Hans-Jürgen Breuste

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Overkill 1982 - The forces of stones and the forces that make stones burst (1982). Boulder, gun barrels, tank chains, text plates. Street of the Sculptures, St. Wendel

Hans-Jürgen Breuste (born May 21, 1933 in Hanover ; † January 28, 2012 there ) was a German visual artist and object artist .

Life

Hans-Jürgen Breuste completed an apprenticeship as a bricklayer in 1949 and initially worked in this profession. From 1956 he began to be artistically active. During his “Wood and Iron Age” in Hanover-Linden , the acquaintance with Jorge La Guardia from 1970 onwards had a mutual influence.

“- It's already afterwards -”, tombstone on the New St. Nikolai Cemetery in Hanover-Nordstadt

Breuste received a teaching post from the University of Fine Arts in Münster from 1976 to 1978, and in 1980 from the Hanover University of Applied Sciences. In 1991 he taught at the International Summer Academy for Fine Arts in Salzburg, together with Almut Breuste. Breuste lived and worked in Hanover.

Breustes tombstone with the inscription "- It's already after -" can be found in the New St. Nikolai Cemetery in Hanover-Nordstadt .

Awards and honors

  • 1969 Lower Saxony sponsorship award for young artists; City of Wolfsburg Art Prize
  • 1973 Will Grohmann Prize from the Berlin Academy of the Arts
  • 1981 Art Prize of the State of Lower Saxony
  • 1982 City Savings Bank Art Prize in the Hannover Art Association
  • 1988 Special Prize from the German Association of Artists
  • 2006 "pro visio" award from the Hannover Cultural Region Foundation
  • 2008 Cross of Merit on Ribbon of the Lower Saxony Order of Merit

plant

Bogside '69 (1981). Hanover

At the beginning of the 1960s, figurative works a. a. made of bronze. Breuste later became known for his work on the everyday thrown away, discarded, the apparently worthless. He makes it speak in assemblages . The origin and history of each piece becomes part of the message of the work of art. This is how Breuste creates places against oblivion. «He compensates for the disintegration of the worldly through the counter-work of the spirit, which allows no end, no nothing. But he leaves things with the sadness of decay. " (Professor Otto Mauer, Vienna)

Breustes works often convey a political or socially critical message. «Breuste's works seem to involve a constant confrontation with tormenting thoughts about violence, threats, aggression and imprisonment. Grids, cages, housings, chains and ropes, or chains with balls that resemble instruments of torture, repeatedly suggest imprisonment, oppression, gestures of protection. " [Jürgen Morschel 1972] This is illustrated in particular by the two works Bogside `69 (1981) and Overkill 1982 - The forces of stones and the forces that cause stones to burst (1982). The former, drawn up to mark the 20th anniversary of Amnesty International , commemorates the violations of civil rights against Catholic nationalists in the Northern Ireland conflict that escalated in 1969. The other, an assemblage of weapon parts and a boulder, he placed in 1982 - at a time of global nuclear armament - on the Street of Sculptures, St. Wendel , which belongs to the Street of Peace . Breuste chose the time when Ronald Reagan visited Bonn as the time of the lineup . «Resignation makes you willless. It is Breuste's goal to protect the people who stand in front of his work. He provokes in order to wake up. He is less bothered by the well-founded opposing opinion than by the dull passivity and inactive indifference that he repeatedly encountered in the preparation of his exhibitions. "( Jürgen Weichardt 1985)

Many of his works are reminiscent of the terror and murder during the National Socialist dictatorship.

Bergen-Belsen ramp memorial

The Bergen-Belsen ramp memorial (together with Almut Breuste), for example, is located on the rail loading ramp where the Reichsbahn freight trains with prisoners of war and concentration camp inmates for the Bergen-Belsen concentration camp arrived. From here they had to march to the camp 6 km away (or they were transported to Auschwitz or Theresienstadt). The huge, 90-ton colossus triggers a pull to step closer. Its funnel shape evokes associations with the finality of a forge. By exposing the observer to the harshness and rawness of the rusting, leaping steel, the oppressive memorial makes his knowledge of the violence and ruthlessness towards the violated people tangible.

Rosebusch inheritance

One of Breuste's main works is the RosebuschVerlassenschaften project , on which he and his wife Almut Breuste have been working since 1997. In the turbine hall of the former PreussenElektra substation in Hanover-Ahlem, they collected countless objects, many of them from the Contiwerk Limmer Hanover. In view of the spread out objects - discarded iron, rubber, wood or textiles - the viewer recognizes their story or projects it into it.

The heart of the room installation is the Litzmannstadt property , which is owned by the State of Lower Saxony. During the Second World War, the National Socialists renamed the city of Łódź in Poland to “Litzmannstadt”. The Litzmannstadt ghetto established there in 1940 was the starting point for the annihilation of Poland's second largest Jewish community and far beyond. In the Litzmannstadt property, the Breuste u. a. More than 2500 hospital carriers in meter-long rows and, across from them, photographs of forced laborers, letters and lists of names of deportees. What has been collected and preserved is condensed into a place that creates a world of thought that, in the plasticity and presence of the memory made possible, goes far beyond the specific location and the specific function of the objects.

