Rolf yearling

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Rolf Jahresling (born October 27, 1913 in Hamburg ; † July 5, 1991 in Weidingen ; full name: Rudolf Wolfgang Jahreling ) was a German architect , gallery owner and one of the first supporters of the Rhenish avant-garde. In 1949 he founded the Parnass Gallery in Wuppertal , which, along with the Schmela Gallery and Gallery 22 in Düsseldorf and the Der Spiegel gallery in Cologne, was one of the most daring galleries in post-war Germany and was closely associated with the Artistic Informel movement in the beginning .

The Parnass Gallery on Moltkestrasse 67 in Wuppertal-Elberfeld, the seat of the gallery from 1961 to 1965, was the location of the first happening and Fluxus events on German soil. She wrote international art history with her spectacular media art events and exhibitions during the early 1960s. The first video objects were shown in Nam June Paik's solo exhibition Exposition of Music - Electronic Television in 1963, and at the 24-hour happening in 1965, the performances of the Paik muse and Fluxus cellist Charlotte Moorman, clad only in transparent cellophane, caused a sensation .

Live and act

From architect to gallery owner

Rudolf Jahresling was born in Hamburg as the son of the teacher Bruno Ferdinand Jahresling. Even during his school days he admired Walter Gropius and Le Corbusier . After attending secondary school in Hamburg, he graduated from the Dürerschule in Dresden in 1933 . Yearling studied architecture from 1933 to 1935 at the Technical University of Dresden , from 1935 to 1936 at the Technical University in Stuttgart and from 1936 to 1939 with Heinrich Tessenow , a teacher of Albert Speer , at the Technical University in Berlin , where he graduated as Graduated engineer . In 1937 he first visited the World Exhibition in Paris, where he saw a picture by Pablo Picasso for the first time - the picture Guernica painted for the Spanish pavilion - and works by Joan Miró . A visit to the National Socialist propaganda exhibition Degenerate Art in Munich in the same year brought him into contact with modern art before the outbreak of World War II . In 1939 he worked as an architect in Berlin building the Reichsautobahn , was called up as a pioneer in the army in 1941 and was deployed in Russia and southern France. In 1944 he was taken prisoner by the Americans in France , from which he was released in 1946.

Parnass Gallery 1949–1965

After his release from prisoner-of-war, Rolf Jahresling moved to Wuppertal in September 1946 and settled there as an architect. He owed his interest in modern art to the architect Heinz Rasch , who was born in Berlin in 1902 and who worked for Kurt Herberts , who set up the "Studio for New Art" at Döppersberg 24 in 1945 , where around 120 solo exhibitions by living artists and artists up to 1953 Architects were shown. Yearling spent the first post-war Christmas with the architect and painter Franz Krause in a furnished room in a three-story house. A friend who was an attaché at the embassy in Athens christened his room “ Parnassus three stories high”, which is how the name of his gallery, which is also related to the Parisian Montparnasse , was born.

In January 1949 Jahresling founded the Parnass Gallery in his architectural office In der Aue 30 a under the roof of a half-destroyed warehouse, the spectrum of which ranged from architecture, sculpture , stage art and photography to lectures, discussions, happenings and music performances. and stand up for artists like Helen Ashbee, Elfriede Luthe, Paula Modersohn-Becker , Claire Falkenstein, Lil Picard and Nele . In 1950 the gallery moved to the office building built by Rolf Jahresling at Alten Freiheit 16-18. Probably the first penthouse in Germany offered a light-flooded exhibition and work space on the top floor, a promenade-like roof terrace and a built-in studio stage for various productions. In April 1950, Jean-Paul Sartre's Huit Clos (Closed Society) was performed here, directed by Paul Pörtner, and in February 1952 Jean Cocteau's La voix humaine (Beloved Voice) . In 1954, at the Alte Freiheit, Jahrling met his future wife Anneliese (born Schu, 1923–2010), a doctor of dentistry who came to his gallery as a visitor. In 1958 he opened gallery rooms at Gathe 83, moved the gallery to Morianstrasse 14 in 1959 and, when the collector Klaus Gebhard moved from Wuppertal to Munich in 1961, took over his villa at Moltkestrasse 67, where he continued his gallery until 1965.

