László Lakner

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László Lakner [ ˈlaːszloː ˈlɒknɛr ] (born April 15, 1936 in Budapest ) is a Hungarian-German painter , sculptor and conceptual artist . He lives and works in Berlin .

Signature of László Lakner

Life

László Lakner was born in 1936 as the child of the architect of the same name and his wife Sara, b. Sárközy, born in Budapest. Lakner is the father of the Hungarian artist Antal Lakner, who was born in 1966. After a long period in Essen and Berlin, he now lives and works exclusively in Charlottenburg. Lakner was u. a. Invited three times to participate in the Venice Biennale (1972, 1976, 1990) and once to the Documenta in Kassel (1977).

László Lakner, "My Georg Lukács Book", 1970, photo / screen print, 70 × 50 cm

Artistic career

From 1950 László Lakner attended the art school in his native Budapest. He then studied from 1954 until his diploma in 1960 at the Hungarian Academy of Fine Arts in Budapest painting with Aurél Bernáth . Since 1959, the first pictures have been created based on found photo templates. In 1963, Lakner was approved for his first trip to the West. He visited the Federal Republic of Germany and was able to travel to the Venice Biennale in 1964. In 1968 he traveled to the Federal Republic of Germany and Switzerland on a grant from the Museum Folkwang in Essen . In 1972 Lakner worked for two months in the guest house of the Museum Folkwang , in which Martin Kippenberger also had a studio a few years later . In 1974 he was invited to Berlin by the DAAD's Berlin artist program with a DAAD scholarship and decided to emigrate. In 1976 he received the Bremen “ Art Prize on Böttcherstraße ” and in 1977 was invited to documenta VI in Kassel with several works from the fields of painting, drawing and book objects . In the same year he received the German Critics' Prize and in 1981/82 worked on a scholarship from the Berlin Senate at PS1 in New York , at the same time as the Essen sculptor Carl Emanuel Wolff . In 1998 he received the Kossuth Prize, the highest Hungarian state prize for his artistic oeuvre. In 2000 his self-portrait was included in the collection of the Galleria degli Uffizi in Florence.

László Lakner, "Marcel Duchamp", 1975/76, oil on canvas, 190 × 140 cm, National Museums in Berlin, National Gallery

Teaching

In 1979, on the initiative of the director of the Folkwang Museum, Paul Vogt became a lecturer in painting at the University of Essen and from 1979 to 1980 in the department of art history at the Free University of Berlin . In 1982 he was finally appointed to the University of Essen (now University of Duisburg-Essen ), where he held the professorship for experimental design until his retirement in 2001. During this time he worked both in Berlin and in his studio in Essen, which he only gave up after 2002 and finally moved to Berlin-Charlottenburg. His professorship for experimental design, now occupied by Jörg Eberhard , was a specialty, as at that time she looked after interdisciplinary students from the University of Applied Sciences and what is now the Folkwang University of the Arts. Students from this time included the cabaret artist and photographer Dieter Nuhr , the painters Dirk Hupe , Jürgen Paas , Eberhard Ross , the photographer and set designer Johannes Gramm as well as Günter Sponheuer and Frank Piasta.

László Lakner, "Isa pur", 1982, mixed media on sheets, 260 × 220 cm

Work development

Since his beginnings in the 1950s, Lakner's work has moved between painting, photography, concepts and text works as well as objects and sculptures. In his painting he includes realistic and non-objective pictorial solutions. Lakner's work repeatedly refers to his own biography. Continuous themes and motifs concern his preoccupation with language, writing and literature (see Celan pictures). This also goes hand in hand with the object-like integration of books or their painterly revision or also in the painterly visualization of manuscripts (cf. Buchaxt). Another complex of topics concerns the depiction of skulls and heads (see bandaged heads) as metaphors or symbols of death. The basic procedure which Lakner has transferred from realism to free expressive appropriation over the years is the citing taking up of content and forms, as the gesture of writing proves to be a direct expression of self-assertion for Lakner.

