Horst Keining

Keining - Fortuna, 75 cm × 90 cm, synthetic resin on canvas, 2012, Copyright Wolfgang Rieger and Horst Keining, 2013.

Keining - 90-Luke panels, each 24.3 × 33.1 cm, 2000, 2002 in the Kunsthalle Lingen, Copyright Achim Kukulies and Horst Keining, 2013.

Keining - Stripe pictures, all 110 × 320 cm, oil on canvas, 1996, in the Heidelberger Kunstverein 1998, Copyright Norbert Faehling and Horst Keining, 2013.

Keining - Mariakirchen, 9 wall paintings, synthetic resin, each 200 × 150 cm, 2003, Mariakirchen Castle near Arnstorf, Copyright Norbert Faehling and Horst Keining, 2013.

Keining - Rilke, 185 × 270 cm (2 parts), synthetic resin on canvas, 2006, Copyright Norbert Faehling and Horst Keining, 2013.

Keining - Flowertiger, 210 × 370 cm, synthetic resin on canvas, 2011, Copyright Wolfgang Rieger and Horst Keining, 2013.

Keining - Division on red, 189 × 147 cm, oil on canvas, 1994, Copyright Horst Keining, 2013.

Horst Keining (born February 9, 1949 in Hattingen ) is a German painter .

life and work

Keining was born in Hattingen an der Ruhr in 1949. He spent his childhood and youth in Hattingen and Bochum . In 1968 he finished his school days at the Goetheschule in Bochum with the Abitur. In 1970, after studying civil engineering for two semesters at the Ruhr University in Bochum, he switched to the State Art Academy in Düsseldorf . Since then, Keining has lived and worked in Düsseldorf. He first completed two semesters at the art academy with Professor Karin Rissa, then continued studying painting in Professor Erwin Heerich 's class and graduated successfully in 1976.

In his first exhibition participation in 1979 at the Westfälischer Kunstverein in Münster , Keining showed large-format watercolors (approx. 70 × 90 cm) with architectural motifs in which the interplay between light and shadow in deserted situations is of particular importance. In 1984, in a group exhibition at the Kasseler Kunstverein and in a solo exhibition at the Luise Krohn Gallery, Badenweiler, watercolors were on view in which the architectural motifs, outshone by light, are barely recognizable. Between 1984 and 1985 the figure was the focus of his artistic interest.

After an extensive studio renovation in 1986, architecture again became the central theme in Keining's painting in a larger studio. Works were created in which the spatial quality of the architecture is reduced to a flat representation in the sense of floor plans, but also works that are determined by perspective architectural fragments. The preferred material was no longer watercolor paint, but oil paint, which was still applied to paper. From 1990 onwards, the canvas became Keining's preferred image carrier. On large formats (225 × 175 cm), the floor plan theme was varied to the extent that linear picture elements define the division of areas. Two extensive groups of works differ in their floating blue-green and earthy red colors. During an international working meeting in Slovenia (1994), Keining began to reduce the floor plan to pictures with one-dimensional stripes. In 1998 they were part of a large exhibition of works by Erwin Heerich and Keining at the Heidelberger Kunstverein. Stefan Berg: "The stripe pictures alternate between abstract flatness and subtle spatial volume."

In the years that followed, letters and text elements played an important role in the search for further abstract pictorial elements. They first appeared in 1997 in paintings of brands and model names of American automobile companies. Suggestions for this came from a study visit to New York. In 1999 a ninety-part work was created: all the color nuances of a well-known artist's paint manufacturer are shown on relatively small picture panels (Luka panels); Company-specific color names and numbers take up the letter theme as part of the picture.

An extensive series of works (2002) is based on text fragments by the Marquis de Sade. By blurring the freshly applied oil paint, the text was distorted to the point of being almost illegible, thus giving the viewer freedom for his own sexual fantasies.

A mural application in 2003 required a new technique because oil paint does not adhere permanently to plaster. In order to dissolve the contours, Keining used a spray gun and synthetic resin paint. Eight murals (approx. 200 × 150 cm) with a pronounced ornamental structure were created in the Mariakirchen moated castle near Arnstorf. Based on the positive experiences with this material and this technique, Keining went over to also making canvas paintings in this way.

While Keining's work was characterized by deliberately dealt with themes (series, work groups) up to this point in time, from then on more individual images were created that combine elements such as flowers, animals, ornaments, or even comics and advertising from the 1950s. Time and again, writing appeared as a pictorial element in the pictures. For the composition of the picture, Keining used several foils that were projected onto the screen. Some parts of the pictures are characterized by a sprayed application of paint, others by synthetic resin paint applied with a brush. By superimposing the individual components, two or more levels result in the images; z. B. In front of a blurred ornament in the background, a sharply contoured painted lettering stands out in the foreground. In a similar way to how the sprayed application of paint had already blurred the contours, the superimposition of image components intensified this blurring to such an extent that the viewer's imagination was challenged to a high degree and he seldom came up with a clear interpretation.