First exhibitions 1949–1956

At the first exhibitions, Rudolf Jahresling exhibited works by artists of the classical modern era , initially as part of salon exhibitions, including August Macke , Ernst Ludwig Kirchner , Gerhard Marcks , Oskar Schlemmer , Jean Cocteau, Paul Klee , Max Beckmann , Otto Dix and Lovis Corinth , followed by sculptors and painters of his generation. The exhibition program featured abstract art , in particular Tachism , the French École de Paris and German Informel . Important representatives such as Francis Bott , Peter Brüning , Rolf Cavael , Karl Fred Dahmen , Hans Hartung , Gerhard Hoehme , Heinz Kreutz , André Lanskoy , Bernard Schultze , Emil Schumacher , Jaroslaw Serpan , Heinz Trökes , François Willi Wendt and WOLS as well as the sculptor Norbert Kricke exhibited in the Parnass Gallery from 1951. The exhibitions have always been opened by well-known art critics and theorists, including Pierre Restany , Franz Roh , Albert Schulze-Vellinghausen , John Anthony Thwaites , Eduard Trier and the Düsseldorf gallery owner Jean-Pierre Wilhelm . In 1951 the first Le Corbusier exhibition in Germany took place in the Parnass Gallery , and in the following year Jahrling dedicated an architecture exhibition to the architect Ludwig Mies van der Rohe .

Yearling traveled to Paris in 1952 to meet the art dealer Aimé Maeght , whose gallery represented the artist Alexander Calder , and to tell him about his plans for an exhibition with works by Calder, whose “ mobiles ” he had met from an old Life magazine while he was a prisoner of war , to teach. Maeght, not at all enthusiastic, asked the unknown Wuppertal gallery owner how much money he wanted to deposit for the exhibition, to which yearling told him that he had no money, and Maeght replied that nothing would come of it then. When Calder heard about it, he made a huge racket and made sure that Jahresling received 16 “mobiles” from Paris, as a result of which Rolf Jahresling was able to open Alexander Calder's first solo exhibition in Germany on June 5, 1952 in the Parnass Gallery. A year later they met personally at the Darmstadt Talks , and Calder asked him to come to Roxbury, USA , where Calder lived with his family. The three-month travel program was put together by Calder, which yearling used, among other things, to visit the American architecture.

With the help of Wilhelm, who ran Galerie 22, the exhibition Poème Objet took place in 1956 . It contained works by around fifty artists from Germany and France. This exhibition at Galerie Parnass was the first bridge between the abstract and surrealist roots underlying informal art, from artists such as Hans Arp , Max Ernst and Raoul Ubac to the contemporary avant-garde such as Peter Brüning, Albert Fürst , Winfred Gaul and Karl Otto Götz and Gerhard Hoehme.

Small summer party - Après John Cage 1962

Moltkestrasse 67 in Wuppertal-Elberfeld (2008)

The stately Art Nouveau villa of the collector Klaus Gebhard at Moltkestrasse 67 in Wuppertal-Elberfeld, which Rolf and Anneliese Jahresling moved into in December 1961, offered space for the architecture office, the gallery and a private apartment. The landlord was then Mayor Heinz Frowein , who lived in the house next door. With its spacious rooms from the basement to the attic, the villa was the location for the first pre- Fluxus events in Germany. On the occasion of the opening of an exhibition by various sculptors and painters, the Small Summer Festival - Après John Cage was opened on June 9, 1962 , which was the beginning of further Fluxus activities in the Parnass Gallery.

The idea for this summer festival went back to Jean Pierre Wilhelm from the Düsseldorfer Galerie 22 and Nam June Paik , whom the yearling had met a year earlier at Mary Bauermeister and Karlheinz Stockhausen in Cologne, where Paik was involved in the music theater Originale von Stockhausen. About 100 guests took part. Concert pieces by George Maciunas and Benjamin Patterson were performed , in which Carlheinz Caspari, Jed Curtis, George Maciunas, Nam June Paik and Benjamin Patterson appeared as actors. A music stand , paper tubes, children's flutes and a double bass were set up on the steps of the entrance hall of the villa . Patterson, for example, played the piece Variations for double bass by - according to a newspaper reporter who was present in 1962 - “stroking one bow, two bows, pulling a tow rope under the strings, making noises with a knife and fork, hammer and tin foil brings the instrument upside down, sometimes lays down on the floor next to the instrument ”, with Caspari, director at the Theater am Dom , reading the text Neo-Dada in the United States by Maciunas, which was the preliminary manifesto of Fluxus applies. This concert occupies a key position among the Fluxus events, as it was the first public appearance of the American Fluxus founder George Maciunas in Germany.

