Maximilian Kirmse: Emozioni

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“The theory of water clumps comes from Fid. Fischer in an intensive examination of the painterly work of Max Kirmse in the first third of the 21st century; at a time when the theoretical considerations on painting either deal with the economic value creation within capitalist market mechanisms or the increasing importance of the digital world of images. The constant bewilderment that painting continues to be given relevance in its very original form (image carrier and application of paint) helps it to gain auratic meaning, sometimes to devalue it. But the direct encounter with its content and its possibilities are increasingly marginalized with the never-ending, fearful referencing of the art canon of classical modernism. (...)

Origin and everyday life of the water buff

In the case of Max Kirmse's work, this is the specified assumption of water loops. In order to be able to explain these in more detail, I would like to introduce the origin of their term at this point. The Wasserklops is the slang term for the globe fountain on Breitscheidplatz in front of the Europacenter in West Berlin, which was designed by the sculptor Joachim Schmettau and allegedly also his partner, the sculptor Susanne Wehland, and built in 1983. The proper name of the fountain indicates a loving and at the same time somewhat rough acceptance of the building by the Berlin population, as is the case with the “pregnant oyster”. The reddish hemisphere is supplemented with many added sculptures made of steel, among them are a pair of lovers, a crocodile, "small, angry animals ”(according to the information board), Harry the turner and a few others. At first glance, the mixture looks random, as do the characters applied to the stone such as “ABC”, a Chinese character or a chemical formula for nitrogen. (...)

The principle of water clumps

The water blob as an urban work of art often appears as a motif in Kirmse's paintings. Through it we can experience different perspectives and moments of experience with the water feature, a snapshot of a hot day as in “Wasserklops” or the moment of a break as in “Am Brunnen”. However  , these representations are by no means just a representation of the location; rather, it is about the water-clumpiness as a principle. So to what extent does the water blob represent essential components in painting, especially that of Max Kirmse?

The picture Wasserklops from 2020 shows the fountain in the background, in front of it two people run past each other, a skateboarder and a pedestrian. Both seem unable to allow an encounter, the only thing they have in common is the short-lived simultaneity of their existence in this place. Due to their uniform color, they become elements of equal value like the buildings or the bus in the background. What is the meaning of the water blob and to what extent can a principle be recognized by it? First of all, the water blob is a meeting place, a hub of human movement and action. Something similar can be observed in Kirmse's paintings and drawings that I have identified as pictorial images, such as Warsaw: crowds of people broken down in their conventional diversity, cluster in his pictorial spaces, seem to run past each other or to meet sometimes wanted, sometimes less wanted. Exactly in this encounter, which does not have to correspond to reality in the philosophical sense, it is about a human expression that is not learned or constructed. It is the existential, the basis for abstraction and thought games. The people in Kirmse's pictures rarely have a social function, in the sense of a hierarchical system that they represent - they primarily exist. Through the accumulation of multiple parallel worlds, this moment is repeated and emphasized as a principle, that are not learned or constructed. It is the existential, the basis for abstraction and thought games. The people in Kirmse's pictures rarely have a social function, in the sense of a hierarchical system that they represent - they primarily exist. Through the accumulation of multiple parallel worlds, this moment is repeated and emphasized as a principle, that are not learned or constructed. It is the existential, the basis for abstraction and thought games. The people in Kirmse's pictures rarely have a social function, in the sense of a hierarchical system that they represent - they primarily exist. Through the accumulation of multiple parallel worlds, this moment is repeated and emphasized as a principle,

without having to experience evaluation. "

Fid. Fisherman

Excerpt from the catalog text for "Wasserklops", published by Floating Opera Press on the occasion of the EMOZONI exhibition.

The Origin and the Quotidian of the Water-Klops

A specified assumption of Water-Klopsity is present in Max Kirmse's oeuvre. In order to illustrate this in more detail, I would like to introduce the origin of this term. Water Klops is the colloquial name for the Weltkugelbrunnnen (World Fountain) on Breitscheidplatz in front of the Europacenter in West Berlin. It was designed by the sculptor Joachim Schmettau and allegedly also his partner, the sculptor Susanne Wehland, and constructed in 1983. The fountain's nickname implies an affectionate and also somewhat crude acceptance of the structure by the inhabitants of Berlin, as is the case, for example, with the "Pregnant Oyster". (...)

The Water-Klopsity Principle

The urban artwork Water-Klops frequently appears as a motif in Kirmse's paintings. Through it, we encounter different perspectives and experiential water displays; a brief moment of a hot day, as in  Wasserklops  (Water-Klops), or a moment of relaxation, as in  Am Brunnen  (By the Fountain). These representations are not simply depictions of the place, rather, they are about Water-Klopsity as a principle. To what extent does the Water-Klops represent fundamental elements in painting, especially in the work of Max Kirmse?

The painting  water pump from 2020 features the fountain in the background. Two people pass each other in front of it, a skateboarder and a pedestrian. Both appear uninterested in an encounter, and the only thing that unites them is their brief simultaneous presence in this location. Their similar coloration makes them equivalent to the buildings or the bus in the background. What is the significance of the Water-Klops here, and to what extent can we discern a principle? First of all, the Water-Klops is a place of encounter, a hub of human movement and activity. In Kirmse's paintings and drawings, which I've characterized as depictive, ie in Warschauer, we observe a similar setting: Gatherings of people, categorized by their conventional diversity, cluster in his pictorial spaces. They appear to pass or meet each other, sometimes intentionally and sometimes less intentionally. The encounters themselves don't have to correspond to reality in the philosophical sense, they reflect a human expression that is neither learned nor constructed. It is the existential, the basis for abstraction and thought. The people in Kirmse's paintings seldom have a social function, in the sense of the hierarchical system that they represent. First and foremost, they just exist. Through the accumulation of multiple parallel lives, this moment is repeated and emphasized as a principle, and therefore free from evaluation. " The people in Kirmse's paintings seldom have a social function, in the sense of the hierarchical system that they represent. First and foremost, they just exist. Through the accumulation of multiple parallel lives, this moment is repeated and emphasized as a principle, and therefore free from evaluation. " The people in Kirmse's paintings seldom have a social function, in the sense of the hierarchical system that they represent. First and foremost, they just exist. Through the accumulation of multiple parallel lives, this moment is repeated and emphasized as a principle, and therefore free from evaluation. "

Fid. Fisherman

Excerpt from the catalog text for Wasserklops, published by Floating Opera Press on the occasion of the exhibition EMOZONI.