»Klaus Hartmann, how did your childhood in Eisleben
especially th parsonage, influence your artistic dvelopment?«
»I grew up with cultural history. The parsonage in the Luther and mining town of Eisleben – still surrounded by disused copper mines and slag heaps – where I grew up with my older siblings Robertand Sabine, is the Old Luther School opposite St. Andreas.
As I recall, there was a memorial plaque on our house at the time to Cyriakus Spangenberg (1528-1604), who wrote a chronicle about the Mansfeld region and who wrote the German Easter hymn „Rejoice we all this Easter-tide!“ and was also the pastor of St. Andreas.
Luther was born and died in Eisleben - an irony of history - both while passing through. My father preached from the pulpit where Luther gave his last sermon - and opposite was the house where Luther died. In the church tower there was a tower library with 500-year-old manuscripts, and if I remember correctly, there was a picture of the Cranach school hanging in the side wing of the church. All these historical places were our playground!«
»To what extent does the amusement park -Eisleber Wiesenmarkt, which you experienced as a child, influence the recurring motifs in your works?«
»I remember that the showmen came to our house; the children were also in our school class for a while. Some of the showmen came from showmen's families that went back several generations. They could do magic and, even better, they had free tickets! I basically followed the fair. I lived in St. Pauli in Hamburg, near the „Hamburger Dom“ fair, and in Vienna I often met up with my then very close friend John Bock at the „Wurstlprater“ fair.
We were both Erasmus exchange students at the Academy of Fine Arts Vienna and discussed art there. We were both fascinated by Mike Kelley, Paul McCarthy and Martin Kippenberger. All three are artists who are formally inspired by the aesthetics of fairground sceneries. And if not directly by the fairground, then by B-movies, western films, Hollywood, panopticons and pop culture - all in all an aesthetic that can also be found at fairs!«
UBiQUA:
»How have experiences in the free jazz sceneand concerts
like those by Sun Ra shaped your artisticvision?«
»Free jazz was a free space in the GDR thatwas monitored by the Stasi - the secret service of the GDR - but ultimately tolerated. The scene was probably just too special, so that the actors were used as figureheads for a piece of freedom in socialism. At the vocational school for shoemakers in Ohrdruf I met friends who had contacts in the free jazz scene. At the age of 16 I was able to see Sun Ra live at cinema „Kino Capitol“ in Leipzig. Sun Ra and his „Space Arkestra“ really seemed to come from another planet.
At the time, I was not really aware of the political dimension of Sun Ra as a key figure in Afro uturism. But I felt that there was a level that went beyond music. Later, when I was more interested in Africa and its diaspora, I kept coming across Sun Ra. „Space is the Place" could be a perfect title for all my pictures, a fictional country....«
UBiQUA:
»What influence did your uncle, a painting restorer,
have on your understanding and appreciation of art?«
»My uncle Dankwart Kühn, who is also apainter, gave me my first art book, a monograph about Carl Blechen. He was a fan of Blechen and William Turner - landscapes and ruins were always a theme in his art. I liked the smell of the paint in his studio and all the pictures that were lying around. We were out on the Oder River flood plains near Neuzelle and he gave me lessons in drawing from nature.
In 1989 I assisted him in the restoration of a ceiling painting by Antoine Pesne from Rheinsberg Palace. It shows Minerva, the Roman goddess of wisdom. The painting was taken down and transported to Neuzelle and we restored it in a room in the monastery. It once again adorns the ceiling of the study of Old Fritz (King Frederick II of Prussia), who lived in Rheinsberg as a young man. It was the time of reunification of Germany and while we patiently removed the overpainting from the painting, we listened to the radio all day, as the Secret Service Headquarter in East Berlin had just been occupied by angry citizens.«
UBiQUA:
»How did your art studies in Hamburg,
especially with Werner Büttner,
influence your artistic direction?«
»Werner Büttner was a teacher who was interestedin content. He was disillusioning and kept telling us that we had no chance of ever being able to make a living from our profession, as is the case for 96% of „Free Art" students. Since these statistics are not exactly motivating for teachers, he made it his mission to give students something for their later life, regardless of their future profession. Büttner loved literature. Through him you could get to know François Rabelais and his giants Pantagruel and Gargantua, or Gustave Flaubert's heroes Bouvard and Pécuchet. But he was also one of the few teachers who addressed the art market. His briefcase was always full of invitation cards from galleries and museums. This is how we got to know the places that could be important to us later.«
UBiQUA:
»What role does minimalism play in your work, and how has the teaching of Stanley
Brouwn and Franz Erhard Walther influenced you?«
»Teaching is a strong word in connection with the former University of Fine Arts of Hamburg, HfbK. Apart from Büttner, the professors usually only appeared every few weeks for corrections. Interestingly, after my studies I was supported by people who came from conceptual art and minimalism.