Exposition of Music - Electronic Television 1963

Exposition of Music - Electronic Television
Nam June Paik, 1963
Photograph by Manfred Montwé
The mannequin in the bathtub
Link to the picture
(Please note copyrights )

In March 1963, a second solo exhibition took place at the Parnass Gallery, which Yearling had offered to the South Korean artist Nam June Paik. Paik took a whole year to prepare two pianos. The exhibition, his first of his own, was entitled Exposition of Music - Electronic Television . In the front door of the villa there was a chopped off ox's head hanging on cords, which had been delivered blood fresh from the slaughterhouse that morning and which, according to Paik, was to be understood as part of a shamanistic ritual that visitors to the exhibition had to go through. In the entrance hall there were four pianos prepared with various utensils and barbed wire, one of which - an Ibach piano - completely unexpected and surprising for the organizers and visitors of the exhibition, in a piano action by Joseph Beuys , who, “dressed like a Pianist in dark gray flannel, black bow tie and hatless ”, had been smashed and beaten with an ax and a pair of shoes on the opening night.

An inverted plaster head hung in the toilet, a mannequin lay with its head under water in the bathtub of the bathroom, and in the hallway, record shashliks , skewers on which different records could be played simultaneously, invited to musical experiments, while “im In a boiler room, tinny sound objects called for acoustic / interactive action. ”In a television room there were thirteen televisions manipulated by Paik, which reproduced distorted images, grids or lines. Beuys was one of the first to recognize this exhibition, which is considered the birth of video art in today's art-historical research , as an important milestone for art and wrote in a letter to Jahrling, dated May 18, 1963, that he had the "wonderful Paiksache [ ...] consider it a historical act and for which "[the yearling]" wants to express "[his]" greatest respect again. "

9-no-décollages 1963

9-no-décollages
Wolf Vostell, 1963
Photograph
at the Wuppertal-Vohwinkel marshalling yard
Link to the picture
(please note copyrights )

Rolf Jahresling arranged an exhibition of his décollages with Wolf Vostell , who regularly visited the exhibition openings of the Parnass Gallery around 1962 . The opening of the exhibition was planned for September 14, 1963, with a six-hour happening entitled 9-No-Décollages . Vostell planned to organize the happening in the form of a four-hour bus trip to nine different locations in Wuppertal, and provided for the deployment of police officers to safeguard the intended impact of two steam locomotives on a Mercedes-Benz.

For this project, Rolf Jahresling had to use his contacts to the city of Wuppertal and wrote a letter to his Rotary friend Friedrich Laemmerhold, the president of the Wuppertal Federal Railway Directorate, who approved the happening on a disused site of the Deutsche Bundesbahn. Since Vostell stipulated that all intersections could only be crossed when there was a red light, Wuppertal's Mayor Heinz Frowein asked for a police escort to accompany the bus tour. In addition, the participants of the happening - the guests - were locked in a dimly lit lattice cage in the factory building of a weaving mill, and an artificial “watchdog” simulated a threatening situation in life. The Vostell exhibition with 71 works opened at 10 p.m. after the exhausted guests got off their buses. Vostell, who used his idea of ​​décollage to commemorate Auschwitz , showed, among other things, his installation Cycle The Black Room from 1958, a pitch- black room in which three of his décollage assemblages were placed on plinths. The only sources of light were the headlight attached to the foot of Auschwitz Headlight 568 , a relic from that same death camp, and the television integrated into the German view . Treblinka , the third assemblage, showed, among other things, a part of a motorcycle, a transistor radio and a film that had been found in a cannibalized camera.

Front garden exhibition 1964

At the beginning of 1964, the Capitalist Realism group asked yearlings “if they could show their things.” They could, and a little later the members were standing in front of the front door with a small van with a tarpaulin . Konrad Fischer-Lueg , Gerhard Richter , Sigmar Polke and Manfred Kuttner , at that time still students at the Düsseldorf Art Academy , had leaned their partly large-format works on the house wall and the trees and bushes in the snow-covered front garden.

Gerhard Richter, Sigmar Polke and Konrad Lueg received their actual exhibition, entitled New Realists , on November 20, 1964, but without the participation of Manfred Kuttner. The exhibition comprised large-format works such as the bomber and the stag von Richter, the tennis player von Polke and the soccer player from Konrad Lueg. Richter's work Helen , conceived as a diptych , was shown in one version. During the exhibition, Gerhard Richter received an order from the collector Fänn Schniewind to portray her husband.