“If the memory, and indeed every single one of these beds, screws, straps, mats, ropes, buckles, metal sheets, grids, plates, shoes, etc. may have its own fate, then the longing for the past and impermanence is not the artistic one Topic, but rather the abolition of impermanence through new assignments, surprising compilations and serial expansions. "

- Prof. Rolf Wernstedt, retired Lower Saxony minister of education. D., 29.9.2005 : Quoted from: RosebuschVerlassenschaften - a. and hj breuste , 2006, p. 6

The RosebuschVerlassenschaften project was funded by the Hannover Cultural Region Foundation.

Works in public space (selection)

literature

  • Hermann Otto (publisher and publisher): Hans-Jürgen Breuste , vol. Document 1 in the ARTFORUM series, undated (approx. 1970s)
  • Jürgen Weichardt : HJ Breuste (= Lower Saxon Artists of the Present , New Series Vol. 26), with photos by Oldrich Breuste, published by the Lower Saxony Ministry for Science and Art, Edition "Libri Artis", Verlag Th. Schäfer, Hanover, 1985, ISBN 978-3-88746-118-8 and ISBN 3-88746-118-5
  • Breuste, Hans-Jürgen . In: Supreme Building Authority Munich (Hrsg.): Bildwerk Bauwerk Artwork - 30 years of art and state building in Bavaria . Bruckmann, Munich 1990, ISBN 3-7654-2308-4 , p. 40-41, 46-47, 114-117, 192-193 .

Web links

Commons : Hans-Jürgen Breuste  - Collection of images, videos and audio files
  • Institute for contemporary art in Saarland: Breuste, Hans-Jürgen. (No longer available online.) Archived from the original on August 3, 2012 ; accessed on December 22, 2018 .

Individual evidence

  1. ^ Hans-Jürgen Breuste: Obituary notice , Hannoversche Allgemeine Zeitung, February 4, 2012
  2. ↑ Jorge La Guardia in his short “Autobiography” in: ARTFORUM, document 2 , edited and published by Hermann Otto
  3. ↑ Compare the documentation at Commons (see under the section Weblinks )
  4. ^ Institute for contemporary art in Saarland: Breuste, Hans-Jürgen. (No longer available online.) Archived from the original on August 3, 2012 ; accessed on December 22, 2018 .
  5. ↑ kuenstlerbund.de: Art Prize of the German Association of Artists / Special Prize, donated by the Landesgirokasse Stuttgart 1988 ( Memento from July 3, 2015 in the Internet Archive ) (accessed on August 10, 2010)
  6. ^ The winners of the "pro visio" cultural prize: 2006 - RosebuschVerlassenschaften | a. + hj burst . Hannover Cultural Region Foundation
  7. ↑ The power of love for the low - Breuste (PDF file; 179 kB). (Gallery e-dam)
  8. ^ Jürgen Morschel: German art of the 60s. Plastic, objects, actions, part II. Munich, 1972, p. 194f.
  9. ↑ cf. Jürgen Weichardt 1985, p. 50
  10. ↑ cf. Jürgen Weichardt 1985, p. 52
  11. ↑ a b Rosebusch inheritance - a. and hj burst . Edited by RosebuschVerlassenschaften eV, Hanover, 2006.
  12. ↑ Rosenbusch probate . Network remembrance and future in the Hanover region
  13. ↑ Rosenbusch probate: The special place . Hannover Cultural Region Foundation
  14. ↑ southern campus of the university . Art in Erlangen (H. Hedayati)
  15. ^ Memorial on Rabbiner-Neumark-Weg (city wall) , Kulturbetriebe Duisburg
  16. ↑ KulturSpuren Sailor Uprising: Monument Wik , kiel.de , accessed on April 26, 2019
  17. ^ Art in the City 6. Between Andreaeplatz and Nordmannpassage ( Memento from August 31, 2012 in the Internet Archive ), PDF document , Thomas Kaestle (text), Anneke Schepke, Mona Windmann (editor), Cultural Office of the City of Hanover, part 6 of one Leaflet series, 2010
  18. ^ Memorial to the Stöcken subcamp (battery) . Network remembrance and future in the Hanover region
  19. ↑ Dillingen, Breuste, Plastik . Institute for contemporary art in Saarland
  20. ↑ Hans-Jürgen Breuste, Hanover - Models for “Polumo” ( Memento from June 12, 2008 in the Internet Archive ). (District Museum Peine)
personal data
SURNAME Breuste, Hans-Jürgen
BRIEF DESCRIPTION German sculptor
DATE OF BIRTH May 21, 1933
PLACE OF BIRTH Hanover
DATE OF DEATH January 28, 2012
Place of death Hanover