I had the feeling that Franz Erhard Walther liked my work. „It can be done” was his comment after a work meeting, a typical HfbK comment that did notreally help you. Stanley Brouwn was a minimalist, it does not really get anymore minimalist than that. These artists came from a time when today’s art market first emerged. The first Art Cologne took place in 1967.
Franz Erhard Walther in particular was very well connected and knew almost all the artists who were important in the 1970s, and he incorporated this background into his teaching. The environment was good. There was a real anti-painting fraction among the professors. If you wanted to paint, you encountered resistance. That was more or less an ideal situation for developing something unique. That has changed completely; today you do your bachelor's and master's in painting or sculpture. „Free Art" as a course of study - that was once the case.«
UBiQUA:
»How did your exchange semester Vienna charge your perspective on art and your
own work?«
Klaus Hartmann:
»The Academy of Fine Arts did not have much influence on me. I quickly got to know artists outside the academy and was active in the art scene. I drew a lot. The latest trend at the time was Peter Weibel's „Context Art". A new generation of artists was dealing with theart system and turning it into art. They examined the conditions of art, but despite all the justified criticism, they were themselves part of the system. I saw no connection there and rediscovered painting for myself. When I came back to Hamburg, I had decided to paint.«
UBiQUA:
»Can you tell us more about the
importance of African culture in your art?«
Klaus Hartmann:
»Africa has completely changed my view of the world. I see Europe differently and I see Africa in new ways every time. Inrecent years, new small art institutions have sprung up in many places and thescene is very self-confident. I am very familiar with Tanzania and Zambia. I was in Tanzania for the first time in 1992 and then again and again since 2011. In 2011 and 2013 I taught at the Bagamoyo College of Arts. That was important because I got to know many artists and musicians and was integrated.
Africa is extremely diverse. The Swahiliculture on the east coast of Africa is a multicultural culture that has developed over centuries from Indian, Arabic and African influences. The coast is home to descendants of former slaves from various tribes inland who were brought to the coast by Arabic traders on the slave routes.
In my paintings, the Mkungo trees (Indian almond trees) with their large leaves are a recurring motif. They are the shade trees of the region under which groups of people gather in the midday heat. Comparable to the routes of the dhows that sailed in the monsoon winds between East Africa and India to trade, the seeds of these trees can survive in the water for months. They can be found on both sides of the Indian Ocean, especially near the beach, like a metaphor for the multicultural Swahilisociety.«
UBiQUA:
»How do your travels to Tanzania and other African countries
influence the themes and motifs of your works?«
Klaus Hartmann:
»I was in Tanzania for the first time as an art student. I had just finished my trial year at the University of Fine Artsof Hamburg and was full of new impressions. At that time, painting was not yet my focus. I remember sitting by the sea with my sister in Stone Town on Zanzibar and she asked me if I would like to paint and how. That was not my idea of art at all.
But the trip had left its mark on me and it was clear that I would come back one day. It took about 12 years before I started to paint from memory or from slides about our trip. The result was the Ukalawa series about a small village in the southern highlands of Tanzania.
Although today, looking back, one can see my world of images as being completely coherent, the Ukalawa paintings were new territory for me at the time. My „Blooming Landscapes“ were ambiguous - the German Chancellor Helmut Kohl promised East Germans blooming landscapes after reunification. I could not allow myself to be ironic in a foreign culture. So I created paintings that are more of a description of what I see.«
UBiQUA:
»Your works often contain a mixture of realism and surrealism.
