Ursula Burghardt

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Ursula Burghardt (born December 22, 1928 in Halle (Saale) , † December 4, 2008 in Cologne ) was a German artist.

life and work

Ursula Burghardt was born in 1928 as the second daughter of the Jewish couple Salomon Burghardt and his wife Johanna, geb. Lebenbaum, born in Halle (Saale). Her father was a partner in a department store (Burghardt & Becher) there, which was closed by the National Socialists in 1934. The family emigrated to South America in 1936 and settled in Buenos Aires. There Burghardt began studying painting and graphics at the Escuela Superior de Bellas Artes de la Cárcova in 1947. In 1952 she traveled to Paris for a year to attend the Académie de la Grande Chaumière in the class of Ossip Zadkineto turn to sculpture. After her return to Argentina, she took part in numerous exhibitions in South America with figurative and abstract wood sculptures and clay sculptures, for example in the Galeria Krayd, which was an important meeting place for the avant-garde network in Buenos Aires, and in the Galeria de Arte Arquimo, where they together exhibited with the Madi artist Gyula Kosice . In 1957 Burghardt married the Argentine-German composer Mauricio Kagel and moved with him to Cologne. There she attended Joseph Jaekel's metal sculpting class at the Cologne factory schools between 1958 and 1960 . At the same time she took part in the lively cultural life of the Rhineland, which was characterized by intermedia events, including the studio events of Mary Bauermeister .

After the birth of her two daughters, Burghardt began to appear more and more sculptural works from 1965 on, which are made from everyday materials and everyday objects. Parallel to the artistic currents of Pop Art , Nouveau Réalisme and Fluxus and in the tradition of Dada and Surrealism , she turned to the everyday world of things. Burghardt made use of artistic means such as alienation and the surprising combination of incoherent things, for example by sheathing furniture and housewares with sheet aluminum, filling kitchen utensils with soft cushions made of mattress ticking or making simple metal cups unusable through artistic interventions. Her multi-faceted works address the phenomena of consumer society, reflect themes from the student revolt of the 1960s, and allude to the social inequality of the sexes. In this way, Burghardt is not only one of the very few female artists to occupy an exceptional position within object art of the 1960s, but at the same time also anticipates approaches to feminist art from the 1970s.

Burghardt was actively involved in the artists' association Labor for Researching Acoustic and Visual Events and took part in the 5-day race alongside Wolf Vostell , Gabor Altorjay, Nam June Paik , Jörg Immendorff and Chris Reinecke from the LIDL project with the slide installation Krumme Ebene 1968 part. With her multiple lace-up cup, she brought Wolfgang Feelisch's VICE-Versand to a bestseller and gained wide fame. She also took part in the experimental film Ludwig van (1969–70, directed by Mauricio Kagel ) alongside other artists such as Joseph Beuys , Dieter Roth , Robert Filliou and Stefan Wewerka , by designing the so-called living room and garden for the imaginary Beethoven house took over.

From 1971, Burghardt concentrated her commitment on the support of her increasingly successful husband Mauricio Kagel, in whose projects she was involved in many ways by designing stage sets and film sets ( Staatstheater , 1971; Phonophonie , 1972; Blues'Blue , 1978), construction plans for drew unusual sound producers ( Klangwürfel , 1971; two-man orchestra , 1971/73) and designed posters and other printed matter ( Instrumentales Theater , 1976). Burghardt did not resume her independent artistic work until 1981, but now exclusively in the medium of drawing. Up until old age she created small abstract collages, in which delicate textile material imperceptibly merges into the finest ink drawings, as well as large-format paper works in pencil, ink or gouache, which are primarily reminiscent of plant shapes and organic structures.

Since 2012, the written estate and numerous works of Burghardt have been in the archive for artists' bequests of the Art Fund Foundation .

Collections

literature

  • Burghardt. August 23 - September 12 , 1968 , catalog for the exhibition at Galerie Hake, Cologne 1968.
  • Ursula Burghardt. Drawings + threads , catalog for the exhibition in the Däberitz gallery, Bergisch Gladbach 1991.
  • Cornelia Wieg: Ursula Burghardt (1928–2008). Artist , in: Central German Yearbook for Culture and History , ed. v. Harro Kieser / Gerlinde Schlenker, Vol. 18, Bonn 2011, pp. 255-257.
  • Jennifer Rath: Transgressions of the everyday. The sculptural work of Ursula Burghardt , dissertation Albert-Ludwigs-Universität Freiburg i. Br. 2019.

Web links

Individual evidence

  1. Pinturas de Francisca de los Reyes - Esculturas de Ursula Burghardt, April 25-May 7, 1955, Galeria Krayd, Buenos Aires.
  2. dibujos esculturas, September 17-29, 1956, Galeria de Arte Arquimo, Buenos Aires.
  3. ^ Historical Archives of the City of Cologne (ed.): The Mary Bauermeister Atelier in Cologne 1960–62: intermedial, controversial, experimental . Cologne 1993, p. 28 .
  4. Agnes Bube: The familiar as the foreign. About the relevance of artistic alienation of the everyday . In: Werner Fitzner (Ed.): Art and foreign experiences. Alienations, affects, discoveries . Bielefeld 2016, p. 39-58 .
  5. Friedrich Wolfram Heubach (Ed.): Inter Functions, Issue 2 . 1969, p. 3-50 .
  6. Peter Schmieder: Unlimited: The VICE dispatch from Wolfgang Feelisch. Unlimited multiples in Germany. Annotated list of editions of the Multiples from 1967 to the present . Cologne 1998, p. 93-95 .
  7. ^ New gallery in the Kurhaus, Aachen (ed.): 7. Beeethooven. 1770-1970, catalog for the exhibition . Aachen 1970.
  8. ^ Matthias Kassel: two-man orchestra. Essays and documents . Basel 2011.