broke up with multimedia.

Copy montages

With the Ardèche series (1983–87), Horlitz established the technique of what he called “copy montages”, in which two motifs of very different origins are copied onto one another on the photographic negative. In the Ardèche series, these are documentary photos of a journey that are overlaid with words in white, sans serif font that have no recognizable connection with the motif. In doing so, the artist created a semantic break, an insoluble tension between visual and written language, which he presented to the viewer as a riddle that could hardly be solved.

1985 began with the series Reconnaissance, the series of copier montages, which continued to the last, in which pictorial elements, mainly symbols and pictograms, replaced the written language. They formed the second level of motivic material that Horlitz no longer photographed himself, but instead drew reproductive images from the endless stock of images of our present day.

Light boxes

With the Lexicon series of works , Horlitz began exploring the light box medium in 1987 - usually a large, rear-lit slide in a metal box frame. This technique, especially in combination with the Cibachrome (later Ilfochrome) material, ensures extreme color saturation, high brilliance and an enormous visual presence. In front of brightly colored monochrome backgrounds in blue, red or yellow, Horlitz created “portraits” of objects that could be prototypes of their genre, be they revolvers, artificial fingernails, insoles, chain mail, puzzle pieces or a boomerang. Like a concept that has become a picture, they stand for the thing in itself. The strong, primary colored area in the background emphasizes the plasticity of the motif and at the same time emphasizes the pictorial character of the respective artifact.

Mirror images

Since 1987, another large group of works has been the pictures with mirrors as material, medium and motif. The emerging topic of self-knowledge is expanded to include aspects of scientific knowledge of the world. So Horlitz always found new possibilities to use scientific imaging processes, such as those used in astrophysics, molecular biology or genetics, for their own visual ideas; For example, to use the representation of DNA sequences as the actual, identity-creating portrait medium and to merge it with the image of the viewer, mostly in the form of printed, engraved and partially mirrored glasses that served the artist as image carriers ( Text DNA , 1997; Autoportrait DNA , 1998).

The Conterfey series, begun in 2011, used photographic portraits to reproduce them as a platinum print on a backed mirror in a fine grid and at the same time to make them disappear in the reflective surroundings.

palimpsest

The Palimpsest series (since 2002) is an exceptional case, combining the technique of mirror work with light boxes in order to create even more complex layered images. Presented in the form of table showcases, they form an ensemble of over-coded, enigmatic light images that use a wide variety of sources, but always have a reference to the location of their installation: Important libraries form the exhibition framework as well as the material fund for Horlitz's visual interventions, such as . B. the Herzog August library in Wolfenbüttel or the library of the Benedictine monastery Admont. Since the series was gradually expanded and adapted for each new exhibition location, it can also be counted among the group of site-specific works in Horlitz's oeuvre.

Work in situ

Horlitz dealt early on not only with the techniques of image production, but also with the way in which they were presented and created location-based installations, especially in the medium of the light box, such as the Siemens photo project 1 in Amberg (1987) or Instrumentarium (1995) in Munich City Museum. In addition to these temporary interventions, in-situ work increasingly developed, which was permanently installed at the respective location. The formal reference to the architectural framework went hand in hand with an intensive examination by the artist of the specific thematic content of the location, be it private houses, commercial buildings, offices or churches.

Various variants of the light box, glass engraving and mirror technology were mainly used and made it possible for Andreas Horlitz to realize his pictorial ideas in completely different dimensions. The most striking examples of this are the double-sided partially mirrored safety glass fence around the Europol headquarters in The Hague ( Interdependance , 2011) with a length of 250 meters and the 4.70 by 13 meter chapel window Credo (2008) for the Dominikuszentrum in Munich.

Exhibitions

Solo exhibitions (selection)

  • 1980: Museum Folkwang , Essen
  • 1983: Forum Stadtpark , Graz
  • 1987: Transfer , Clearance Claasen & Matz, Cologne
  • 1987: Siemens photo project, 14 light boxes / Ilfochrome in three factory halls, Siemens equipment factory, Amberg
  • 1991: Galerie Alfred Kren, Cologne
  • 1993: KunstRaum Klaus Hinrichs, Trier
  • 1993: Tertium Comparationis , Kunstverein Munich
  • 1994: Galerie Thomas von Lintel, Munich
  • 1995: Instruments , 14 light boxes / Ilfochrome, six departments of the Munich City Museum
  • 1996: Lexicon Sprengel Museum
  • 1997: Mercurius Vivus (joint project with other installations by Jon Groom and Steve Scott ) Central Institute for Art History , Munich
  • 1998: Goethe-Institut , Kuala Lumpur (Malaysia), Singapore and Artothek , Cologne
  • 2000: Galerie Raab, Berlin
  • 2001: Palimpsest , installation with seven table showcases, Herzog August Library , Wolfenbüttel
  • 2005: Palimpsest II , installation with ten table showcases, Admont Benedictine Abbey , Styria
  • 2005: Hachmeister Gallery, Münster
  • 2006: upk University Clinics, Basel
  • 2007: Palimpsest III , installation with ten table showcases, Catholic Academy in Bavaria , Munich
  • 2011: Hirschmann Gallery, Berlin
  • 2011/12: Equilibrium Art Museum Ahlen
  • 2012: Galerie Florian Trampler, Munich
  • 2016: Galerie Biedermann, Munich