How do you navigate these two styles in your work?«
Klaus Hartmann:
»Sometimes things just need to be rescued from their deep sleep. The lettering "Residence de la Balance" is, to put it succinctly, nothing other than the mailbox address of the "Hotel de la Balance" in a small town in Burgundy. Freed from its origins, the lettering is transformed into a work of art about the surreal perception of reality.«
UBiQUA:
»How have your encounters and conversations with
Fritz Kramer changed your view of ethnology and art?«
Klaus Hartmann:
»Fritz's seminars were legendary. Everything he told us was new to me. He taught not only art theory and aesthetics but also philosophy, anthropology and art history. Always from the perspective of an ethnologist.
Fritz was not without controversy. There were students and teachers at the Art Academy who resented his critical view of contemporary art and claimed that he had no idea about art. His seminars on rock paintings in Africa and Europe and the similarities and differences to Joseph Beuys' depictions of animals and people are unforgettable. Kramer was a treasure. His topic was inversions and reversals and the constant attempt to see and understand the world from the perspective of the foreign, the other. Later it turned out that he was also observing us; we ourselves had become objects of his research...
The conversations with Fritz did not change my art, but he made it easier for me to understand. Through his stays in Sudan and Kenya, he was able to understand my art.«
UBiQUA:
»Your works ofte seem melancholic or introspective.
Where does this mood come from and what do you want to express with it?«
Klaus Hartmann:
»I do not see my art as melancholic. There are critics who describe the rollercoaster pictures or the blooming landscapesas cocky, for example.
Painting is introspective. I ask myself: Why am I interested in this motif in particular? What fascinates me about it? Should I add something to the picture or leave something out? What is intuitive? What is conscious? The painting process is lengthy and that is where this debate takes place.«
UBiQUA:
»How important is the narrative component in your pictures?
Do your works always have a story that you want to tell?«
Klaus Hartmann:
»No, not always. Sometimes a narrative component emerges in the interplay of the images. I collected postcards as a child. I had two albums in which I sorted the cards by theme. I always had great fun re-sorting the cards, sometimes by country, then by color or by motif. It is similar in my art. There are individual images and there are thematic groups of images, you could also call them albums, which can be re-curated again and again according to different criteria.«
UBiQUA:
»What role does color play in your art?
How do you choose the color palette for a particular work?«
Klaus Hartmann:
»The choice of colors is intuitive. Sometimes I decide to paint colored frames. This is a purely painterly decision, a way of adding another color tone to the painting.
But there are paintings in which the colors are already determined by the motif. A critic once asked me about thepainting "Baltic Sea", which is in the Falckenberg collection, whether I could think of anything else other than using the primary colors. I was surprised; I had not expected the question, because the garden fence painted in red, yellow and blue was the trigger for the picture; even the barbed wire was lacquered in color in reality.«
UBiQUA:
»Your paintigs often contain lonely buildings or deserted landscapes. What
significance do these motifs have for you?«
Klaus Hartmann:
»Lonely and deserted is not my theme. That is an association of the viewer. The theme is the house, the bridge or the bush. I use deserted landscapes to direct the focus to the motif. The landscape functions as a stage.
In the series "Along the New Road" and "Somewhere between Kapiri Mposhi and Dar es Salaam "the viewer slips into the role of a traveler who fleetingly notices houses, huts and kiosks as he drives past. The houses tell of a certain time, of changes and upheavals. Sometimes they are places just before disappearing.«
UBiQUA:
»How did you experiene the artistic scene in Hamburg in the nineties and what
influence did it have on your work?«
Klaus Hartmann:
»The scene was diverse and there was a lively exchange. At the University of Fine Arts you could meet Daniel Richter, Jonathan Meese, John Bock and Peter Piller. Rocko Schamoni turned up in Büttner's class at some point and Florian Hüttner came from Munich. Büttner tried to put together an international women's class and so more and more artists like Linda McCue from Canada or Gudny Gudmundsdottir from Iceland came to our class as students. Christian Jankowski ran the exhibition space "Friedesallee 12" together with his then girlfriend Silvana Toneva, where many of us had our first exhibitions. The projects of the „Galerie für Landschaftskunst - Gallery for Landscape Art“ around Till Krause are still interesting today. I had jobs in the galleries of Ascan Crone and Vera Munro and with Stephan Schmidt-Wulffenas director, Hamburg had a good Kunstverein. It was important for the city of Hamburg that Harald Falckenberg started collecting art on a large scale. In 1998 I had my first solo exhibition at Jürgen Becker Gallery. That changed my life a lot and new influences came along.«