Daniel Spanke : “But this variety of picture possibilities, which Keining has developed in the course of time, is not a juxtaposition of arbitrary, seemingly incompatible styles, but rather a development that goes through different painting and picture styles to the essence of the Stay on track. The viewer's interest is directed to an important basic question of human culture: How does the world become an image and what happens during this transformation. "

Exhibitions

2019: ScoOp , Märkisches Museum , Witten
2019: SCoOP , Museum Ratingen
2019: L'Heure Bleue , Martin Leyer-Pritzkow, Düsseldorf
2019: ScoOp , Hattingen City Museum
2018: "Water & Wine" , Museum Kurhaus Kleve , ^G
2017: "HORST KEINING" , IKOB Museum for Contemporary Art , Eupen, Belgium
2016: Caviar & Red Tea , Martin Leyer-Pritzkow , Düsseldorf
2016: Museum = k (x + y) , IKOB - Museum for Contemporary Art , Eupen , ^G
2016: ZUGEWINN - new acquisitions, Museum Schloss Moyland, Bedburg-Hau, ^G
2016: Best of , Galerie König, Hanau, ^G
2015: BLURRED TWO , Malkasten Düsseldorf
2015: ACEC - Gallery, Apeldoorn, ^G
2014: Blurred Pop , Museum Schloss Moyland, Bedburg-Hau, ^K
2014: JIGGER , Galerie Ebbers, Kranenburg
2014: Coming into the world , Galerie König, Hanau, ^G
2014: A Glorious Gift , Museum van Bommel van Dam , Venlo, Netherlands, ^G.
2013: Coming Soon , Galerie König, Hanau; In the beginning was the word , QuadrArt Dornbirn , Austria ^G ; Blurred & Bombed , Museum of the City of Ratingen; Roman d'apprentissage d'une collection, ikob, Eupen, Belgium ^G ; Paintonpaper , Ebbers Gallery, Kranenburg ^G ; Coincidence Kulturbahnhof Eller, Dusseldorf ^G .
2012: Collection Museum van Bommel van Dam , Venlo, Netherlands; ikob-International Art Center, Eupen, Belgium.
2011: Art after 1945 , Museum der Stadt Ratingen ^G ; Met other ogen , Museum van Bommel van Dam, Venlo ^G , The Netherlands; Fellner Gallery, Krefeld; Ebbers Gallery, Kranenburg ^G ; Pamenkalnio Gallery, Vilnius, Lithuania.
2010: Galerie Ebbers, Kranenburg; Museum van Bommel van Dam, Venlo, Netherlands; ikob-International Art Center, Eupen, Belgium ^K ; Color in contemporary art , Neuer Kunstverein Gießen ^G^K ; Mysterious between worlds , Museum Palatine Gallery, Kaiserslautern ^G .
2009: Galerie König, Hanau.
2008: ikob International Art Center, Eupen, Belgium; Galerie Andreas Brüning, Düsseldorf; The ikob Collection , Museum van Bommel van Dam, Venlo, Netherlands; The ikob Collection , Museum of Young Art , Vienna, Austria.
2007: Revision, Ludwig Museum Koblenz ^K ; Gallery on the main square, Fürstenfeldbruck; Vilnius Painting Trienal, Vilnius, Lithuania ^G ; ikob- International Art Center, Eupen, Belgium ^G .
2006: New Spray, Kunsthalle Wilhelmshaven ^K ; Panorama, Kunsthalle Gießen ^K ; Ebbers Gallery, Kranenburg.
2005: Galerie König, Hanau; DIN A 4 , Galeriea Fundacion Alzh. Leon, Spain ^G ; Ebbers Gallery, Kranenburg.
2004: New Art Association, Aschaffenburg ^K ; Gallery on the main square, Fürstenfeldbruck; City Museum Siegburg ^K ; Flottmann-Hallen, Herne ^K ; Museum of the City Ratingen ^K .
2002: Galerie König, Hanau ^K ; Museum Baden, Solingen ^K ; Fellner Gallery, Krefeld; Museum Katharinenhof, Kranenburg; Kunstverein Lingen ^K .
2001: Municipal Gallery Gladbeck ^K .
2000: Galerie Schütte, Essen; Krefeld Art Association ^K ; Kunstverein Unna ^K .
1999: Art Association Arnsberg ^G ; Art Association Lingen ^K ; Heerichkeining, Städt. Muelheim an der Ruhr ^K .
1998: Heerichkeining, Heidelberger Kunstverein ^K ; Art Association Bochum.
1997: Muzej Novejse Zgodovine, Celje, Slovenia ^G^K ; Gallery Schütte, Essen.
1996: Heidelberger Kunstverein ^G .
1995: Kunstverein Zagreb, Croatia ^G .
1993: Museum Katharinenhof, Kranenburg ^K .
1989: Nijmegs Museum, Nijmegen, Netherlands ^G .
1986: Soest Art Association.
1984: Luise Krohn Gallery, Badenweiler; Kassel Kunstverein ^G .
1983: Museum Katharinenhof, Kranenburg.
1982: Städtische Galerie Düsseldorf, Düsseldorf.
1981: Galerie Appel & Fertsch, Frankfurt ^G .
1979: Westfälischer Kunstverein Münster ^G .

