Tim Eitel

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Tim Eitel (* 1971 in Leonberg ) is a German painter . He is considered a representative of the so-called New Leipzig School .

life and work

Tim Eitel studied Romance studies , German studies and philosophy in Stuttgart for a few semesters before moving to Halle , where he studied fine arts for two years at the Burg Giebichenstein University of Art and Design . From 1997 to 2001 Eitel studied at the Leipzig College of Graphics and Book Art . Until 2003 he was a master student with Arno Rink and in 2002 co-founder of the producer gallery Liga in Berlin , which was supported by eleven former students of the HGB, including Christoph Ruckhäberle , David Schnell , Matthias Weischer and Tom Fabritius . For the exhibitions of this heterogeneous group of artists, the press formed the term “New Leipzig School” (NLS) in 2002. The producer gallery league disbanded in 2004 after two years of existence.

Tim Eitel lived and worked in Leipzig and Berlin before moving to Los Angeles , New York and then to Paris . His work is committed to realism and romanticism .

Artistic expression

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Eitel's pictures essentially consist of monochrome color areas and color contrasts . Most of the time, individual figures are photographed precisely in space. This ultra-realistic image can be seen in the Hamburg factory (2003), where a woman can be seen from behind, her blonde hair tied together and light anorak giving the impression that Eitel had really “painted” a photograph here. When Eitel depicts interiors, the figures depicted wear modern clothing and move in modern spaces; Quite often these interiors are the exhibition halls of art museums. The figures look at pictures (for example by Mondrian , whom Eitel quotes in several works with a picture-in-picture stylistic device).

After a first photographic or photorealistic impression, numerous traces of the medium of painting become visible on closer inspection: In an early work such as Sailor Moon / Chibi (2001), "brush marks, overpainting - as if the artist had had trouble painting a smooth surface ". According to Sara Tröster Klemm, they are elements of pure painting . In the years between 2000 and 2005 in particular, Tim Eitel decided to make the medium of the image - painting - clearly visible. Eitel's pronounced self-reflexivity of the medium includes incongruities in the representation of the space, hidden elements of geometric abstraction in realistic scenarios: this means that his works appear simple and clear on the surface, but contradictions increasingly emerge on closer inspection.

The question of whether Eitel's pictures are really as “clear and straightforward” as he himself put it - but also immediately denied it is almost unnecessary. The reviews are very different with him. He is discussed as a controversial artist whose opinions are divided, which is a quality feature in itself: In 2007 the magazine The New Yorker published a humorous "recipe" review in which Eitel's style was presented as transparent and easy to imitate. On the other hand, Jonathan TD Neil enthused in ArtReview magazine, almost electrified, that Eitel is possibly the best living painter ever. Neil is the director of the Sotheby's Institute of Art in Los Angeles at this point.

His museum pictures, which he created at the very beginning of his career as a painter, are always “an intensive examination of the medium of painting at a time (...) in which painting was declared dead, in which it stood out in relation to others and newer media had to reposition. ”At the turn of the millennium, this topic was again highly topical. To this day, there is a discussion at art schools as to whether painting is still contemporary in the age of multimedia and computer art.

So far, the investigative has not necessarily been assigned to the visual arts. The artist himself described his work “as critical in the philosophical sense of the word. As an investigation. ”This mixes a conceptual aspect into his painting: Tim Eitel's range of motifs and imagery developed from hip museum visitors and intellectual picture viewers to homeless people, Sinti, Roma and Occupy activists. To a great extent it reflects the medium of painting and the role of the viewer.

Vain was mainly related to artists such as Caspar David Friedrich , Mondrian , Edward Hopper and Alex Katz . For the first time, Tröster Klemm shows his deep roots in the old Dutch and Baroque painting tradition, as well as in conceptual photography with a focus on Thomas Struth's series of "Museum Photographs". With these changes, new layers of thought opened up again and again. The dramatic darkening of the pictures, for example, ran parallel to Tim Eitel's move to the USA.

Pictures in pictures represent one aspect of his work. The art historian Wolfgang Kemp dealt extensively with their meaning. Eitel referred among others to Mondrian , Barnett Newman and Thomas Struth , indirectly also to Géricault . Fundamental painterly questions about the relationship between figure, space and surface as well as the institutionalization of art are important motifs for the artist.

Eitel's so-called “photo sketch” occupies a place in his work process or in the initial phase of every painting. This leads to the examination of the self-assertion of figurative painting in the field of tension between abstraction, photography and the new media. The role of painting in the media age is discussed. Eitel's painting can also be seen as a commentary on the flood of images in the media in dialogue with current visual science around Gottfried Boehm .

