Wilfried Maret

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Wilfried Maret at the University of Fine Arts, Berlin, class for industrial design, selfie 1963

Wilfried Maret (* 19th May 1940 in Berlin ) is a German communications and industrial designer, inventor, concept and architects , draftsman, photographer, director, curator and author, the center of his life in 1964 in the Switzerland has moved.

Life

"Praia da Rocha", Algarve, Portugal, felt pen, 1966

After the family was evacuated from Berlin to Upper Bavaria in 1942 - his father was a precision mechanic and employee of a part of the Helmholtz Institute that had been relocated from Berlin to the Wendelstein as a precaution during the Second World War - he spent his childhood in the countryside between Lech and Ammersee , from 1951 his youth in Munich.

After receiving early popular science and music education at home, he studied at the School of Arts and Crafts in Saarbrücken from 1957 to 1963 : basic apprenticeship with Oskar Holweck , free and applied painting with Boris Kleint , graphic design and photography with Joachim Lischke with Robert Sessler , Assistant to Otto Steinert . Additional workshops in the class of industrial designer Peter Raacke . Regular study trips took him to Paris . The school in Saarbrücken graduated with a diploma in graphic design, the examination committee was chaired by Anton Stankowski .

In 1963 he was accepted into the 6th semester of industrial design (diploma for industrial design) at the State University of Fine Arts in Berlin with Wilhelm Braun-Feldweg and employed by his teacher as a research assistant. In Berlin he lived in shared apartments with visual artists and musicians in Charlottenburg and Kreuzberg. With the Stresemann Scholarship from the City of Berlin, he went to the Royal College of Art in London, School of Industrial Design / Engineering with Sir Misha Black and School of Graphic Design with Richard Guyatt. In London a study and living community developed with Nick Butler and Peter Isherwood, later BIB Design / Butler Isherwood Bartlett. Key seminar “The verbicovisual in poetry” with Dom Pierre-Sylvester Houédard at the RCA. Study visits to Zurich, Basel and Bern.

In the 1960s and 1970s he made numerous business and study trips through Western and Eastern Europe, North Africa, Israel, the USA and the USSR. This was the beginning of a long series of travel and city drawings. In 1970 he was appointed permanent editorial staff at Format, the magazine for verbal and visual communication, and has since written a number of specialist articles, glosses, essays and lectures on subjects of free and applied design, on professional self-image and on questions of identity formation in public and private corporations.

Since 1964, Wilfried Maret has been working in Switzerland as a communication and industrial designer as well as a freelance artist. He has been married to Éva Bilicsi, daughter of the Hungarian actor Tivadar Bilicsi, since 1971, and has two children with her.

Artistic activities

Adversarial New Year's Card, 1967
"Nature morte", Assisted Ready-made from two non-anthropogenic and one anthropogenic objet trouvé, 1975

The tension between nature and technology or its simulation has always had a decisive influence on Wilfried Maret's creative life. The basic doctrine of his primarily formative teacher Oskar Holweck, which was largely based on the Bauhaus preliminary course by Johannes Itten, whose principles were primarily from Boris Kleint, a late Itten student in Berlin, to the school for arts and crafts in Saarbrücken For him, in the course of his life and work, they had become more and more a universal educational teaching beyond pure pictorial theory. One focus of his artistic activity was and is on the bionic "Cosmobile", a constructivist , cybernetic - kinetically self-regulating, non- humanoid natural robot that emerged from scientific and natural psychological observations, which ultimately turns into an interactive generator for "Cosmography "And" Cosmophony "has become.

Since 1958 Maret has been creating freelance works with artistic phenomena from nature and technology, in particular with cybernetic-kinetic processes to generate “copyright-free” works of art. His objets trouvés and ready-mades also fall into this category . In 1962 he took part in the collective exhibition "Young Artists in the Graphic Cabinet", Saarbrücken. This resulted in the founding of the group “Soledades” (Raumbilder / Peinture Spaciale) with Wolfgang Anatol Bäuml, Ewerdt Hilgemann and Günter Wilkes.

1964–72 he created freelance works with a serial, strongly programmatic character and multiples . In 1967 he designed an exposé for the participation of the Federal Republic of Germany in the Expo '70 in Osaka on the subject of "Progress and Harmony for Humanity": A "large space cosmobile" with a communication center floating under an open, cybernetic-kinetically self-supporting, floating point weighing tons Roof architecture based on a space glider to visualize the complex topic of " earth ". In 1968 the gentle transplantation of a demolished, approx. 300-year-old frame building from St. Andreas Castle in Cham near Zug (Switzerland) to Arth began at 700 m above sea level. M. at the other end of Lake Zug , with which the architectural ready-made or objet trouvé has become the home of his artistic objects and his free and applied design activities over the years. Start of the interdisciplinary long-term project "Galerie COSMOCO" and start of the development of the transplanted castle building into a total work of art .

