Manon grass horn

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Manon Grashorn, 2012 (portrayed by the photo artist Gisela Kunzendorff)

Manon Grashorn (born Manon Hoof in Recklinghausen on March 5, 1950 ) is a German painter , graphic artist , writer and former stage designer .

Life

Manon Hoof, who grew up orphaned "in a mentally and emotionally very limited living space with strangers" in East Westphalia , decided at the age of five to become a painter and found refuge in the world of literature and visual arts. In 1968 she was admitted to the Bielefeld Werkkunstschule after passing the exam , but did not begin her studies. After working as a graphic artist, she began to study painting at the Hamburg University of Fine Arts in 1974 . After a short period of time, she broke off her training, including studying with the sculptor Ulrich Rückriem , to travel to the USA , especially to New York City , for study visits (“That was the actual study of painting in museums”).

Back in Hamburg , she ran a studio here from 1977 to 1981 and during the same period worked as a freelance set designer for the NDR . In the 1980s she stayed intensively in New York City in order to continue training with the masters. At the same time, she ran a studio in Cologne (1982-89), where she maintained close contact with the Mülheimer Freiheit painter group and her work was represented by the White Gallery . Then Hoof lived in Oldenburg and in Pesch , which no longer exists , where she also had a studio from 1989 to 1998.

In 1998 she married the architect Burkhard Grashorn , whose family name she adopted. The connection between the two has been described as "symbiotic", both privately and artistically. In the same year she moved with him to Weimar , where she still lives and works as a freelance visual artist. For her husband's 65th birthday, she designed an extensive portfolio with etchings , which contains all the architectural designs of the then professor at the Bauhaus University Weimar for posterity.

In 2008, Grashorn accepted a call to the historic Weimar School of Painting and Drawing , where, apart from her own artistic activity, she devoted herself to teaching painting and drawing to general aesthetic education .

plant

Manon Grashorn's oeuvre is influenced by the early works of Jasper Johns and Cy Twombly , including informal art , especially Emil Schumacher . Lawrence Carroll , whom she also knew personally, occupies a special position . In her cross-genre pictorial work, which in later years alternates between concretion and abstraction, she essentially traces the phenomena of transience, metamorphosis and individual and collective memory .

The formal language is characterized by techniques of painting over, the thorough handling of monochrome , the greatest possible renunciation of an environment of the subject as well as a kind of painterly examination of literature and music. For those "text images" or "typefaces", Grashorn uses the means of scriptio continua and encaustic (whereby she works primarily with fat, less often with wax) on ancient cultural techniques.

Beginning in the early 1980s with a supremely colorful series to Dante's Divine Comedy (1984-1986) through a sensational name wall (from the canvas (1990) celebrated on the suicides personalities Adolf Hitler at the international summer studio in Hannover was stolen) or the "ink corrosion “-Sequence to the decaying cantata BWV 35 by Johann Sebastian Bach (1999–2002) up to the 70 text sheets (2015) to Ingeborg Bachmann's poem From a country, a river and the lakes , over the decades the grass-horned text images are probably the largest Recognition value. The 2010s in particular are characterized by the use of text fragments through to their diffuse deciphering such as the large-format carpet throw (2020), which deals on several levels with Alexander Kluge's The Air Raid on Halberstadt on April 8, 1945 . Grashorn's image of the blood-red work was a tattered, four-meter-wide canvas tent from the Second World War .

Her work has been and is exhibited across Germany, including in Berlin , Bochum , Düsseldorf , Erfurt , Frankfurt am Main , Hamburg , Hanover , Jena , Cologne , Oldenburg , Trier , Weimar and Wiesbaden . At the “Neoclassico” exhibition in Trieste in 1990 , her works were shown outside of Germany for the first time.

Awards

In 1994 she and Burkhard Grashorn won a prize in the competition “Berlin Memorial to the Murdered Jews of Europe” for their contribution Light Graves - “We live above / below mountains of the dead” . Your architectural model, which the Frankfurter Allgemeine Zeitung called "iconographically unspent menetekel", is characterized by the illustration of the transnational network of the concentration and forced labor camps of the German National Socialists : a walk-in, slightly lowered area with steles shows this from a bird's eye view , where the lines meet symbolically in Berlin as the planned place of remembrance. Her aesthetic idea of ​​the steles, which was to be found in Peter Eisenman's later winning design for the Memorial to the Murdered Jews of Europe , is characterized by sharp cuts that follow the higher level of the course lines and thus make the logic of systematic annihilation accessible.

In 2009 Manon Grashorn received the literature grant from the Thuringian Ministry of Culture for her novel project "Steps or the inattention of the concentrated observer". Her literary style is described as "cheeky", "linguistically dense" and "unconventionally gripping".