1950 to 70s

painting

In 1968 and 1969, Lakner took part in the IPARTERV exhibitions in Budapest, which brought together the leading critical avant-garde in Hungary . He made an early appearance with works that subtly take up historical and cultural references. As early as the late 1950s, he was painting realistic images based on found photo documents, parallel to non-objective images that can be understood experimentally. He thus demonstrated his painterly virtuosity , evoked moments in art history and at the same time took a critical position on the existing conditions with political allusions (see seamstresses listening to a speech by Hitler). The examination of social reality in Eastern Europe and the appropriateness of artistic media led to further contributions in the field of realism . This also resulted in pictures that can be attributed to Pop Art (see Rose, 1968; Mund-Tondo, 1968, Hungarian National Gallery, Budapest) as well as assemblages (see refugee, 1966, Hungarian National Gallery; Letter to Barbara, 1964) . During these years he also realized double images that place the same motif next to one another in two different lighting and color situations (cf. Danae, 1967, Ludwig-Múzeum, Budapest). Lakner examined the limits of the truth of photography and realistic representation. This is a lasting theme that he takes up again in his work, which was created in Germany.

László Lakner, "Vinca minor", 1984, oil on canvas, 195 × 180 cm, Prof. Monika Grütters collection, Berlin

Concept art

In his conceptual art , Lakner uses various methods of visualizing literature as well as language. One of his main works in 1970 is the tying up of a volume signed for him on Georg Lukács ' aesthetics. Lakner then places the tied book on his studio wall, photographs and then screen-prints it . This work was exhibited in the international pavilion at the 1972 Venice Biennale. Lakner continues this process with further tied books as well as with photo-realistic paintings of such situations. This also includes the self-portrait, which shows him standing upright, looking at the viewer and naked with sunglasses. It is regarded as an outstanding political statement on the artist's situation in the repressive regime (see self-portrait with self-timer, 1970, Uffizi , Florence). During this time, he continued his painting based on photo documents mainly in a brown-gray painting (see Monument of the Revolution, 1971, Museum Folkwang , Essen or Silence, Hommage à Joseph Beuys, 1972 Ludwig-Múzeum, Budapest). He is now turning increasingly to historical written documents such as letters, dispatches or wills from different centuries. The painstakingly painterly copying of these foreign manuscripts in front of a deep spatial background represents the aforementioned appropriation (see Cézanne's last letter, 1975, Museum Boymans-van Beuningen, Rotterdam).

1980s to the present

With this, the artist, who moved to the Federal Republic of Germany in 1974, expanded the possibilities and procedures in dealing with realistic painting and its connotative potential in terms of content. The stay as a guest at PS1 in New York in 1981/82 plays an important role . Here Lakner experiences the illness and death of a good friend and becomes aware of the graffiti on house walls and in subway shafts. As a result, paintings are created on large-format cloths, in which individual words like slogans are noted on the sheet with spray paint. These individual black letters appear fragile over the blotchy colored background (cf. Isa Pur, Museum Ludwig , Cologne). With this pictorial metaphor of atmospheric poetry, the artist uses the expressive tachistic color ground to set his own graphically clear messages. The abstract drawing, some of which can be read as rudimentary writing, was scratched into impasto layers of paint from the second half of the 1980s. The result is pictures with tangled drawings and lines over the color ground (cf. group of works of splinter pictures on a box-like deep canvas, from 1994). In addition, he also realizes figurative sculptural works in bronze, which in addition to the human figure also integrate books (cf. Babel, 1985). From the mid-1990s on, his interest returned to photography . Lakner understands how to use this conceptually. For example, in Paris he circles the fictional location with his camera where the poet Paul Celan committed suicide. He later processed the recordings in large-format photo sequences (cf. 1999 exhibition, Galerie Nothelfer , Berlin). In addition, figurative images emerge from the examination of the classics of painting and the banishment of a literary vision (cf. Berenice based on Edgar Allan Poe , 2004–2010). With all inventions and varying combinations of the various artistic means, he has remained true to his themes and motifs for 50 years.