In 1984 he took part in the Phenomena in Zurich with a storm-proof Cosmobil . From 1985 he realized and curated gallery-atelier "E" for Ericsson Information Systems in the listed Haus zum Raben on Limmatquai in Zurich in the world-famous Dada location. Foundation of the "COSMOCO Group". “Cosmobil” at the Fenomena in Rotterdam. In 1986 a “Cosmobil” was added as a symbol for “soft technology” in the Technorama Winterthur. Further activities: 1987 “CosmoCAD” project with Robert Barré, CERISE, Center Européen de Recherche d'Images de Synthèse at RTL in Luxembourg; 1987–2003 “Vivenda Verde” - gentle reanimation of a Portuguese Casa Velha as an annex to “Galerie COSMOCO” in Switzerland and as an artistic vanishing point for architectural and everyday sufficiency ; 1988 "Group COSMOCO" (interdisciplinary action group Barré / Maret / Spoerri ): "From Cosmobil to CosmoCAD and CosmoCAM to Cosmography and Cosmophony", event for the three-year existence of Gallery-Atelier "E" in Zurich, with the participation of Herbert W. Franke . 1989/90: Various interactive “Cosmobil / Cosmographie / Cosmophonie” installations, e.g. B. "Cosmographonic ballet - audiovisual sketches from the spaceship Earth on the subject of reconciliation between technology and nature" with David Rokeby and his Very Nervous System, "Cosmobil / Cosmography" installation for the new S-Bahn in Zurich and "At the borders to copyrightless work of art ”for the Nokia Data Art Collection, Zurich. 1994: Invitation to the IFG (International Forum for Design), Ulm, conference topic “The Simple”, seminar paper “About the 3 as a phenomenon in the simple on the threshold of the complex. A compendium of 9 empirically obtained examples of the smallest creative diversity ”, Director: Eugen Gomringer . 1997: "Cosmographie" Series 3: "Deep inside matter - between order and chaos".

After developing a series of functional prototypes of weather-protected e-bikes and e-trikes since the turn of the millennium, which he combined in an interdisciplinary manner with artistic design performances on the subject of "thrust reversal in motorized individual transport", he turned to the 1st International Biennale in Stansstad in 2017 back to free artistic creation and in 2018 opened the cross-divisional "design + artLAB postmoderne" with the exhibition cycle "Art Meets Science, Technology and Nature" in the coworking space of the Office LAB Postplatz in the listed old main post office of Zug (Switzerland).

Commercial activities

Call for blood donations for the Swiss Red Cross, 1976
"RoboCarrier", driverless, inductively controlled transport vehicles to abolish the assembly line, trade fair design for Schindler-Digitron in Hanover and Milan, 1982/1983
"Cosmobil", Science Art since 1958, here the storm-proof version, realized in 1984 in the garden of "Galerie COSMOCO" in Switzerland; later cover picture for "Cosmographonisches Ballett", 1990/2007
"Vivenda Verde", branch of "Galerie COSMOCO" in Portugal, 1987–2003, drawing 1991
"BREVETE, highly sensitive", model of a fictional prototype of the Kinetoplastea class, enlarged approx. 10,000 times, kinetic assemblage of two ready-mades, 05-2005 / 09-2005
"eZe Trike" at the international special bike fair "Spezi" in Germersheim, 2008

From 1964 to 1972 Wilfried Maret designed and built the European communication center for the scientific high-tech company Varian Associates , Palo Alto (USA) in Zug (Switzerland). (The brothers Russell and Sigurd Varian , along with William Hewlett and David Packard, are the founding fathers of Silicon Valley.) 1973–74 he was advertising manager at Albert Müller Verlag, Rüschlikon, and 1974–75 at Walter Herdeg, Graphis Verlag, Zurich, as an art book designer and Communication designer. From 1975 he has been a freelance communications consultant and designer with a focus on international high-tech companies in communications and production automation. That was also the start of his still active network 1 + x, working group for brand and product development.

For his weather-protected e-bike and e-trike models "eZe Bike" and "eZe Trike", which were designed with a view to checking the plausibility of motorized individual transport, he received the bronze medal or the bronze medal at the 2006 Salon International des Inventions in Geneva. 2008 the silver medal at the International Inventors' Fair in Nuremberg.