24-hour happening 1965

On June 5, 1965, at an unusual time of day, the so-called 24-hour happening , beginning at midnight and ending at midnight, took place and exceeded all previous events at the Parnassus Gallery in intensity. The artists Joseph Beuys , Bazon Brock , Charlotte Moorman , Nam June Paik , Eckart Rahn, Tomas Schmit and Wolf Vostell spread out into the different rooms of the villa, the floor plan of which can be seen on the event poster - different actions took place everywhere.

Wolf Vostell's action, entitled The Consequences of the Emergency Acts, consisted of lying on the floor sticking pins into the raw meat and offal lying around him. Then, wearing a gas mask , he sat in a glass case with powdered flour and a vacuum cleaner. Students from the Werkkunstschule Wuppertal sat in a cage frame made of wooden slats, draped with pieces of meat and chewing on pieces of meat.

24-hour happening
Joseph Beuys, Wenzel Beuys, 1965
Photograph by Hanns Sohm
Link to the picture
(please note copyrights )

Joseph Beuys was the only one who carried out his action over the entire length of 24 hours with the title and in us ... among us ... landunter in an approximately forty square meter room called "Atelier", with minimal movements on an orange box that was covered with a white oilcloth , crouched or lay. Occasionally, without leaving the box, he reached out for objects - including a tape recorder , record player , loudspeaker , a zinc box of grease, an alarm clock, two stopwatches, and his son's small boxing gloves - some of which were out of his reach. Again and again he held his head in a floating situation just above a fat wedge or let his feet float just above the ground and sporadically took one of the two two-handled spades he had made - common spades -   each rammed into a board and held it in front of his Vest.

Bazon Brock, the man of letters among the Actionists, exhibited everyday objects that he had collected in the yearling household as traces of life and stood upside down in the window of a slowly rotating disk, behind which there was another, fixed disk every 15 minutes a new letter appeared and then disappeared again. After the 24 hours had elapsed, the letters formed the text “According to experimental results, one gram of cobra poison kills 83 dogs, 715 rats, 330 rabbits or 134 people”.

Eckart Rahn played a kind of noise music with loudspeakers, microphone , monotonously played recorder and double bass , and Thomas Schmit had set up 24 buckets in a circle in his action without an audience and occupied himself with pouring the existing water from a water bucket until the existing water disappeared was. The action was interrupted as soon as the audience entered the room.

24-hour happening
Nam June Paik, Charlotte Moorman, 1965
Photograph by Hanns Sohm
Staatsgalerie Stuttgart
Link to the picture
(please note copyrights )

The concert by Nam June Paik and Charlotte Moorman, who played pieces by John Cage , Morton Feldman , La Monte Young and Ludwig van Beethoven , caused a sensation . Moorman, who was only dressed in a transparent cellophane dress and played the cello , dipped into a water bath every now and then to continue playing soaking wet, destroyed a mirror and stroked her cello as if in a trance, only to treat it the next moment. Meanwhile, Nam June Paik seemed to have fallen asleep on the keys of his piano. The next morning his remote-controlled robot K-456 , a man-high figure made of wood and wire with female features, made its first public appearance in Europe on Moltkestrasse in Robot Opera . He could speak, move, shake his head, his arms and hands separated and - what was particularly important to Paik - move his breasts one by one, even digest them by excreting beans . As the first non-human action artist, he should be used in all future street actions.

The following day Eva and Joseph Beuys appeared to help Rolf and Anneliese Jahresling to clean up the villa. Wolf Vostell's pieces of meat and offal that were lying around in the garden were buried, and Stella Baum gave Jacutin -Fogetten, an incense against storage pests and other vermin such as bed bugs and flies in rooms.

Since Rolf and Anneliese Jahresling had decided in 1965 to travel through Africa in a VW bus, they said goodbye with a final lavish party and the announcement that they would open an architecture office with an attached gallery for European-African art exchange in Kenya . The Parnass Gallery, which had existed since 1949, was dissolved in September 1965 after almost 17 years of gallery activity.

Publication "24 hours"

The gallery owner Rolf Jahresling and Ute Klophaus , who documented the 24-hour happening photographically, were declared by the actors to be co-authors and participants in the action after this happening. In the same year, the book object 24 hours , published by the publisher Margot Hansen, was published by Verlag Hansen & Hansen, Itzehoe -Vosskate . It contains, partly on two integrated leporellos , photographs by Ute Klophaus, notes and texts by the actors, such as Das Mittelwort by Rolf Jahresling, Charlotte Moorman's cello , the energy plan by Joseph Beuys and Pensée 1965 by Nam June Paik, which deals with cybernetics and drugs reasoned and prophesied the victory of conceptual art over popular mass art. Bazon Brock's longer text over 24 hours in Wuppertal June 5, 65 records events and feelings during the action and, in view of the attention, notes: "At Vostell 5 people, at Beuys, none at my place." He also describes how at lunchtime " until 1 p.m. ”“ Wenzel ”, the son of Joseph Beuys,“ as visible as the only one ”surrenders to his“ told story ”. In addition, the book object contains a square cut-out in the rear part over several pages, in which a plastic bag by Wolf Vostell filled with flour is clamped. If you remove the little bag, the addition: "occupy yourself / 24 hours / with flour" appears in the now free window.