Eitel's perception and representation of the ambivalent relationship between modern man and nature is special. In the field of tension between nature and culture, civilization appears as a foreign body in a natural environment. Baudelaire's “Le peintre de la vie modern” is received by Eitel. Not only does Eitel's concern with German Romanticism stand out, but also with Edouard Manet . Another theme that comes into play here is the social and societal aspect of Eitel's painting, the lack of communication within his pictures and the function and meaning of the stage metaphor.

A large part of Eitel's work is devoted to the darker side of the American dream. Eitel's depictions of existential misery are linked with art theoretical writings on still life and genre. Lessing's “Laocoon”, Pliny’s concept of rhyparography and Michalski’s “aesthetic limit” are alleged to undermine the frequent criticism of Eitel’s images of misery. Homelessness as the most extreme form of poverty as a subject in art raises the question of social criticism and social analysis in painting. The portrayal of poverty and misery in art history is treated with particular reference to Gustave Courbet, Edouard Manet and Duane Hanson, as well as to socially critical photography. Edward Hopper , who has been associated with vain time and again, is discussed with regard to the loneliness and melancholy in both art. In addition to the contextualization with the Dutch genre and still life painting of the 17th century, Eitel's deserted pictures are also associated with the Calvinist ban on images of the early modern period. With the depiction of Roma, hunger strikers, homeless people and Occupy activists, Eitel devoted himself to the “urban nomads”, whose reality and temporary architecture he captured in the picture. This results in correspondence with installation and conceptual artists such as Thomas Hirschhorn or Jan de Cock. The gray and black tones are related to the paintings of Gustave Courbet , Max Beckmann and Ad Reinhardt , among others . With regard to the narration and format in Eitel's pictures, the writings of Roland Barthes , Michail Bachtin , Norman Bryson and Mieke Bal seem particularly relevant.

Awards

Exhibitions (selection)

  • 2000: "Spring Collection", Ulm Artists' Guild
  • 2001: "the erotic exhibition", Rainer Wehr Gallery, Stuttgart
  • 2002: “5 out of 11”, LIGA Gallery, Berlin; “Landnahme”, EIGEN + ART gallery, Leipzig
  • 2003: “seven painting”, Museum of Fine Arts , Leipzig
  • 2004: "Tim Eitel - Terrain", Museum zu Allerheiligen , Schaffhausen
  • 2005: "PORTRAIT", Galerie Eigen + Art, Berlin
  • 2006: “Made in Leipzig. Pictures from a City ”, Essl Museum - Contemporary Art, Klosterneuburg / Vienna
  • 2008: "The Residents", Kunsthalle Tübingen and Kunsthalle Kiel
  • 2009: “BRAND NEW. Acquisitions 2007–2008 ”, Essl Museum - Contemporary Art, Klosterneuburg / Vienna
  • 2010: "Message to home", Galerie Eigen + Art, Berlin
  • 2010: "Touched", Liverpool Biennale
  • 2010: "If not in this period of time - Contemporary German Painting", Museu de Arte de Sao Paulo
  • 2011: “The Placeholders”, Hakgojae Gallery, Seoul
  • 2013: "Elsewhere", Rochester Art Center, Rochester, USA
  • 2013: “Visitors”, Essl Museum - Contemporary Art, Klosterneuburg / Vienna
  • 2014: "Sun and Fog", Galerie Eigen + Art, Berlin
  • 2015: "Tomorrow. 2 Seconds Later ”, Jousse Entreprise Gallery, Paris
  • 2015: "German Art after 1960", Essl Museum - Contemporary Art, Klosterneuburg / Vienna
  • 2015: "GRAY WOULD BE THE COLOR, IF I HAD A HEART", Marc Straus, NY
  • 2016: "With the past, I have nothing to do", solo exhibition, Galerie Eigen + Art, Berlin
  • 2019: “Open Walls”, solo exhibition, Museum of Fine Arts , Leipzig

