Selected examples from the collection of Heinrich Gebert Cultural Foundation, the exhibition positions of plasticity in the visual arts of the present. In sculpture, the term "plastic" refers to an additive molding method of "malleable, soft" materials (gypsum, clay, wax, metal, etc.) a form builds - as opposed to subtractive approach in sculpture, in which a material (wood, stone, etc.) is taken away something to come to the aesthetic form. In another, derived from the Romance language sense, drawing, painting, etc. are referred to as "plastic process" - to today's art historical importance, referred to the transformative aesthetic procedures in rooms, but also in social structures as "plastic" processes. Despite formal differences, all works shown here are rather traditional view of "plastic" associate. As an example of the three major groups prior artistic possibilities, which are used to generate three-dimensionality.
Similarly directly readable are the sculptural and pictorial works by Markus Lüpertz, Selim Abdullah and Hans Joseph's son, whose cause is the human figure. The "Mycenaean Smile" by Liipertz, the first inspection a portrait bust, also confirms that these figurations represent one hand visible, but on the other hand, refer to art history - indeed subject is the human body, subject, however, is the used material and aesthetic method. Abdullah and Joseph son can - also illuminate Existential - beyond the aesthetic play.
Architectural work the works of Eduardo Chillida and Matias Spescha. In their own way they build space bodies, such as the times archaic temples (Chillida), sometimes as an iconic "Alphabet poétique" virtual architectures (Spescha) appear. However, both are not seen reconstructions buildings but activities with the qualities of the raw material, the balance between volume and void, between density and Lightness etc.
A special position is held by the work of James Licini. On one hand, it seems like most modern architecture at (think of the Grande Arche in Paris, designed by Johan Otto von Spreckelsen and Paul Andreu); On the other hand, it is a radically minimalist plastic that forms nothing but the given material, the steel beams VHP 80, and yet achieves a visually rich diversity.
Similar succeeds Erwin Rehmann, Jochen Stenschke and Edmund Tucholsky in their own medium, bronze and brass, graphite and used oil and watercolor. In these works, in addition to the material intrinsic properties, such as the flow of the molten metal, the incessant expansion of never dried waste oil or the transparency of watercolor layers, the formative influence of light on the final form finding in particular mass effect.
The installation of the exhibition but we want to light up the correspondence between the various artistic approaches that can arise from craftsmanship and conceptual consistency shapes and forms, open the concrete and associative receptive fields.