Africa and the last few years

After Rolf and Anneliese Jahresling traveled through twelve African countries in a VW bus from 1965 to 1966, Jahrling worked in Addis Ababa from 1968 to 1974 as an architect and "Planning Adviser" at the Economic Commission for Africa for the United Nations . During this time he deliberately collected Ethiopian folk painting. He bought the works from dealers in the markets without, in most cases, being able to come into direct contact with the artists. Works from the Africa collection Jahresling were shown in 1979 at the exhibition Modern Art from Africa , which on the occasion of the festival Horizonte - Festival of World Cultures at the Berlin Festival showed works by artists such as Cheri Samba, Twin Seven Seven and others for the first time. The cover of the novel The Thirteenth Sun by Daniachew Worku, published in 1981 by Philipp Reclam jun. in Leipzig, using the painting Living and Working in the Country by Tilahun Mammo from the Jahresling collection.

At the same time, Anneliese Jahresling, who had come to modern art through her husband, began to produce textile sculptures of various sizes in Addis Ababa using the crochet technique . In December 1970, the Goethe Institute in Addis Ababa dedicated a first exhibition to crochet work in its building under the title Dancer . The printed catalogs were all crocheted up by Anneliese Jahresling.

After his return from Addis Ababa in 1975, Rolf Geschäftsling lived in seclusion until his death in 1991, but with a keen interest in art in Weidingen in the Eifel . After the death of her husband, Anneliese Jahresling moved to her family in Cologne, where she died on June 1, 2010. Since 1994 the archive of the Parnass Gallery has been in the holdings of the Central Archives of the International Art Trade .

Collection of Rolf and Anneliese Jahresling

With the founding of the Parnass Gallery in 1949, Rolf Jahresling began collecting. Together with his wife Anneliese Jahresling, works by Alexander Calder , Emil Schumacher , Bernard Schultze , Heinz Trökes , Gerhard Hoehme , Peter Brüning , Heinz Kreutz , Raoul Ubac , Wolf Vostell and others were acquired. Large parts of the collection are now in the Von der Heydt Museum in Wuppertal, such as the Mobile / Stabile by Calder from 1952, Schumacher's Lichtes Feld from 1955, Schulzes In Memoriam Altdorfer , created around 1949, the Little Hymn to Blau by Hoehme from 1956, a crucifix from 1946 by Ubac or Vostell's Cobaleleda from 1958. The couple also collected works by Werner Schriefers , Johannes Geccelli and Hans Platschek . The yearling Africa collection , which was brought together after 1965, contained works of African, primarily Ethiopian folk art.

reception

On May 31, 1982, the exhibition “Meeting Point Parnass Wuppertal 1949–1965” took place in the Art and Museum Association Wuppertal in the Von der Heydt Museum . It was conceived as a homage to the work of the Parnass Gallery; At the opening, in addition to many visitors, several companions appeared, including Bazon Brock, Joseph Beuys and Nam June Paik, who had already been there at the 24-hour happening .

In the spring of 2009 the Von der Heydt Museum repeated its reminiscence of the Parnass Gallery and paid tribute to the gallery's decisive impulses for the post-war period and the commitment of private collectors to the exhibition “Private - Wuppertal Collectors of the Present”. Works from the collection of Rolf and Anneliese Jahresling were exhibited, as well as the collections of Stella and Gustav Adolf Baum, the collections of Jürgen and Hildegard Holze, Bazon Brock as well as Hans-Georg Lobeck and Christian Boros .

plant

Editions

  • Micro-Macro. eight novographies by Heinz Trökes on poems by Alain Bouquet , Galerie Edition Parnass, Wuppertal 1957
  • André Frénaud : The Herberge Im Heiligtum and other poems , (German by Paul Pörtner), Parnass Gallery, Wuppertal 1959
  • Will Grohmann : Alcopley - Voies et Traces No. 5 , Panass Gallery, Wuppertal 1961
  • Armin Sandig : landscapes & seascapes. or how nature imitates me Five etchings with a foreword by Will Grohmann, Galerie Panass, Wuppertal 1962
  • Franz Roh : Metamorphoses. Representative collages . Catalog, Parnass Gallery, Wuppertal 1963

