(Born 1936 in Naumburg/Saale – died 2007 in Bad Berka, Thuringia). After studying music, German literature and philosophy, Ludwig Gosewitz devoted himself to Concrete Poetry and took part in many happenings, Fluxus events and various actions together with Wolf Vostell and Thomas Schmit, among others, in the early sixties. Alongside his intense engagement with astrology, Gosewitz began exploring glassblowing, which he learned in the glassworks in Zwiesel and at the Pilchuck Glass School. While his drawings are based on astrological constellations and combinatorics of numbers, his glass objects are more experimental, because their forms cannot be predetermined in the process of melting glass. With an outright archaic, sometimes mysterious appearance, they are not meant to serve any real purpose. Ludwig Gosewitz took part in Documenta 7 in 1982 and the Venice Biennale in 1990. His works were shown in the Galerie nächst St. Stephan in solo exhibitions in 1976 and 1987.
(Born 1940 in Dessau, lives and works in Düsseldorf). Imi Knoebel explores all the inherent characteristics of panel painting, like picture plane, format, structure and the physical body of the picture. His starting point is Malevich as well as radical non-representational painting. In his quest to redefine the notion of the picture, he creates compositions made of hardboard or aluminum, using these neutral, industrial products as media for unmixed, pure colors. In these works, the construction of the picture is made concrete, the composition is articulated, and the colors stand their ground with their singular presence within the overall picture. “The entire thing is a great happening of colors and forms in space” (Max Wechsler). Imi Knoebel took part in the Documenta in 1972, 1977, 1982 and 1987. He is currently preparing a retrospective in the Kunstmuseum Wolfsburg (October 25, 2014 – February 15, 2015). We have continued to show Imi Knoebel’s works regularly since 1984.
(Born 1958 in Moers, lives and works in Hamburg). Jochen Lempert studied biology (entomology) and has been working as a photographer since the early 1990s. Flora, fauna and all other forms of life he encounters in urban space and the museum of natural history are the subjects of his analogue black-and-white pictures. He makes prints by hand on baryta paper and then arranges the frameless photographs on the wall. There, they acquire both an astonishing object-like character and the corporeality of an antiquated medium. The groups of pictures organized according to analogies of form, or other criteria based on similarity, thus create poetic associations that clearly reject the idea of photography idealizing nature. Jochen Lempert has had many international solo exhibitions, including in the Städtische Galerie Nordhorn (2014), the Hamburger Kunsthalle (2013), the Rochester Art Center in Minneapolis (2012), the Museum Ludwig in Cologne (2010), and the Culturgest Lissabon (2009).
(Born 1950 in Klagenfurt – died 2014 in Western Styria). Ferdinand Penker studied medicine and art history before he began working as an artist at the end of the 1960s. Josef Albers, whom he met in 1971, played an important role in his career, as did numerous visits to New York, his years in San Francisco, and his fascination with Japanese culture. His exploration of structure, order, form and space, as well as the constructive, pictorial elements of line and color has resulted in works of different genres, like painting, graphic arts and sculptural and architectural assemblages. Ferdinand Penker is one of the most important Austrian representatives of an art that is analytical and conceptual and is a counterweight to the gestural abstract style of painting predominant in Austria. Penker’s concentrated, minimalist, almost meditative works are characterized by a “special visual sensitivity” (Wilfried Skreiner).