literature

  • Markus Stegmann (Ed.): Tim Eitel. Terrain. Exhibition cat. Museum zu Allerheiligen / Kunstverein Schaffhausen, Center Rhénan d'Art Contemporain Alsace, Altkirch and Gallery of the City of Backnang, Berlin 2004.
  • Ralf Hanselle: "There is no more subculture". Interview with Tim Eitel. In: Cicero. Magazine for Political Culture, No. 7, 2013, pp. 118–119. http://www.cicero.de/salon/tim-eitel-im-gespraech-die-reine-praesenz/55696
  • Martin Hellmold, Dirk Luckow (Eds.): Tim Eitel. The residents. Catalog publication on the occasion of the exhibition in the Kunsthalle Tübingen , Ostfildern: Hatje Cantz Verlag, 2008.
  • Shannon Fitzgerald (Ed.): Tim Eitel. Elsewhere. Exhibition cat. Rochester Art Center, USA, January 20 to April 28, Rochester 2013.
  • Mara Hoberman: Non-places. In: Edition Essl Collection (Ed.): Tim Eitel. Visitor , exhibition cat. Essl Museum - Art of the Present, Klosterneuburg / Vienna, June 5 to September 15, Vienna 2013, pp. 69–71.
  • Niklas Maak : In the land of the hanging heads. Elegies in oil: the artists of the New Leipzig School paint the depression of the Germans, and the world loves them for it. In: FAZ, March 20, 2005, p. 25.
  • Niklas Maak : Manufactum on canvas. To the widespread success of figurative painting. In: Texte zur Kunst, vol. 19, no. 77, 2010, pp. 58–65.
  • Edition Essl Collection (Ed.): Tim Eitel. Visitors. Exhibition cat. Essl Museum - Contemporary Art, Klosterneuburg / Vienna, June 5 to September 15, Vienna 2013.
  • Sara Tröster Klemm : Tim Eitel. The investigative picture. Levels of reflection in his painting , Univ.-Diss. TU Dresden 2014, Berlin : Gebr. Mann Verlag, 2015.
  • Sara Tröster Klemm : "Straightforward". Tim Eitel's museum pictures between comics and complexity. In: Leipziger Blätter, No. 67, Kulturstiftung Leipzig, Leipzig : Passage Verlag, 2015, pp. 61–63.
  • Helmut Ziegler: studio visit. Tim Eitel. In: Die Zeit, No. 36, August 30, 2007, p. M40: http://www.zeit.de/2007/36/Tim_Eitel .

Web links

Individual evidence

  1. ↑ League gallery website
  2. ↑ Melanie Jordan, Malcolm Miles: Art and theory after socialism. Intellekt Books, 2008, ISBN 978-1-84150-211-3 , pp. 16 f.
  3. ↑ Sara Tröster Klemm , Tim Eitel. The investigative image , Berlin: Gebr. Mann Verlag, 2015, p. 11.
  4. ↑ Sebastian Preuss: Cool dreams of the blue flower. A discovery: Tim Eitel in Galerie Liga. In: Berliner Zeitung, Jan. 2, 2003, p. 14.
  5. ↑ Tim Eitel, in: PaceWildenstein New York (ed.), Tim Eitel. Invisible Forces, exh. Cat., November 6 to December 5, Rhode Island 2009, p. 45.
  6. ↑ "Take any mundane human scene (...) and remove it from its surroundings. Now place the figures in a dark, gray scale environment. The results could be architectural or vaguely apocalyptic. (...) There's not much here to engender great excitement. ”Anonymous, Galleries-Chelsea. Tim Eitel, in: The New Yorker, Jan. 22, 2007, p. 16.
  7. ↑ JTD Neil, A Pair of Openings, in: ArtReview, No. 1 (2007), p. 115: "Eitel may be the best young painter working today."
  8. ↑ Sara Tröster Klemm, Tim Eitel. Das investigative Bild, Berlin 2015, p. 257, also pp. 54–77 and pp. 103–112.
  9. ↑ Sara Tröster Klemm, Tim Eitel. Das investigative Bild, Berlin 2015, pp. 73–75.
  10. ^ Sara Tröster Klemm, "Straightforward". Tim Eitel's museum pictures between comics and complexity, in: Leipziger Blätter 67, Kulturstiftung Leipzig, autumn 2015, pp. 61–63.
  11. ↑ Helmut Ziegler, studio visit with Tim Eitel, in: ZEITmagazin Leben, No. 36 (2007), p. 42.
  12. ↑ Sara Tröster Klemm, Tim Eitel. The investigative picture. Levels of reflection in his painting , Berlin: Gebr. Mann Verlag, 2015.
  13. ↑ Sara Tröster Klemm, Tim Eitel. The investigative picture. Levels of reflection in his painting , Berlin: Gebr. Mann Verlag, 2015, pp. 31–101.
  14. ^ Sara Tröster Klemm: Tim Eitel. The investigative picture. Levels of reflection in his painting. Berlin: Gebr. Mann Verlag, 2015, pp. 73–75.
  15. ↑ Gottfried Boehm (Ed.): What is a picture? Munich: Fink, 1994, pp. 11-38.
  16. ^ Daniel Kunitz: One Serious Character. Leipzig, apparently, was too small town for Tim Eitel. In: ArtReview, No. 7, 2006, pp. 72-77.
  17. ^ Sara Tröster Klemm: Tim Eitel. The investigative picture. Levels of reflection in his painting. Berlin: Gebr. Mann Verlag, 2015, pp. 157–160, 195, 215.
  18. ↑ Sara Tröster Klemm, Tim Eitel. The investigative image , Berlin: Gebr. Mann Verlag, 2015.
personal data
SURNAME Vain, Tim
ALTERNATIVE NAMES Vain
BRIEF DESCRIPTION German painter
DATE OF BIRTH 1971
PLACE OF BIRTH Leonberg