Quotes

  • According to his own statement, Grashorn follows the self-imposed dictum “of the empty canvas as the form of the purest painting”, which places imagination over imitation: “I see the task of my work in conjuring up the images that are in us in the viewer To call awareness. "
  • “I have a preference for tired colors, for all nuances. And an aversion to pure yellow, blue, even purple. On the other hand, a turn to green in natural shades and red as the only 'big color'. The 'big red' that runs its way in and through us, the light bone tone, the scale of the iris and [...] the sprawling spectrum of nuances in metamorphic processes. "

Image gallery

  • Manon Grasshorn: Magic , 2020

  • Manon Grashorn: Boy on a Corbusier , 2020

  • Manon Grashorn: Carpet Throw (red design) , 2020

  • Manon Grashorn: untitled ( da Vinci ), 2019

  • Manon Grashorn: Untitled ( Drei Kartons ), 2019

  • Manon Grashorn: Tower of architectural utopias , etching based on an architectural model by Burkhard Grashorn , 2015

  • View of the “Ton in Ton” exhibition with Manon Grashorn's text sheets on Ingeborg Bachmann's Von einer Land, ein Fluss und den Seen , 2015 (installation in the art gallery Harry Graf Kessler , Weimar )

  • Manon Grashorn: Johann Sebastian Bach, cantata “Geist und Seele wird bewret” , 2014

  • Burkhard and Manon Grashorn: Light graves - “We live above / below mountains of the dead” , 1994, Bauhaus University Weimar , Archive of Modernity

  • Manon Grashorn: Divine Comedy, Violet , 1984-86 (part of a series)

  • Manon Grashorn: Self-Portrait with Clouds , 1976 (archive recording in black and white)

literature

  • Michael Kraus, Simon Scheithauer (ed.): Poetic Utopia: The Architect and University Professor Burkhard Grashorn , Weimar (M Books) 2020, ISBN 978-3-944425-03-0 .
  • Ute Heimrod, Günter Schlusche, Horst Seferens (eds.): The monument dispute - the monument? The debate about the “Memorial to the Murdered Jews of Europe”. A documentation , Berlin (Philo Verlag) 1999.
  • Manon Hoof: "The third skin - thoughts on the single-family house", in: architektur + competitions , international quarterly magazine, Stuttgart (Karl Krämer Verlag) 1994, no. Aw 159, p. 36.
  • Deutsche Messe AG (ed.): Summer studio: Young art in Europe , Munich (Klinkhardt & Biermann) 1990, ISBN 3-7814-0293-2 .
  • Burghard Grashorn: The arts support the city. Four more corners and in this place is Oldenburg's water town. City design for Oldenburg. Perspective for the 21st Century , Oldenburg 1990, ISBN 978-3-926296-02-3 (with works by Manon Hoof).

Web links

Individual evidence

  1. ↑ Manon Grashorn in: Christian Rothe (ed.): "Because he, because I was." Stories about friendship, Weimar (Lucia Verlag) 2015, p. 194, ISBN 978-3-945301-22-7 .
  2. ↑ Manon Grashorn in: "Thoughts on 'Thoughts'", exhibition brochure on "Manon Hoof - Thoughts", Gut Pesch, Erkelenz, 1996.
  3. ↑ "Growing up in a spiritually and emotionally very limited living space with strangers, without a family relationship, I stayed to myself from the start." Manon Grashorn in: Christian Rothe (ed.): "Because he, because I was me.", P 194.
  4. ^ Presentation of the artist on the website of Galerie Profil, Weimar. Retrieved July 18, 2020 .
  5. ^ Karl-Heinz Schmitz: “Farewell to Burkhard Grashorn”, published on the website of the Bauhaus University Weimar on August 11, 2017. Accessed on July 18, 2020 .
  6. ^ Presentation of the artist on the website of the Weimar School of Painting and Drawing. Retrieved July 18, 2020 .
  7. ↑ Eva-Maria Reuther: "Poetic, multilayered, thoughtful", in: Trierischer Volksfreund of March 7, 2007. Accessed on July 18, 2020 .
  8. ↑ Cornelie Becker-Lamers: “Manon grass horn. Um: Raum “, speech at the opening of the exhibition on November 6, 2014 in the Galerie Profil, Weimar. Retrieved July 18, 2020 .
  9. ^ Correspondence dated September 4, 1990 between Manon Hoof and Sepp Heckmann, board member of Deutsche Messe AG Hanover. Accessed private archive of the artist.
  10. ↑ Flyer for the exhibition "Alexander Kluge. Halberstädter Friedensfenster", curated by Christoph Streckhardt, 4-4 April 2020, Halberstadt. Retrieved July 18, 2020 .
  11. ^ Homepage of the artist on the portal wixsite.com. Retrieved July 18, 2020 .
  12. ↑ Simon Scheithauer, Michael Kraus: “The postponed architecture. On the death of Burkhard Grashorn (1940–2017). Obituary ”on baunetz.de. Retrieved July 18, 2020 .
  13. ↑ Quotation from Sabine Schicke: “Light graves to commemorate. Oldenburger one of the winners of the memorial competition for murdered Jews in Berlin ”, Nordwest-Zeitung of March 29, 1995.
  14. ↑ See Ute Heimrod, Günter Schlusche, Horst Seferens (eds.): The monument dispute - the monument? The debate about the “Memorial to the Murdered Jews of Europe”. A documentation , Berlin (Philo Verlag) 1999.
  15. ^ "Working grants awarded to Thuringian authors", press release of the Thuringian Ministry of Education, Science and Culture from February 18, 2009. Accessed on July 18, 2020 .
  16. ↑ Manon Grashorn: "Thoughts on 'Thoughts'", exhibition brochure on "Manon Hoof - Thoughts", Gut Pesch, Erkelenz, 1996.
  17. ↑ Exhibition text in “Manon Hoof - Pictures from the series 'Inkfraß' for the Bach Cantata BWV 35 'Geist und Seele wird bewret'”, object label for “Pigmentbild I”.
personal data
SURNAME Manon grass horn
ALTERNATIVE NAMES Hoof, Manon (maiden name)
BRIEF DESCRIPTION German artist
DATE OF BIRTH March 5, 1950
PLACE OF BIRTH Recklinghausen