UBiQUA:
»What made you decide to study at the HfbK Hamburg
an wat expectations did you have at the time?«
Klaus Hartmann:
»In 1986 I saw the exhibition "Positions -Art from the Federal Republic of Germany" in East Berlin, which showed mainly paintings. I also knew a few names like Beuys and Nam June Paik, but I had no idea about Informel, Concept Art, Fluxus or Minimalism; I wanted to getto know them. The unknown attracted me. The borders were open. I liked Hamburg immediately and you did not need a high school diploma to go to the HfbK. Then Werner Büttner accepted me straight away. That was more or less a coincidence, probably a stroke of luck.«
UBiQUA:
»How has your art developed over the years? Are there certain phaes tha were
particularly formative?«
Klaus Hartmann:
»As I was skeptical about painting when I was at University of Fine Arts, I worked on objects during my studies and it was increasingly more inthe direction of sculpture. Büttner put me in touch with Hubert Kiecol, who was a professor of sculpture at the Art Academy Düsseldorf. He wanted to take me into his class. But that did not happen because I got an Erasmus scholarship for Vienna. If I had gone to Düsseldorf, my art would probably have taken acompletely different direction.
The beginning of the Africa paintings was something new. It was also something new in terms of reception. At the beginning it was difficult to sell these paintings. The collectors did not associate the subject with the blooming landscapes or the fairground paintings.There were also people who were unfamiliar with the paintings. But the more often I went to Africa and when I started exhibiting there, the greater the acceptance became.«
UBiQUA:
»How do you react to the public's reception of your works
and what extent does this influence your artistc work?«
Klaus Hartmann:
»I need the audience's associations. It was important for me to exhibit my paintings of Africa in Africa. I am interested in viewing habits. How do different life experiences shape our view of the world? How do people perceive things, how does our perception change due to upheavals, due to new technologies?
In Europe, the African house series and cactus paintings are often associated with Texas and Western films. Viewers associate my African hill landscapes or tea plantations with landscapes in Asia. In Africa, viewers sometimes associate my depictions of houses with poverty and I have been asked why I don't draw the new, beautiful middle-classhouses or my own dream house.«
UBiQUA:
»Are there any particular artists or works of art
that have had a lasting influence on your work?«
Klaus Hartmann:
»When I started painting at the HfbK, I was interested in the jungle paintings of Henri Rousseau. I was looking for a reason to paint that was as far removed as possible from the prevailing discourses. The slow and quiet English painter Michael Andrews is important to me, especially his "Lights" and "Ayer's Rock" series of paintings. I am interested in the life's work of Sigmar Polke, whose diversity can always be rediscovered. How does an artist manage to maintain his creativity over the years, how does he manage to reinvent himself again and again? How does he manage to depict the world we live in? What impresses me about Polke is how long he maintained his independence in the art market. Robert Frank also has a lasting influence on my work.«
UBiQUA:
»How do you deal with the tension between personal
artistic freedom and the expectations of the art market?«
Klaus Hartmann:
»Although I started selling paintings straight after graduating and I am in many collections, it was always a challenge to plug financial holes. A few grants or advances from the gallery saved my day many times. However, this gave me a great deal of independence for my work. In ever felt pressure from the art market. My Hamburg gallery supported me and never gave me any instructions.«
UBiQUA:
»What does the term home mean to you in relation to your art, especially
considerin your numerous trips and stays abroad?«
Klaus Hartmann:
»The term home is not really defined and is an unclear construction. That is why all sorts of interest groups try to appropriate it. For me, home is not tied to a place, a specific region, acountry or a culture, but rather an intellectual home.«
UBiQUA:
»How did you artisti work develop as a result of te fall of the
Berlin Wall 1990 and the associated changes in East Germany?«
Klaus Hartmann:
»Artists are also children of their time. My view of the world has focused on change since the fall of the Berlin Wall. Change has become a motif in my art.«
UBiQUA:
»What significance did travel, both toWesernountes
and to more remote places, have for your work after 1990?«
Klaus Hartmann:
»I always „travelled“, even as a child in the GDR. We had visitors from West Germany, the USA, Tanzania, Canada and socialist countries. I had postcards from Canada, India, South Africa, Bulgaria, Kamchatka, Prague and the High Tatras... I read Russian fairy tales, Herman Melville and The Jungle Book again and again. And unconsciously, it was also stories from the Bible that helped broaden my horizons.
