New savages

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As Neue Wilde or New Violent artists are called, which occurred in the early 1980s with a subjective, reckless and life-affirming painting in Germany and Austria to the public.

They were named after the French Fauves , who caused a stir in Paris at the beginning of the 20th century.

etymology

The style has its origins in the early 1980s in the Italian transavant-garde ( Transavanguardia , later also called Arte Cifra ) and established itself almost simultaneously in Europe and the USA . In France it was defined as Figuration Libre and in English-speaking countries as New Image Painting , Bad Painting or Wild Style . In Germany and Austria, the term “ Neo-Expressionism ” was first used, and later there was talk of “Heftiger” or “Wilder” painting. The most media-effective and ultimately most common term "Neue Wilde" was first used by the expressionism expert, art historian and Aachen museum director Wolfgang Becker for an exhibition at the Neue Galerie - Ludwig Collection in Aachen 1980 "Les Nouveaux Frauves - Die neue Wilde" and their catalog, the new Acquired works from the Peter Ludwig Collection from Germany, France and the USA: Baselitz, Lüpertz, Penck, Viallat, Schnabel, Pattern Painting. In the retrospective "The Invention of the New Wild" of the Ludwig Forum 2018, the term style is used exclusively for the younger German painters in Berlin, Düsseldorf, Cologne and Hamburg and their cultural environment.

Stylistic characteristics

The main characteristics of the art direction are large-format pictures with an accentuated painting style and purposeful formlessness, lively and violent brushstrokes, strong colors and color balance. The result is expressively abstract, sensual representational, neon-bright images interspersed with graffiti elements.

The images arise from the individual feelings of their protagonists and their need for self-expression. Elementary topics - e.g. B. Fear and sexuality - stylistically encounter them spontaneously and obsessively.

Origins

The starting point for the young artists was the intention to throw the barren, top-heavy styles that dominated the 70s completely overboard and “carefree to replace them with an abundance of imagery, narration, materials, colors and free-flowing spaces, more like kindergarten than tastes like an aesthetic laboratory. ” With their art and their art they wanted to free themselves from the repressive constraints of the intellect of the art of the past decade. Her works are a commentary on the standardized values ​​of bourgeois ideas. In their often dark-toned pictures, they revolted against the prosperity-related apathy of the 1980s. In the tradition of Dada and Fluxus , work was carried out to dismantle the traditional concept of art.

Representatives of the New Wild

In the 1980 catalog: Nicolas Africano, Laurie Anderson, Georg Baselitz, Louis Cane, Brad Davis, Donna Dennis, Frank Faulkner, Adolf Frohner, Tina Girouard, Horst Gläsker, Simon Hantai, Jörg Immendorff, Hannes Jähn , Valerie Jaudon, Neil Jenney, Anselm Kiefer, Christopher Knowles, Joyce Kozloff, Robert Kushner, Thomas Lanigan-Schmidt, Markus Lüpertz, Kim MacConnel, AR Penck, Susan Rothenberg, Peter Saari, Miriam Schapiro, Kendall Shaw, Med Smyth, Claude Viallat, William Wegman, Robert Zakanitch, Joe sugar

Exhibitions (selection)

See also

literature

Movie

  • Martin Kippenberger and Co - a document , documentary by Jacqueline Kaess-Farquet about the new wild ones: Martin Kippenberger, Albert Oehlen, Markus Oehlen, Georg Herold, Werner Büttner, Hans Peter Adamski, Peter Bömmels, Jiří Georg Dokoupil, Volker Tannert.

Web links

Individual evidence

  1. Robert Rosenblum: Thoughts on the sources of the Zeitgeist. In: Zeitgeist. International Art Exhibition Berlin 1982 , Martin-Gropius-Bau, Berlin 1981, p. 11.
  2. Roderich Fabian: "Geniale Dilletanten". Exhibition in the Haus der Kunst ( Memento from October 19, 2015 in the Internet Archive ), Bayern2 from June 26, 2015.
  3. ^ Exhibition information Ludwig Forum. Retrieved September 18, 2018 .