Working in public collections

Germany :

Netherlands :

Poland :

Hungary :

  • Hungarian National Gallery , Budapest
  • Museum of Fine Arts, Budapest
  • Ludwig Museum, Budapest
  • Petofi Literature Museum, Budapest
  • Kiscelli Museum, Budapest
  • Xántus János Museum, Győr
  • Városi Müvészeti Museum, Győr
  • Hatvany Lajos Museum, Hatvan
  • Janus Pannonius Museum, Pécs
  • Vasarely Museum, Pécs
  • Szent István Király Museum, Székesfehérvár
  • Szombathelyi Képtar, Szombathely

Great Britain :

Italy :

Japan :

Exhibitions

Solo exhibitions (selection):

  • 1969 KKI Gallery, Budapest
  • 1974 New Gallery - Ludwig Collection , Aachen
  • 1975 Overbeck Society , Lübeck
  • 1975 Neuer Berliner Kunstverein and DAAD, Berlin
  • 1975 Folker Skulima Gallery , Berlin
  • 1976 Denise René-Hans Mayer Gallery, Düsseldorf
  • 1979 Westphalian Art Association , Münster
  • 1983 Bertha Urdang Gallery, New York
  • 1987 Forum Kunst, Rottweil
  • 1998 Stadsschouwburg Heerlen, Netherlands
  • 2004 Zachęta Narodowa Galeria Sztuki (National Gallery), Warsaw
  • 2004 Galeria Sztuki (Art Gallery), Poznan, Poland
  • 2004 Ludwig Museum, Budapest
  • 2006 Augsburg Art Association
  • 2006 Galerie Georg Nothelfer, Berlin
  • 2007 Petöfi Irodalmi Museum, Budapest
  • 2011 Museum of Fine Arts, Budapest

Exhibition participation:

  • 1967 XV. Premio Lissone, Milan
  • 1972 Venice Biennale, International Section: Graphic Pavilion
  • 1976 Venice Biennale, International Section: Contemporary Art
  • 1976/1977 Bild - Raum - Klang, Bonn Science Center , Berlin University of the Arts , Stuttgart Institute for Foreign Relations
  • 1977 documenta 6 , Kassel
  • 1979 Testuale, Milano
  • 1981 PS1, New York City
  • 1982 L'Humour, Center Pompidou, Paris
  • 1983 Neue Nationalgalerie Berlin , Haus der Kunst Munich, Städtische Kunsthalle Düsseldorf: New painting in Germany
  • 1983 Quadre del viatge, Fondatio Joan Miro, Barcelona
  • 1986 Art Forum Grundkreditbank Berlin: Images of Shakespeare
  • 1988 Georg Kolbe Museum , Berlin: Sculpture in Berlin 1968–1988
  • 1992 Venice Biennale: Ambiente Berlin
  • 1993 Kunsthalle Wien, Frankfurter Kunstverein: The language of art
  • 1994 Art and Exhibition Hall of the Federal Republic of Germany , Bonn: Europe - Europe
  • 1995 Kunstverein Augsburg: Sculptor in Germany
  • 1999 Museum of Modern Art, Vienna: 50 years of art from Central Europe
  • 2007 Scuderie del Quirinale, Rome: Pop Art 1956–1968

Literature (selection)