I was 19 years old when the Iron Curtain fell. Of course it was great to travel to Paris or Amsterdam. But the greatest treasure was probably being able to see the world's great museums.«
UBiQUA:
»To what extent have you incorporated places you
have discovered on your travels into your artwork?«
Klaus Hartmann:
»I often title my paintings after the places that inspired them. Sometimes I also name pictures with place names if the motif reminds me of a place and I want to create an association with a specific place.«
UBiQUA:
»Was there a trip or a travel destination that s
particularly influential for your artistic development?«
Klaus Hartmann:
»Yes, Rwanda. I saw landscapes in Rwanda that I had long imagined as a painter and that can be found in some of my earlier paintings. To my astonishment, the landscape in the valleys and along the rivers often reminded me of Asian woodcuts and ink drawings. The farmers stand in knee-deep water in their rice fields and the rivers are lined with countless bamboo bushes.
Another trip that I am very interested in is a stay in the Usambara Mountains innorthern Tanzania. The area is reminiscent of the fictional landscapes of Hercules Seghers, a contemporary of Rembrandt. Combined with memories of the land of a thousand hills, as Rwanda is also called, a series of mountain landscapes is currently being created that correspond with Hercules Seghers' enigmatic landscapes«
UBiQUA:
»Has the trip to African countries influenced your view of colors, shapes and
expression possibilities in your painting?«
Klaus Hartmann:
»Space and vastness are already present in my early pictures, less as a reflection of reality, more as a space for associations. Perhaps that is one reason why I immediately felt at home in the vastness of the African landscape.
The palette of my colors expanded through Africa. I started to mix earth into my colors. The colors became closer to natural tones and there is a stronger nuance of the colors. Due to the strong backlight and the strong shadows, black tones became more important.«
UBiQUA:
»What is your relationship to the places and landscapes that you capture on canvas?«
Klaus Hartmann:
»The relationships are different. Sometimes I can still smell the places. Of some places I only have fleeting snapshots as sketch material, because I only noticed them briefly in passing or from the train. These are more like notes that then become a painting in the studio. And then there are the places and areas where I spent time. I have a personal relationship with these places. The painterly approach is accordingly more complex because the memories are more varied. In the first case I allow myself much greater artistic freedom.«
UBiQUA:
»In what art historical context do you see your own work?
Are there certain movements or artists that have served as a guide for you?«
Klaus Hartmann:
»I feel a kinship with artists who are difficult to categorize and who move in border areas. For example, I am interested in Robert Frank, who became famous with his book "The Americans", but later experimented with film, combined text with photomontages and scratched words into his negatives almost as a destructive act. Or Max Ernst, who is clearly a surrealist, but whose mountain landscapes and forest pictures are close to abstract art and could partly be classified as Art In formel.«
UBiQUA:
»To what extent is your engagement with classical painting,
such as the Renaissance or Impressionism, reflected in your work?«
Klaus Hartmann:
»When I think about painting or colors, I always have associations with other painters. When I think of the Renaissance, I immediately think of the blue tones of Giovanni Bellini and his incredible portrait of the Doge Leonardo Loredan.
I always find Georges Seurat fascinating because his paintings are extremely complex, especially the figure paintings. On the one hand, there is the small details of pointillism, and on the other hand, there are the carefully thought-out overall compositions. The paintings have something technical about them in their sophistication. What hardly anyone notices is that they sometimes have narrow, colorfully painted pointillist frames.«
UBiQUA:
»What role do themes such as urbanity and nature play for you
in art history, and how do you process these in your own pictures?«
Klaus Hartmann:
»When I think of urban art, I immediately think of Canaletto's paintings or photography, which - when it was a new medium- explored urban life in a way that had never been seen before. Nature and urbanity come together in Gustave Courbet and Honoré Daumier, who painted city dwellers in top hats and colorful clothes on excursions in the country. The landscape in the area outside Paris became a place of refuge for city dwellers at that time. The metropolis became almost uninhabitable, especially in summer, due to the coal soot from the many small factories, the traffic and sewage because of the stench and air pollution.