Publications (selection)

  • 1970: “Oh you dear Image you” ( form 50 and format 26).
  • 1970: “Often something new?”, Philosophical and other thoughts on the 'visual image' of technical-scientific and other companies, part 1 (format 26).
  • 1970: "Every year again ..." and "Often something new?", Part 2 (Format 27).
  • 1971: "Table 80 - Price 18" (format 30).
  • 1971: "The advertising is coming - in COMECON " (Format 31).
  • 1971: “In-Format-Deep Humor” and “Once upon a time there was a little pencil case, it was called Little Red Riding Hood” (Format 32).
  • 1972: "Often times something nice" (Format 37).
  • 1972: "An Image for Moshe" (Format 40).
  • 1973: “Thoughts on Still Images” (m + a report 1).
  • 1973: “Client 'Family'” (Format 41).
  • 1973: "The 'direct' appearance" (Direct Marketing 3).
  • 1974: “Aspects of Communication in the Book Trade” (Format 50).
  • 1974: "Design - what for ?, Aspects of a changing design policy" (Schweizer Maschinenmarkt 14).
  • 1974: “Tableware with almost unlimited possibilities” (synthetic 2).
  • 1975: "Not design for coffee grinders, but design against frustration grinders" (form 70).
  • 1976: "Creativity is anti-cyclical" (Schweizerische Handelszeitung 38).
  • 1976: "Anticyclical" (Der Werber 3) and "Opportunities for 'Cool shops?'" (Der Werber 4).
  • 1982: "Beautiful and Green: Ecological Functionalism" (form 99).
  • 1984: “Phenomena on the Phenomena” (form 106).
  • 1984: “Free and applied robot art, automated creativity” (afagazette 1).
  • 1985: "Gallery-Atelier 'E'" (E-Bits 1).
  • 1986: "On the trail of the copyrightless work of art, verbal and visual found and fragments on an equally complex and non-commercial production topic" (afagazette 2).
  • 1987: "Excellent CI contribution" (Swiss Manager 2).
  • 1987: "New wine in old bottles" (form 117).
  • 1988: "What is art, concrete-cybernetic-constructivist 3B simulation of a question that is actually as long as it is high as it is wide" (afagazette 3).
  • 1988: “Artistic electronics experiments and commercial product show” (N-Bits 1).
  • 1988: “Computer Art: Playing with the Cosmobil - the tactile appeal of aesthetic forms” (Schweizerische Handelszeitung 37).
  • 1990: “At the limits of a work of art without copyright” (N-Bits 2).
  • 1990: “A Glimpse of the Future” / “A Glimpse into the Future” / “Une Vision du Future” (European Solutions 1).
  • 1991: "Natural Robotics" (NC production 4).
  • 1992: "Back to art with the computer?" (Computer Art Fascination).
  • 1994: "Thought Catastrophes" (form 145).
  • 1994: “Gentle house transplantation” (Schweizerische Handelszeitung 21).
  • 1996: "form-curious" (form 153).
  • 1997: “Conflicts in the corporate identity model” (Neue Zürcher Zeitung 111).
  • 1998: "Designer Profile 1998/99: Designers introduce themselves" (Verlag form).
  • 1998: “Expo-Visionen” (Neue Zürcher Zeitung 78).
  • 1998: "Klamauk" (Cash 10)
  • 1998: "Lukewarmes Pipi" (Sunday newspaper of October 4, 1998).
  • 1999: "Carelessly" (form 165).
  • 1999: “Identity squeezing” (Sunday newspaper 4).
  • 2002: “Expomat No. 1209: 1341 projects of the hands-on campaign for a Swiss national exhibition” (Edition Patrick Frey, Zurich).
  • 2002: "An idea that will last a lifetime" (Zuger Presse 48).
  • 2006: “Never again wet when cycling” (Central Switzerland media association of April 30, 2006).
  • 2010: "With this tricycle he drives over the Gotthard" (Luzerner Zeitung of June 30, 2010).
  • 2018: “Postmodernism in the old post office” (Zuger Zeitung of July 9, 2018).
  • 2018: “A post-modern exhibition is shown in the old Zuger Post” (Luzerner Zeitung of July 9, 2018).

swell

  • “Make visible”, State Art Schools in Saarland 1924–2004, Verlag St. Johann GmbH, Saarbrücken, ISBN 3-938070-01-3 , pp. 185 + 445

Web links

personal data
SURNAME Maret, Wilfried
BRIEF DESCRIPTION German communication and industrial designer, inventor, multivalent concept and construction artist, draftsman and specialist author
DATE OF BIRTH May 19, 1940
PLACE OF BIRTH Berlin