An U-Bahn-Knotenpunkten \u00fcberkreuzen, zerren, stauen sich die Str\u00f6me des \u00f6ffentlichen Verkehrs. Rudolf Herz \u201estilisiert\u201c diese ineinander flie\u00dfenden Transportwege zu einem abstrakten Muster, einem sogenannten \u201eanamorphotischen\u201c – das hei\u00dft verzerrt angelegten – Labyrinth. Bereits Hans Holbein d. J. hat die Anamorphose als Stilmittel eingesetzt: Auf seinem ber\u00fchmten Londoner Gem\u00e4lde der “Gesandten” (1533) gibt sich ein verzerrt reflektierter Totenkopf nur aus einer einzigen Perspektive zu erkennen. Wenn Rudolf Herz nun die weitgehend vergessene Idee der k\u00fcnstlerischen Anamorphose in einen U-Bahnhof des 21. Jahrhundert \u00fcbersetzt, dann bedient er sich hierzu der k\u00fcnstlerischen Mittel des Minimalismus. Zwei diametral entgegen gesetzte Ansichten seiner schwarzwei\u00dfen Streifenwand sind m\u00f6glich: Was sich frontal als rhythmische, nur scheinbar unlogische Anordnung von \u00fcbereinander gestaffelten Balken in Schwarz und Wei\u00df herauskristallisiert, verschmilzt von einer seitlichen Perspektive aus zum Labyrinth. Erst der exzentrische Blick von den Zug\u00e4ngen aus f\u00fcgt die Balken zu einem erkennbaren Motiv. Je weiter sich die Fluchtlinien vom Betrachter entfernen, um so kleinteiliger zieht sich das Ornament des Labyrinths zusammen. Der Art-D\u00e9co-Eleganz des Labyrinths antwortet auf der gegen\u00fcberliegenden Wand eine Lamellenfl\u00e4che in dezent mattem Orange-Rot. An einem Ort der Ortlosigkeit wie der U-Bahn wird der Blick somit in ein spannendes Vexierspiel verstrickt.<\/p>\n","werk_artists":[{"ID":1239,"post_author":"1","post_date":"2022-06-28 16:30:24","post_date_gmt":"2022-06-28 14:30:24","post_content":"1954 \tgeboren in Sonthofen\/ Allg\u00e4u\nlebt und arbeitet in M\u00fcnchen\nStudium Akademie der Bildenden K\u00fcnste, M\u00fcnchen\n1995 \tVilla Massimo Stipendium, Rom\n1997\tPreistr\u00e4ger im Wettbewerb f\u00fcr das Mahnmal f\u00fcr die\n\termordeten Juden Europas, Berlin (mit R. Matz)\n\nEinzelausstellungen (Auswahl)\n1995\tZugzwang, Kunstverein Ruhr, Essen\n1997\tTransit, Neue Gesellschaft f\u00fcr Bildende Kunst, Berlin\n1999\tRat Race, Kunstverein Konstanz\n2002\tThe War, Kunstverein Kassel (mit Michael Hofstetter)\n2004\tLenin on Tour, Haus der Kunst M\u00fcnchen, Helmhaus Z\u00fcrich,\n\tKunsthalle Wien, Center for Contemporary Art Prague,\n\tVolksb\u00fchne Berlin\n\nGruppenausstellungen (Auswahl)\n1999\tDas XX. Jahrhundert. Ein Jahrhundert Kunst in Deutschland.\nHamburger Bahnhof, Berlin\n2001\tMirroring Evil: Nazi Imagery\/Recent Art, \nThe Jewish Museum, New York\n2002\tPower, Casino Luxembourg \nForum d\u00b4art contemporain, Luxembourg\n2005 \tZur Vorstellung des Terrors: Die RAF-Ausstellung, \nKunstwerke Berlin\n2006\tReality Bites: Making Avant-Garde in Post-Wall Germany,\nMildred Lane Kemper Art Museum, St. Louis, Missouri\n\nArbeiten im \u00f6ffentlichen Raum (Auswahl)\n1996\tIn Erwartung der Ernte, Bauhof Engen\n2000\tIndien und nicht Amerika, Universit\u00e4t Konstanz\n2002\tSol lucet omnibus, Landesversicherungsanstalt Augsburg\n2003\tLex injusta non est lex, Bundesgerichtshof Karlsruhe\nDeutsche Flugsicherung Frankfurt","post_title":"Rudolf Herz","post_excerpt":"","post_status":"publish","comment_status":"open","ping_status":"open","post_password":"","post_name":"herz-rudolf","to_ping":"","pinged":"","post_modified":"2023-04-19 18:17:28","post_modified_gmt":"2023-04-19 16:17:28","post_content_filtered":"","post_parent":0,"guid":"https:\/\/quivid.de\/artist\/herz-rudolf\/","menu_order":180,"post_type":"artist","post_mime_type":"","comment_count":"0","filter":"raw"}],"werk_technical_data":"","werk_technical_data_en":"","werk_visibility":false,"werk_parts":"","werk_architect":"Paul Kramer and Manfred Rossiwal-Jespersen","werk_architect_landscape":"","werk_photograph":"Hans D\u00f6ring","werk_author":"Birgit Sonna","werk_txt_long_en":"
At metro hubs, streams of public transportation vehicles crisscross each other, weaving in and out of traffic and getting stuck in it. Rudolf Herz \u201cstylizes\u201d these interconnected transportation routes, turning them into an abstract pattern, a so-called anamorphic (or distorted) labyrinth. Anamorphosis was used as a stylistic means as far back as Hans Holbein the Younger: In his famous London painting The Ambassadors (1533), a distorted, reflected skull can be discerned from only one angle. In translating the largely forgotten idea of anamorphosis to a twenty-first-century subway station, Rudolf Herz has made use of Minimalist means. Two diametrically opposed perspectives of his black-and-white striped wall are possible: What from the front crystallizes as a rhythmic, only seemingly illogical placement of overlapping, staggered, black-and-white bars, melts into a labyrinth when seen from the side. Only the off-centered view from the entrance allows the bars to link up into a recognizable motif. The further the vanishing point is from the viewer, the more tightly the ornamentation of the labyrinth is drawn together. The labyrinth\u2019s art deco elegance responds to the discreet, matte, orange-red, louvered surface of the opposite wall. In a place of \u201cplacelessness\u201d like the subway, the gaze becomes entangled in an intriguing puzzle.<\/p>\n
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