Residential buildings

Industrial buildings and office buildings

  • 1958: Hatzfelder Straße 165 , Wuppertal-Hatzfeld ; Office building, client: Ernst Pott, machine factory
  • 1960/61: Giebel 30 , Beckamp bread factory, Wuppertal-Varresbeck ; with office building, workshops, residential building for guest workers
  • 1962: Kolk 29 , Albert Zeisler car dealership, Wuppertal-Vohwinkel ; with 36 meters of shop window front

literature

  • 24 hours . Beuys, Brock, yearling, Klophaus, Moorman, Paik, Rahn, Schmit, Vostell. Hansen & Hansen, Itzehoe-Vosskate, 1965.
  • Helga Behn: Sincerely, Max. Artist mail from the ZADIK's holdings . Verlag für Moderne Kunst Nürnberg, publisher Central Archive of the International Art Trade e. V. ZADIK, Cologne 2010, ISBN 978-3-86984-137-3
  • Bogomir Ecker , Annette Tietenberg (eds.): »24 STUNDEN« in photographs by Bodo Niederprüm , Wunderhorn , Heidelberg 2016, ISBN 978-3-88423-538-6
  • Gerhard Finckh , Antje Birthälmer (ed.): »Private«. Contemporary Wuppertal collectors in the Von der Heydt Museum . From the Heydt Museum, Wuppertal 2009, ISBN 978-3-89202-073-8
  • Ruth Meyer-Kahrweg : Architects, civil engineers, builders, property developers and their buildings in Wuppertal . Pies, Sprockhövel 2003, ISBN 3-928441-52-3
  • Sabine Schütz: Interview with Rolf Jahresling . In: Hans M. Schmidt , Klaus Honnef : From the rubble: Art and culture in the Rhineland and Westphalia 1945–1952 . Rheinland-Verlag, Cologne 1985, ISBN 978-3-7927-0871-2 , p. 505
  • The theater is on the street. Wolf Vostell's happenings . Catalog of the Museum Morsbroich, Leverkusen for the exhibition 2010. Kerber, Bielefeld 2010, ISBN 978-3-86678-431-4
  • Alfons W. Biermann: Meeting Point Parnass Wuppertal, 1949–1965 , Issue 11 of the publications of the Rheinisches Museumamt, Rheinland-Verlag, 1980