In my paintings, it is the decorations of shoe sellers and Chinese restaurants or the "Monopoly" lettering that reflect city life. I was inspired to create my series of pictures "Big City" by an invitation to Shanghai. The trigger for the paintings was a huge city model. It was less the direct perception of the city than the idea of a city that interested me.«
UBiQUA:
»In the essays on your work, people often talk about "Metamorphoses."
To what extent is this term appropriate for your artistic development?«
Klaus Hartmann:.
»There is probably no such thing as painting that is nothing other than painting. In music, we speak of fusion when different musical styles merge to create a new sound. In painting, this usually does not work. The interplay of different painting styles does not necessarily result in a new sound. I think it is the interplay of associations that make my paintings appear as metamorphoses.«
UBiQUA:
»What importance do you attach to philosophy in your artsic work,
and are there certain thinkers who particularly inspire you?«
Klaus Hartmann:
»If you understand philosophy as a medium that explores the world and human existence, then I would see my art as a visual contribution in this context.
I like statements from artists. Interviews with Joseph Beuys, radio with Heino Jaeger, conversations with Helge Schneider, the ideas of Sun Ra, the biographies of Renaissance artists by Giorgio Vasari and of course the texts of Salvador Dalí come to mind.«
UBiQUA:
»How do you personally deal with existential questions in your art,
and to what extent do your paintings reflect these themes?«
Klaus Hartmann:
»The painting "Siebehitze" from 2016 spontaneously comes to mind. The Siebenhitze was a former settlement in Eisleben that no longer exists today. The settlement was undermined by minetunnels and the houses were sinking. As a child, I was always curious to see how the cracks in the houses got bigger. There were plaster markings on the cracks with dates of the subsidence. Sometimes people could not get out of their houses in the morning because the doors no longer opened after a subsidence.
I think intuitively the "Siebenhitze" imprinted itself on my subconscious. The beginning of the "Along the New Road" series was a similar story. I met an elderlyman in Mikindani who lived in a small house on a new, busy road. All his life he had a wonderful view of a small bay of the Indian Ocean. Now he looks at rolling wheels and the vibrations of the road are damaging his house.«
UBiQUA:
»Is there a motif or an idea that you would like to implement
in a future work, but that you have not yet realized?«
Klaus Hartmann:
»The bird pictures and the ornamental depictions of crocodiles are series of paintings that deal with exoticism and the multicultural history of Africa. I would like to create rooms for these paintings and drawings with tapestries that take up the formal language of cabinets of the 18th and 19th centuries.«
UBiQUA:
»How do you deal with phrases of artistic blockage,
and what motivates you to get back into painting?«
Klaus Hartmann:
»I do not have any blocks. I tend to be too slow and never finish. Maybe that is because I keep interrupting my work to travel and then gain distance.
But the probably decisive reason is that over the years a kind of reference system has developed that holds my world of images together. I paint different themes in parallel.