  • László Lakner: Collected Documents 1960 - 1974; Neue Galerie - Ludwig Collection, Aachen 1975 (text Wolfgang Becker) and Overbeck Society, Lübeck 1975 (text Thomas Deecke)
  • Thomas Deecke: Laszlo Lakner: Documenta 6 / Vol. 1, p. 96, Kassel 1977
  • László Lakner: Painting 1974 - 1979; Westfälischer Kunstverein Münster 1979 (text by Thomas Deecke)
  • László Lakner: The Raven, Edgar Allan Poe ; Berlin 1988, ISBN 388537109X
  • László Lakner: works on paper, objects & 3 sculptures 1976–1990 (editing and design: Manfred de la Motte ); Berlin 1991, ISBN 3893570233
  • Joachim Sartorius: What began in the tower. A cycle of seventeen poems with six pictures by László Lakner; Aachen 1995, ISBN 3-89086-868-1
  • László Lakner: Heads and Skulls. A selection of images from the years 1957, 1981–1995; With fragments of a conversation between Thomas Hirsch and László Lakner; Aachen 1997, ISBN 3-89086-827-4
  • Reinhard Kiefer : The doppelganger. For Karl Otto Götz on his 80th birthday, a. a .; Aachen 1999, ISBN 3-89086-785-5
  • Theo Buck : Imagery. Celan motifs for László Lakner and Anselm Kiefer ; Aachen 1993, ISBN 3-89086-883-5
  • János Brendel: László Lakner - Das Frühwerk, Budapest 1959 - 1973, Uj Müveszet Kiado 2000, Niessen Buch- und Offsetdruckerei GMBH, Essen / Budapest 2000
  • A. Petrioli Tortani et al. a .: Galleria degli Uffizi Firenze, Collezione degli Autoritratti. Self-portrait László Lakner Budapest 1970, u. a .; Essen 2002, ISBN 393132639X
  • Katalin Néray: László Lakner, in: Metamorphosis, Ludwig Museum Budapest 2004, ISBN 963-9537-03-9 , pp. 9-10.
  • György Konrád: Lakner, in: Metamorphosis, Ludwig Museum Budapest 2004, pp. 14–16.
  • Thomas Hirsch: Un soir serein. Aspects in László Lakner's work since 1974, in: Metamorphosis, Ludwig-Museum Budapest 2004, pp. 243-251.
  • János Brendel: Homage to Celan, in: Metamorphosis, Ludwig Museum Budapest 2004, pp. 76–81.
  • László Lakner: Books 1969–2009. With texts by György Konrád , Matthias Flügge , Thomas Hirsch; Meissners Berlin 2009, ISBN 978-3-87527-116-4
  • László Lakner: Seamstresses hear a speech from Hitler. The story of a lost and found image. Text by Dávid Fehér, Museum der Bildenden Künste, Budapest, 2011 (English-Hungarian version: Fehér Dávid: Lakner László: Varrólányok Hitler beszédét hallgatják, Seamstresses Listen to Hitler's Speech, Szépművészeti Múzeum, Budapest, 2011)

swell

  1. ↑ http://www.hundmark-gallery.com/248.0.html
  2. ↑ http://prabook.org/web/person-view.html?profileId=580268
  3. ↑ Art Calendar . In: The time . No. 22/1968 ( online ).
  4. ↑ http://www.art-directory.de/malerei/laszlo-lakner-1936/
  5. ↑ https://www.uni-due.de/de/presse/meldung.php?id=6002
  6. ↑ Archived copy ( Memento of the original from March 4, 2016 in the Internet Archive ) 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.galerie-obrist.de
  7. ↑ Archived copy ( Memento of the original from March 4, 2016 in the Internet Archive ) 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.ruhrkunst.com
  8. ↑ Class László Lakner 1989: 12 students show pictures and gouaches, Essen 1989, ISBN 9783928417105
  9. ↑ http://www.celan-projekt.de/verbindungen-galerie.html
  10. ↑ http://de.artprice.com/kunstmarktplatz/1296699/laszlo-lakner/skulptur+volume/buchaxt
  11. ^ László Lakner, Heads and Skulls, A selection of images, Rimbaud Verlag 1997, ISBN 978-3-89086-827-1
  12. ↑ Lakner, Laszlo - BUDAPEST, MUSEUM OF FINE ARTS - 'Seamstresses Hear a Speech from Hitler ". The story of a lost and found image. Catalog by Dávid Fehér. Budapest 2011
  13. ↑ http://www.galerie-nothelfer.de/200604_lakner_rede.html

Web links

personal data
SURNAME Lakner, László
BRIEF DESCRIPTION Hungarian contemporary painter
DATE OF BIRTH April 15, 1936
PLACE OF BIRTH Budapest