Mar 21, 2006 16:52 PST
Hi my fellow nervenetters,
this is the invitation text my elder brother Hubert has sent me for his New York restrospective.
It may be slightly off topic in this forum (maybe not), but please notice that my brother met ENO in the early 80s several times and made a series of video portraits (yet unreleased).
Best regards, Bernd
*Von:* Hubert Kretzschmar <HUBER-@MAC.COM>
*Gesendet:* 20.03.06 07:47:37
*An:* Bernd Kretzschmar <BERNDKRE-@WEB.DE>
The Storied Sight of Hubert Kretzschmar
The story goes like this:
A King, tired from a Hunt, took forty winks beneath a tree. Deeply
asleep, he dreamed of his lover’s fan. When he awoke, he decided to
build a castle on the very spot. From the new castle radiated a town,
spread in the shape of the dream fan. The King’s name was Karl. The
town was named Karlsruhe, or “Karl’s Resting Place”.
Like Bentham’s Panopticon, the town was at once monstrous and
beautiful. The spines of the fan became Karlsruhe’s major avenues. At
the fan’s base where the streets met, loomed not just the castle but a
number of strategically-placed cannon. Thus were the town folk kept in
line and under eye.
Karl’s final resting place was marked by a large pyramid, which stands
to this day, just outside the castle. Karlsruhe, hard on the Rhine
River and skirting the Black Forest, is a magical construct. In time,
engineers would control the river, but the wild willfulness of the
surrounding woods remains uncollared since before the town’s birth.
Neither would the willfulness of Karlsruhe’s people be completely
tamed. Hubert Kretzschmar was raised in that land of Kings and Forest.
As a child he played among the ghosts of the dense, dark Forest and the
River’s tributaries. As a student, he mastered the King's symbolic
iconography. As a New Yorker, an exile among exiles, Kretzschmar took
those hauntings and symbols, made of them a totemic body traversing
disciplines, and made of himself a visualist of some repute.
Like a Liberatore in Weimer, Kretzschmar mines his cultural history,
while challenging its legacy of tradition. His is a vision of composite
of which Beckmann, Dix and the rest of the Republic regulars would
approve. Picture Durer at the gates of the digital age; a happening
along the clean lines of De Stijl, suffused with the raw irony of Dada;
Surrealism’s fluidity matched with Pop Art’s reverent irreverence.
Experiencing this work, we become aware of unconscious meaning imbedded
in the stuff of everyday.
Nearly two decades before it became currency, Kretzschmar pioneered the
marriage of fine and applied digital art. It began in 1980 on a
Computer Paint hybrid system at Digital Effects (later noted for their
work on ‘Tron’); segued through the Apple IIc campaign of '84
(Kretzschmar's Apple-jacked self-portraiture was the face of the brand
in Japan); came of age celebrating the New Wave music revolution (album
covers and art for Talking Heads, Brian Eno, Kraftwerk); and matured
with the branding of names like the Rolling Stones, Fiorucci, Thurn &
Taxis, Nike, Warner Brothers, BMG, Sony and MTV/Viacom.
It’s a testament to the integration within Kretzschmar’s work that it
has been shown not just in galleries and museums (New York,
Philadelphia, Houston, Zurich, Budapest, Tokyo, Berlin, Düsseldorf and,
yes, Karlsruhe), but also on the streets, newsstands, music stores and
nightclubs around the world.
On Friday, March 31st, from 7 to 10 PM, the Gallery at 100 Lafayette
Street, New York City will proudly awake to present a retrospective of
pioneer Hubert Kretzschmar’s fusion of history, vision and commerce.
Show from March 31st to April 14th