In the fall of 2019 Haus der Kunst will present a comprehensive solo exhibition of Markus Lüpertz’s (*1941) work that brings the diverse aspects of his specific painterly language to the fore. Lüpertz is one of the most internationally acclaimed, if controversial post-1945 German artists. His paintings, often monumental in scale, communicate meaning using images that do not stand for what they seem to represent. Such an approach to painting undermines rather than confirms the replicated things we think we see in his paintings implying the absence of what seems to be made present again. Inherently a heretic artist, Lüpertz works in opposition to known aesthetic categories so as to construct a zone of painting in which significance unfolds in terms of relational difference. Through this approach banal objects attain a sacral quality seldom associated with them.
Lüpertz’s aesthetic is often boiled down to bywords: abrupt shifts of scale, giganticized motifs, uncommon perspectives, discordant colors, and agitated strokes of paint. However, these are only part of the diverse tool kit of artistic strategies that have allowed the artist to uncover an idea at the core of his oeuvre since its very beginning: that of something lost beyond recovery owing in great part to the apocalypse of recent German history.
Well aware of the history of the former ‘Haus der Deutschen Kunst’ in Munich which once served as a platform for the officially sanctioned art of National Socialist Germany, Lüpertz’s exhibition offers beholders cause for reflection. At least one section of the show will feature works that challenge the viewer to come to terms with the uses to which artworks were put during the period 1933–1945.
Curated by Pamela Kort