Web links

Individual evidence

  1. ↑ a b c Ruth Meyer-Kahrweg: Architects, civil engineers, builders, property developers and their buildings in Wuppertal , Pies, Sprockhövel 2003, p. 244
  2. ^ Rolf Jahresling: Galerie Parnass, Wuppertal . In: Gerhard Finckh, Antje Birthälmer (Ed.): »Private«. Contemporary Wuppertal collectors in the Von der Heydt Museum , p. 37
  3. ^ A b Antje Birthälmer: »Private«. Contemporary Wuppertal collectors in the Von der Heydt Museum. The art of inner participation. In: Gerhard Finckh, Antje Birthälmer (Ed.), P. 14
  4. ^ Rolf Jahresling: Galerie Parnass, Wuppertal . In: Gerhard Finckh, Antje Birthälmer (Ed.), P. 38
  5. ↑ a b Brigitte Jacobs van Renswou: Rendez-vous on Mount Parnassus. Pioneering work for the avant-garde . In: Gerhard Finckh, Antje Birthälmer (Ed.), P. 25
  6. ↑ a b Annette Tietenberg : Tomorrow was approaching , and the 'end of something' was far from in sight. In: Bogomir Ecker , Annette Tietenberg (eds.): »24 STUNDEN« in photographs by Bodo Niederprüm , Wunderhorn, Heidelberg 2016, p. 15
  7. ^ Karl Ruhrberg (ed.): Zeitzeichen. Stations in fine arts in North Rhine-Westphalia. DuMont, Cologne 1989, ISBN 3-7701-2314-X , pp. 458, 462
  8. ↑ a b Brigitte Jacobs van Renswou in: Gerhard Finckh, Antje Birthälmer (ed.), P. 27
  9. ↑ Brigitte Jacobs van Renswou in: Gerhard Finckh, Antje Birthälmer (ed.), P. 26
  10. ↑ Brigitte Jacobs van Renswou: In the beginning there was nothing. www.faz.net April 24, 2010, accessed July 8, 2011
  11. ↑ Brigitte Jacobs van Renswou in: Gerhard Finckh, Antje Birthälmer (ed.), P. 28
  12. ↑ Brigitte Jacobs van Renswou in: Gerhard Finckh, Antje Birthälmer (ed.), P. 28 f.
  13. ^ NN: Summer party with Dada . In: Neue Ruhr Zeitung , June 12, 1962; quoted according to Brigitte Jacobs van Renswou in: Gerhard Finckh, Antje Birthälmer (eds.), p. 28
  14. ^ Susanne Rennert: Chronology (1958–1968) . In: sediment. Announcements on the history of the art trade, Nam June Paik's early years in the Rhineland , Zentralarchiv des Internationale Kunsthandels e. V. ZADIK, Issue 9, 2005, Verlag für Moderne Kunst Nürnberg, Cologne 2005, ISBN 978-3-938821-28-2 , p. 34
  15. ↑ Joseph Beuys, in: Uwe M. Schneede: Joseph Beuys. The actions. Annotated catalog raisonné with photographic documentation . Verlag Gerd Hatje, Ostfildern-Ruit, ISBN 3-7757-0450-7 , p. 36
  16. ↑ This is the pair of shoes that Joseph Beuys called "Fluxus shoes".
  17. ↑ Uwe M. Schneede: Joseph Beuys. The actions. Annotated catalog raisonné with photographic documentation , p. 36
  18. ^ Anne Rodler: Nam June Paik. Exposition of Music - Electronic Television . In: Renate Buschmann, Stephan von Wiese (eds.): Writing photos of art history , museum kunst palast, Düsseldorf 2007, ISBN 978-3-8321-9058-3 , p. 88
  19. ↑ a b c Brigitte Jacobs van Renswou in: Gerhard Finckh, Antje Birthälmer (ed.), P. 30
  20. ^ Beat Wismer, Christoph Grunenberg: Foreword . In: Susanne Rennert, Sook-Kyung Lee (Eds.): Nam June Paik , museum kunst palast, Düsseldorf and Tate Liverpool, Hatje Cantz, Ostfildern 2010, ISBN 978-3-7757-2664-1 , p. 10
  21. ^ Rolf Jahresling: Interview with Stella Baum. The early years. Conversation with gallery owners . In: Kunstforum International, Vol. 104, November / December 1989, p. 221
  22. ↑ Richard Langston: The Art of Barbarism and Suffering . In: Stephanie Barron, Sabine Eckmann (Ed.): Art and Cold War. German positions 1945–1989 , Los Angeles County Museum of Art, Germanisches Nationalmuseum Nürnberg, Deutsches Historisches Museum Berlin, Dumont, 2009, ISBN 978-3-8321-9145-0 , p. 251
  23. ^ Rolf Jahresling: Interview with Stella Baum. The early years. Conversation with gallery owners . In: Kunstforum International, p. 224
  24. ↑ a b Brigitte Jacobs van Renswou in: Gerhard Finckh, Antje Birthälmer (ed.), P. 31
  25. ↑ Poster 24-hours , hdg.de, accessed on February 26, 2011
  26. ↑ a b c d Brigitte Jacobs van Renswou in: Gerhard Finckh, Antje Birthälmer (ed.), P. 31 f.
  27. ↑ The theater is on the street , The Happenings by Wolf Vostell . Museum Morsbroich Leverkusen. Kerber Verlag, 2010, ISBN 978-3-86678-431-4 .
  28. ↑ a b Uwe M. Schneede, p. 84
  29. ↑ Götz Adriani, Winfried Konnertz , Karin Thomas: Joseph Beuys . DuMont, Cologne 1994, ISBN 3-7701-3321-8 , p. 71