^K = catalog; ^G = group exhibition

Works in public collections

Ludwig Museum, Koblenz
Pfalzgalerie, Kaiserslautern
Museum van Bommel van Dam, Venlo, Netherlands
Ikob Museum of Contemporary Art, Eupen, Belgium
Wilhelmshaven art gallery
Art from North Rhine-Westphalia, Imperial Abbey Aachen Kornelimünster
Museum Schloss Moyland Collection
City Museum Ratingen
Commanderie van St.Jan, Nijmegen, Netherlands

literature

Stephan Berg (Ed.): SCOOP. Edition Cantz, 2019, ISBN 978-3-947563-29-6 . (with texts by Stephan Berg, Alexandra König, Harald Kunde and Dirk Steimann)
Daniel Spanke: What holds the picture together inside, ornament and composition in more recent paintings by Horst Keining. In: Daniel Spanke (Ed.): View. DruckVerlag Kettler, Bönen 2010, ISBN 978-3-936848-15-1 .
Museum Baden (Solingen) and Galerie König (Hanau) (Ed.): Horst Keining Lukas Tutti & Cie. Art-Print Publishers, Essen 2002, ISBN 3-936295-00-X .
Municipal gallery in the Rathauspark (Gladbeck, publisher): Horst Keining Lukas. Art-Print Publishers, Essen 2001, ISBN 3-00-007724-3 . (with a text by Beate Reifenscheid: Horst Keinings Lukas color plates. )
Krefeld Art Association and Art Association Unna (ed.): Horst Keining: Twenty-two Galleries Twenty-Four Pictures. Art-Print-Publishers, Essen 2000, ISBN 3-9805405-1-0 .
Kunstverein Lingen (ed.): Horst Keining: Forty-eight famous men. Buxus Verlag, Lingen 1999, ISBN 3-933038-10-3 .
Hans Gercke (Heidelberger Kunstverein) and Gabriele Uelsberg (Städtisches Museum Mülheim an der Ruhr) (Eds.): Heerich Keining. Art-Print-Publishers, Essen 1998, ISBN 3-926905-47-6 .
Gallery Schütte (Ed.): Horst Keining. Art-Print-Publishers, Essen 1997 and 1996.
Museum Katharinenhof (Kranenburg) (Ed.): Horst Keining. Kirschbaum Laserscan, Düsseldorf 1993. (with texts by Hans van der Grinten: On some new pictures Horst Keinings and Hans Gercke: On the reality of pictures: On the work of Horst Keining. )
Kulturamt Düsseldorf (ed.): Horst Keining - watercolors and graphics. Catalog for the exhibition in the Städtische (Keller) Galerie Düsseldorf 1982. (with a text by Wolfgang Horn: Doubting dealing with reality. )
Oberhessisches Museum Gießen (Ed.): Horst-R. Keining - Works 1975–1980. 1981. (with texts by Hans van der Grinten, among others: To the watercolors Horst Keinings. )

Web links

Individual evidence

↑ Stephan Berg: The blind spot. In: Gert Fischer (Ed.): Mariakirchen. Rheinlandia-Verlag, Siegburg 2004, ISBN 3-935005-74-1 , p. 15.
↑ Daniel Spanke: What holds the picture together inside, ornament and composition in more recent paintings by Horst Keining. In: Daniel Spanke (Ed.): View. DruckVerlag Kettler, Bönen 2010, ISBN 978-3-936848-15-1 , p. 25.

personal data
SURNAME	None, Horst
BRIEF DESCRIPTION	German painter
DATE OF BIRTH	February 9, 1949
PLACE OF BIRTH	Hattingen

[1] Stephan Berg: The blind spot. In: Gert Fischer (Ed.): Mariakirchen. Rheinlandia-Verlag, Siegburg 2004, ISBN 3-935005-74-1 , p. 15.

[2] Daniel Spanke: What holds the picture together inside, ornament and composition in more recent paintings by Horst Keining. In: Daniel Spanke (Ed.): View. DruckVerlag Kettler, Bönen 2010, ISBN 978-3-936848-15-1 , p. 25.