Hans Platschek

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Hans Platschek (born March 12, 1923 in Berlin ; † February 9, 2000 in Hamburg ) was a German painter , art critic and writer .

Life

Hans Platschek emigrated to Uruguay with his parents in 1939 and later began studying at the Montevideo School of Art . He drew anti-fascist caricatures for the mass newspaper La Linea Maginot . In 1948 he had his first solo exhibition in Montevideo. From 1949 to 1952 Platschek was co-editor of the cultural magazine Clima and was one of the founders of an institute for modern art. He received the citizenship of the country of Uruguay.

In 1953 he returned to Europe with changing positions in Munich, Rome, London, Tangier, Paris, most recently in Hamburg. In Paris Platschek met Max Ernst , Raoul Hausmann , Tristan Tzara , Hans Arp and Asger Jorn . In 1955 he moved to Munich, where he lived until 1962. In 1957 he had his first solo exhibition in the Munich gallery van de Loo ; Collaboration with Asger Jorn; in connection with the Situationist International and the Informel . In 1958 he took part in the 29th Venice Biennale , in 1959 in the documenta II in Kassel and received the Ardea Prize at the 5th São Paulo Biennale . From 1959 to 1961 he worked with Horst Bienek as editor of the magazine Blätter + Bilder . In 1963 he became a lecturer at the Ulm School of Design , where important international artists taught and from which many of the world's most important designers emerged after the Second World War, for example Dieter Rams and Braun Design . From 1988 to 1989 Platschek was guest of honor at Villa Massimo in Rome. In 1993 he worked in Montevideo.

In 1997, Hans Platschek received a visiting professorship at the University of Kassel (which has been pioneering in the education of architecture and art since the 1970s). In the same year a retrospective of his pictures took place in the Kunsthalle Emden and in the Sinclair House in Bad Homburg .

His pictures are collected and exhibited in many museums in Europe and Latin America.

Hans Platschek died on the night of February 8th to 9th, 2000 in his Hamburg apartment as a result of a smoldering fire caused by his burning Havana .

plant

As a painter of Tachism or Informel , he was recognized very early on. But by the time the abstract, automatistic art of Art Informel caught on internationally, he had already registered his interest in a new figuration . The Pop Art , he strongly criticized as "art of consumption." In the eighties he turned to still life , among other things . The difficulty of classifying Platschek's work in the prevailing currents of contemporary art may have been one reason why he received less recognition as a painter than as a publicist. “Because”, said Lothar Romain in his catalog text for the exhibition Hans Platschek - Pictures, 1949–1988 , “the sharpness of his essays frightened many who just wanted to enjoy. The displeasure because one was torn from the well-being carried over to the pictures. The applause grew sparse. "

Platschek's essays, which appear polemical only when viewed superficially, have made him known to an art-interested public beyond Germany since the 1960s. Many connoisseurs still consider his texts to be characterized by great freshness and clarity. Platschek himself never wanted to be called an art critic and commented on his dual role as follows: “There is a difference whether someone calls a capitalist a vulture or whether he paints him as a vulture; the literal and corporeality of painting push such a figure out of political economy and into zoology. "

Quote

“It wasn't that long ago that the emphasis in the art world shifted insofar as mediation suddenly came to the fore and hardly anyone saw the production unless it also acted as mediation. Only the curator, the art dealer, the Documenta Council or the foreword writer gave an art its final appointment. In order to avoid misunderstandings: one must not associate the term mediation with Hegel or only with Schleiermacher, that is, ascribe it to speculation. Because in the art business he has, tangibly, the meaning that is given to him by the real estate agent or the marriage agencies. So, as a broker, the art mediator appears, and the quoted sentences about the trouser button and about the categorization of practice reveal that he would hardly be up to his role if the said art did not come to his aid, because it in turn is in the Lives social speculatively, makes gardener. "

- Hans Platschek

Works

The most important books by the publicist Hans Platschek:

  • New figurations, Munich 1959
  • Pictures as question marks, Munich 1962
  • Angel brings what you want. Art, new art, art market art, Stuttgart 1978
  • Portraits with frames. Picasso, Magritte, Grosz, Klee, Dalí and others, Frankfurt am Main 1981
  • On stupidity in painting, Frankfurt am Main 1984
  • From Dada to Smart Art. Essays on Art, Frankfurt am Main 1989
  • Joan Miró, Reinbek near Hamburg 1993
  • Scraps. 109 Notes on Art, Regensburg 1993
  • Life-size: questions to eleven painters and an essay on Charles Baudelaire, Hamburg 1995
  • Figures and figurations. About painting and myself, Hamburg 1999
  • Time is a greedy gambler. On painting of the 20th century, Hamburg 1999

Book illustrations

  • Hans Magnus Enzensberger, Defense of the Wolves. With 16 montages in screen printing by Hans Platschek, Verlag Faber & Faber

Public collections

Exhibitions (selection)

Solo exhibitions

Group exhibitions

Awards

Hans Platschek Foundation

The Hans Platschek Foundation, based in Hamburg, was founded in 2005 by the executor Hans Platscheks, attorney Kurt Groenewold . The purpose of the foundation is, according to the will of Hans Platschek, to support exhibitions and scientific work that deal with his work.

The chairman of the board is Kurt Groenewold, board members from 2006 to 2012 were the Hamburg gallery owner Gabriele von Loeper and the Berlin journalist Manfred Eichel , since 2013 Marianne Hollenbach, Galerie Hollenbach, Stuttgart, and Dr. Sebastian Giesen, Managing Director of the Hermann Reemtsma Foundation, Hamburg.

The written estate lies with the Berlinische Galerie , the artistic estate is administered by the foundation. On behalf of the executor, the art historian Dr. In 2002, Silke Reuther compiled an "estate inventory 1923-2000".

Since 2008 the foundation has awarded the "Hans Platschek Prize for Art and Writing" annually. Prize winners were FW Bernstein (2008), Friedrich Einhoff (2009), Monika Grzymala (2010), Werner Büttner (2011), Rolf Bier (2012), Guillaume Bruère GIOM (2013), Sandra Boeschenstein (2014). A solo juror named by the board chooses the winner, previously Manfred Eichel , Werner Hofmann , Axel Hecht , Harald Falckenberg , Ulrich Krempel , Robert Fleck , Ulrike Groos .

The award ceremony takes place as part of the art Karlsruhe trade fair and is combined with an exhibition of the winner's works as well as selected works by Hans Platschek.

literature

The most important (German-language) publications about the painter Hans Platschek:

  • 1963: "The dubious model: Hans Platschek, in: Jürgen Claus, theories of contemporary painting, Rowohlt's paperback, 1963; new edition: painting as action, Ullstein book 35247, Frankfurt / Main, Berlin 1986
  • 1988: Catalog Kunsthalle zu Kiel and Museum Folkwang in Essen with texts by Jens Christian Jensen (ed.), Ulrich Krempel and Lothar Romain
  • 1991: Catalog Galerie van de Loo; Conversation with Florian Rötzer
  • 1992: Painting like contradicting. Jens Christian Jensen on Hans Platschek, in: Artists. Critical Lexicon of Contemporary Art, edition 19/1992
  • 1999: Exhibition catalog of the retrospective Hans Platschek in the Kunsthalle Emden, with texts by Achim Sommer, Jens Christian Jensen, Alfred Welti, Nils Ohlsen
  • 2003: A painter who writes - from the estate, published by Ernst Barlach Haus, Reemtsma Foundation, Hans Platschek Foundation, with texts by Jens Christian Jensen, Silke Reuther, Werner Hofmann,

Web links

Individual evidence

  1. ↑ Works exhibited: Tiago (1957), Sheitan (1957) and Grand Calamar Trafiquant (1958). Source: Ursula Zeller (Ed.): The German Contributions to the Venice Biennale 1895–2007. DuMont, Cologne 2007, ISBN 978-3-8321-9016-3 , p. 369.
  2. ↑ Hans Platschek: Engel brings what you want. Art, new art, art market art, 1978
personal data
SURNAME Platschek, Hans
BRIEF DESCRIPTION German painter and publicist
DATE OF BIRTH March 12, 1923
PLACE OF BIRTH Berlin
DATE OF DEATH February 9, 2000
Place of death Hamburg