  30. ↑ Götz Adriani, Winfried Konnertz, Karin Thomas: Joseph Beuys , Cologne 1994, p. 72
  31. ↑ For the name of the robot, Nam June Paik chose the designation “K 456” from the Köchel catalog of the catalog raisonné by Wolfgang Amadeus Mozart , whereby the number 456 denotes the piano concerto No. 18 , composed for Maria Theresia Paradis . See Wulf Herzogenrath : More than painting. From Bauhaus to video sculpture . Lindinger + Schmid, Regensburg 1994, ISBN 3-929970-10-4 , p. 309 f. and Wolfgang Amadeus Mozart (1756–1791): Piano Concerto No. 18 , www.klassika.info, accessed on August 18, 2011
  32. ^ Susanne Rennert: Chronology (1958–1968) . In: sediment. Announcements on the history of the art trade, Nam June Paik's early years in the Rhineland , Zentralarchiv des Internationale Kunsthandels e. V. ZADIK, issue 9, 2005, p. 36
  33. ^ Wulf Herzogenrath: More than painting. From Bauhaus to Video Sculpture , Regensburg 1994, p. 309
  34. ^ Otto-Albrecht Neumüller : Römpps Chemie-Lexikon . Franckh'sche Verlagshandlung, 7. neubearb. and exp. Aufl., Stuttgart 1973, Volume 3: ISBN 3-440-03853-X , p. 1658 Jacutin .
  35. ↑ Anneliese Jahresling in conversation with Brigitte Jacobs van Renswouw on January 19, 2009 . In: sediment. Communications on the history of the art trade, Joseph Beuys. We enter the art market , central archive of the international art trade e. V. ZADIK, Issue 16, 2009, Verlag für Moderne Kunst Nürnberg, ISBN 978-3-941185-15-9 , p. 45
  36. ↑ Brigitte Jacobs van Renswou and Rolf Jahresling in: Gerhard Finckh, Antje Birthälmer (eds.), Pp. 31, 44, 87
  37. ^ The work of art , Volume 19, Agis-Verlag, Baden-Baden, 1965
  38. ↑ Brigitte Jacobs van Renswou in: Gerhard Finckh, Antje Birthälmer (ed.), P. 331
  39. ↑ Bernd Evers: The legibility of art. Books - manifestos - documents , art library, national museums in Berlin - Prussian cultural heritage, nicolai, ISBN 3-87584-873-X , p. 194
  40. ↑ Some of the quotations are taken from the book “24 Hours”.
  41. ↑ Ruth Meyer-Kahrweg: Architects, civil engineers, builders, property developers and their buildings in Wuppertal , Sprockhövel 2003, p. 245
  42. ^ Sabine Hollburg, Gereon Sievernich: Modern Art from Africa: Horizons '79 , 1st Festival of World Cultures, Berlin. Berliner Festspiele GmbH, Berlin 1979, ISBN 3-922351-00-X , p. 36
  43. ↑ Euro-African crochet sculpture . In: Afrika heute , issues 5 to 24, Deutsche Afrika-Gesellschaft, 1971, p. 54 ff.
  44. ^ Rolf Jahresling in: Gerhard Finckh, Antje Birthälmer (ed.), P. 42
  45. ↑ Helga Behn: portrait. The Parnass Gallery in Wuppertal . In: Helga Behn: Sincerely, your Max. Artists' mail from the ZADIK holdings . Verlag für Moderne Kunst Nürnberg, publisher Central Archive of the International Art Trade e. V. ZADIK, Cologne 2010, p. 112
  46. ↑ Gerhard Finckh, Antje Birthälmer (Ed.), Pp. 73 ff.
  47. ↑ Gabriele Uelsberg, Gabriele Teuteberg: Africa in the Ludwig Forum: Sketches of a project: August 19 , 1993– January 23 , 1994 , Ludwig Forum for International Art, Aachen 1993, ISBN 978-3-929292-17-6 , p. 41
  48. ^ Ute Klophaus: Meeting Point Parnass Wuppertal 1949–1965 , www.antiquariat.de, accessed on July 29, 2011
  49. ↑ Quoted from Weblink It all started with Parnassus ... , Musenblätter March 2009
  50. ↑ 24 hours . Publication, 1965 .
  51. ^ Rainer K. Wick: The theater is on the street , www.musenblaetter.de, July 14, 2010, accessed on July 10, 2011

Illustrations

  1. ↑ Alexander Calder: View into the Mobile Exhibition 1952 ( Memento from October 29, 2013 in the Internet Archive ), June 1952
  2. ↑ Wolf Vostell: German outlook from the cycle The Black Room , 1958–1963
  3. ^ Gerhard Richter: Bomber , 1963
  4. ^ Gerhard Richter: Hirsch , 1963
  5. ^ Konrad Richter-Lueg: Football player ( memento from October 29, 2013 in the Internet Archive ), 1963
  6. ↑ Nam June Paik: K-456 , 1965
This article was added to the list of excellent articles on August 31, 2011 in this version .
personal data
SURNAME Yearling, Rolf
ALTERNATIVE NAMES Yearling, Rudolf Wolfgang (full name)
BRIEF DESCRIPTION German architect and gallery owner
DATE OF BIRTH October 27, 1913
PLACE OF BIRTH Hamburg
DATE OF DEATH 5th July 1991
Place of death Weidingen