I do not have a green or yellow period that can be assigned to a specific time. I am more curious to see what happens when I pick up an old theme again after years, or how a new series of images fits into this system.«
UBiQUA:
»Is there a work of art of yours that you consider particularly personal
or representative of your life and your world of thought?«
Klaus Hartmann:
»I think it is the moss flower paintings. They were created in a place in Sardinia that is very familiar to me. You can see them as metamorphoses, but they are also a universe of their own. You can describe the paintings as blooming landscapes, starry skies, big cities at night on landing approach, abstract painting, realistic painting, depictions of nature or abstract forms of nature.«
UBiQUA:
»What projects or themes would you like to explore in te future
and what continues to motivate you in your artistic development?«
Klaus Hartmann:
»I do not have to fight against windmills and reinvent the abstraction once again. But perhaps the abstraction will come to me. I have already found it in the Sardinian moss flower paintings. There is an artist I like very much: the French painter Eugène Leroy. He condensed his paintings so much that you can not recognize anything at first glance. Perhaps my art will end up in a similar kind of blur in terms of content. Formally it will certainly look very different. The drive is painting... that is clear!«
Martin Luther
Cyriacus Spangenberg
Lucas Cranach
John Bock
Mike Kelley
Paul McCarthy
Martin Kippenberger
Sun Ra
Space Arkestra
Dankwart Kühn
Carl Blechen
William Turner
Antoine Pesne
Old Fritz (King Frederick II of Prussia)
Werner Büttner
François Rabelais
Gustave Flaubert
Stanley Brouwn
Franz Erhard Walther
Peter Weibel
Fritz Kramer
Joseph Beuys
Daniel Richter
Jonathan Meese
Peter Piller
Rocko Schamoni
Florian Hüttner
Linda McCue
Gudny Gudmundsdottir
Christian Jankowski
Silvana Toneva
Till Krause
Ascan Crone
Vera Munro
Stephan Schmidt-Wulffen
Harald Falckenberg
Jürgen Becker
Nam June Paik
Hubert Kiecol
Henri Rousseau
Michael Andrews
Sigmar Polke
Robert Frank
Herman Melville
Hercules Seghers
Max Ernst
Giovanni Bellini
Georges Seurat
Canaletto
Gustave Courbet
Honoré Daumier
Heino Jaeger
Helge Schneider
Giorgio Vasari
Salvador Dalí
Eugène Leroy
Eisleben
Eisleber Wiesenmarkt, amusement park
St.Pauli, district of Hamburg
Hamburg
Wurstlprater, amusement park, Vienna
GDR
Vienna
Hamburger Dom, amusement park
Leipzig
Ohrdruf
Kino Capitol, cinema Leipzig
Neuzelle
Rheinsberg Palace, castle 100 km northwest of Berlin
Secret Service Headquarter, East Berlin
HfbK, University of Fine Arts of Hamburg
Art Cologne
Academy of Fine Arts Vienna
Zambia
Tanzania
Bagamoyo College of Arts
Stone Town
Zansibar
Ukalawa, village in Tanzania
Burgundy, region in France
Sudan
Kenya
Kapiri Mposhi, Zambian town
Dar es Salaam
Hamburger Kunstverein, art institution in Hamburg
Galerie Jürgen Becker
Art Academy Düsseldorf
West Germany
USA
Canada
India
South Africa
Bulgaria
Kamchatka
Prague
High Tatras
Paris
Amsterdam
Rwanda
Usambara Mountains, northern Tanzania
Shanghai
Siebenhitze, former settlement in Eisleben
Mikindani, Swahili coast town in Tanzania
Sardinia
LWG left logical brain hemisphere by Ubiqua LUDWiG after Ludwig Wittgenstein, LudwigHopf & Ludwig Brinckmann RTA right revolutionary brain hemisphere byUbiqua ROBERTA after Roberta Rich, emotional intelligencenovelist UBQ ai art curator UBiQUA* ART iNTELLiGENCE · SAVESHOW SELL · [»evaluate, preserve & move life's work«] *(name idea 1991 by MTS Matthias Schrader from Latin »ubique« = everywhere & upgradeby LWB Ludwig Brinckmann 1930 - 2022 Italian »ubiqua« = »ubiquitous /omnipresent / ever-present / universal« · KLS Artist Klaus Hartmann MKE Mike Siebers · FRA Frank Gerngroß · KML Kamil Frackowiak · JRI Jari Hansen · BND Bernd Kühl · MTS Matthias Schwier CND Conrad Schirmann · CRI Cristina Dellantonio · WAT Wolfgang Amadeus Trauden · MRZ Moritz Zschietzschmann KTN Katrin Hammer · ZOY Zoyt · DNS Dennis Thies · JOC Jochen Bastert · SVI Silvie Adams · NNO Anno Dittmer · HNB Hanabi Rosenke MMX Marike Moiteaux · BNB Ben Becker · HMT Helmut Preller · JHS Johannes Beck · NBIZ Neue Berliner Illlustrierte Zeitung TOM Tom Sperlich · FRZ initiator Fritz Brinckmann · whitePhone +49 172 459 3649 · blackPhone +49 163 984 05 88 FRZ@fritzbrinckmann.com ·info@schwarmintelligenz.org · attention is our currency ::: ::: visualize what matters.
Quelle: KLAUS HARTMANN UBiQUA iNTERViEW MMXXIV english © schwarmintelligenz.org.rtfd / pdf