Group exhibitions (selection)

  • 1983: The Photographic Collection , Museum Folkwang, Essen
  • 1988: eyes glances . The Eye in Art of the 20th Century, Cologne City Museum and Villa Stuck , Munich
  • 1988: Fotovision project . Photography after 150 years, Sprengel Museum Hannover
  • 1988: Fotovision project . Photography after 150 years, art space in the Messepalast , Vienna
  • 1988: Fotovision project . Photography after 150 years, Museum für Gestaltung Zürich
  • 1989: The methods of photography , Museum Folkwang, Essen
  • 1991: The collecting, the collectors, from three private collections on photography , Museum Folkwang, Essen
  • 1992: Wasteland , Photo Biennale, Rotterdam
  • 1995: The Second Look , House of Art , Munich
  • 1996: Lichtbilder - light boxes , Wittenbrink Gallery, Munich
  • 2000: Pictures that were still missing , German Hygiene Museum , Dresden
  • 2001: Under the Skin , Wilhelm Lehmbruck Museum Foundation , Duisburg
  • 2002: DNArt , Kunsthaus Meran,
  • 2002: Edition Multiples , Galerie Lelong, Zurich
  • 2004: Portrait without face , Kunsthalle Kiel
  • 2006: Dormir, rever ... et des autres nuits , CAPC musee d'art contemporain, Bordeaux
  • 2006: Medicine in Contemporary Art: Diagnosis [Art] , Ahlen Art Museum
  • 2007: In the Beginning , German Society for Christian Art , Munich
  • 2007: My gene has five corners , Center for Art and Media Technology , Karlsruhe
  • 2008: Focus Library - Focus Library , Admont Benedictine Abbey, Museum of Contemporary Art, Admont, Styria
  • 2008: Silent signs , Villa Streccius , Palatinate Art Association, Landau
  • 2012: Art in spite of (t) poverty , documenta-Halle , Kassel
  • 2013: Dressing / Disguising , Folkwang Museum, Essen

Permanent installations

  • 1991: Leo / Gemini , Emons Verlag , Cologne
  • 1993: Library , reading room of the Central Institute for Art History , Munich
  • 1994: The garden of Las Fosses (joint project with other installations by Jon Groom and Markus Heinsdorff ) Park of Domaine Las Fosses, Aquitaine, France
  • 1994: Principle , conference room of the Klinikum rechts der Isar , Munich
  • 1998: Text DNA , Uniplan Art Collection, Kerpen
  • 1998: Index , Employment Agency, Sangerhausen
  • 2000: Transcriptum , Baerlocher, Munich
  • 2000: Cyclus , Gerling Industrie Service West , Düsseldorf; since 2010 at the Science Center / University Psychiatric Clinics Basel
  • 2001: Panorama WWK headquarters , Munich
  • 2004: Polygram , private collection, Switzerland
  • 2006: Simulacrum , E.ON Energie , Munich
  • 2007/08: Credo , large-format church window, Dominikuszentrum, Munich
  • 2009: Labyrinth , four-part installation with partially mirrored glasses, Dominikuszentrum, Munich
  • 2009: Text DNA IK , private collection
  • 2009: Metamorphose I , IMGM Laboratories GmbH, Martinsried near Munich
  • 2011: Impulse , Lichtblick children's home, Munich
  • 2011: Interdependence , Europol Headquarters , The Hague
  • 2013: DNA Montgelas Park , Montgelas Park, Munich

Awards, grants, awards

literature

  • Stephan Trescher: Light Boxes - light box art. Verlag für Moderne Kunst, Nuremberg 1999, ISBN 3-933096-23-5 .
  • Uniplan Art Collection Kerpen (Ed.): Andreas Horlitz, Text DNA. Texts by Eckhard Schneider. Cologne 2000, ISBN 3-926820-64-0 .
  • Andreas Horlitz, works. Texts by Klaus Honnef, Irene Netta, Sybille Omlin, Hans Scheurer and Stephan Trescher. Verlag für modern art, Nuremberg 2005, ISBN 3-936711-66-6 .
  • The artist as a work of art. Philipp Reclam junior, Stuttgart 2005, ISBN 3-15-010571-4 .
  • E.ON Energie AG (Ed.): Simulacrum. Text by Irene Netta. Munich 2006.
  • Equilibrium. Texts by Burkhard Leismann, Nike Ritter, Verena Titze and Yvonne Ziegler. Hirmer Verlag, Munich 2012, ISBN 978-3-7774-4621-9 .
  • Peter Weibel, Ljiljana Fruk (ed.): MOLECULAR AESTHETICS. The MIT-Press / ZKM Karlsruhe 2013, ISBN 978-0-262-01878-4 .

Web links

Individual evidence

  1. ↑ "Nekrolog für Andreas Horlitz" ( Memento of the original from August 24, 2016 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at andreas-horlitz.de , accessed on August 24, 2016 @1@ 2Template: Webachiv / IABot / www.andreas-horlitz.de
personal data
SURNAME Horlitz, Andreas
BRIEF DESCRIPTION German artist
DATE OF BIRTH June 11, 1955
PLACE OF BIRTH Bad Pyrmont
DATE OF DEATH August 9, 2016
Place of death Munich