GOLDROTSCHWARTZ

Different - Contrary - Absolute

With gutsy inspirations and fresh ideas, we would like to surprise you with our arts, our projects, our unrivalled exhibitions, originality and uniqueness, which would inspire you for the moment if not for the rest of your life.

Prefer to live unconventionally.

Be realistic. Challenge the impossible.

Come visit us. Be part of it!


info@grs-arthouse.com  -   www.grs-arthouse.com

Phone: +48 12 3712465 / Mobile: +48 504 047 304  - + 48 504 116 267

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Our participating artists:


About the painting of ROLF OHST 

Shiny heaps of meat just as in a butchery, stacked bodily masses, resembling of rolled pork roast, fatty bodies looking like plucked chicken. Rolf Ohst's fascination for immense carnality and the special presentation would instantly remind one of Roald Dahls narraton "pig" in which a seclusively linving vegetarian comes to town, learns to love meat just to be slaughtered himself, if there weren't decided motives that are borrowed by Rolf Ohst from the art history.

From Botticelli's "Birth of Venus", Giorgiones "Venus in a landscape", Tizians Venus in bourgeois interior via nudes by Rembrandt, Manet, Renoir, Modigliani, Matisse, up to Cézanne or Corinth - Rolf Ohst cites them all. Doing that, he overreaches the baroque plentitude to the extreme.

He paints Botticelli's Venus in gracefully trembling shy corpulence and placing his figures in maritime landscapes with dramaticly clouded skies which let the famous dutch masterpieces come to life alltough the figures are kept characteristic of classic modern.

When he names his resting, fat beauty reminiscent of a stranded whale gasping for breath, after Edward Munch's famous "The Scream" the sampling becomes perfect. Rolf Ohst manages to tie in with best traditions of nude-painting in a disrespectful humorous way and to convert them into the presence. 

Dr. Stefani Lucci, Art-historian - 2009 (http://www.artists.de)


http://www.rolf-ohst.de

Jörg Menge


Jörg Menges work expresses the loss caused by the elimination of the “true world” (F. Nietzsche) of religion and metaphysics. As “broken and deformed” bodies men and women are moving towards the viewer. At the same time, in spite of their movement the impression of a static presence arises.  The bodies move separate or in intertwined groups in an undefined space. Most of them are naked, occasionally wearing coloured working clothes. Whilst melting into groups they still remain individuals. They are individuals in an empty space.
Jörg Menges paintings present the whirl of human atoms in an empty space. The contorted bodies express the loss of truth. They are deformed truth.  As atomized bodies they are “the kind of movement like an abysmal crash in an improper sense of being”


 

Walter Padao

The confrontation of complex relations with physicality and movement in space constitutes the main aspect of Walter Padao’s images.

The interaction of the oscillating plasticity of moving bodies within spirited stage spaces opens up a picture puzzle: contraction and expansion, proximity and distance, acceleration and deceleration - flowing transitions and abrupt changes of movement in a flash but focused pause.



The mostly unusual, sometimes grotesque appearing postures and dynamic movements of the figures create lines of force and areas of tension, traces of fleeting choreographies, which unite themselves to enigmatic arrangements.

Conceptually Walter Padao stands in the tradition of Cubism and Futurism, where motion and time become part of the picture, yet his paintings live, despite the examinations of modern visual techniques, from the impulse and the expressive moment. "Things are strangely juxtaposed, come into gliding and create a fantastic suction into space without time if one omits to combine them in the same way over and over again.”

 

Walter Padao studied painting in Kassel, Bologna and Nuremberg (Master student of Johannes Grützke), lives and works in Dusseldorf.

                                                                                                    www.padao.de

 Hanjo Schmidt

Hanjo Schmidt has devoted himself to painting, observing and painting the bodies and faces of those from ages 25 to 35. But in 2009 he began to concentrate on the aging body, recognizing that this was likely a taboo topic. And while he painted some portraits on commission and selected certain older friends who had experienced life to be his nidus, he soon realized that he was carrying his own best model with him at all times –himself.

Using the camera to photograph his own gravity-challenged corpus he came upon some interesting observations: the youthful body is about movement, speed and strength – all concentrated in the strong taut extremities, strong and beautiful and full of energy.

And following these visual and kinetic-informed notes and in reference to his own body habitus, Schmidt, in his thoughtful and philosophical approach to the aging body, shares the following: ‘The old body is concentrated in the torso. Arms and legs become more and more weak and thin, ugly and immovable.

 Willi Kissmer

  

About the painting of Willi Kissmer

West German artist, Willi Kissmer has built a solid reputation and an avid following in Europe with his quietly beautiful paintings and graphic works. He is a contemporary artist working in realism, that most uncontemporary of styles and has been described as a young master working in the style of the Old Masters. Unlike the work of many of his contemporaries, the paintings of Willi Kissmer are not abstract or expressionistic but instead are tied to a long tradition of realism in Northern European painting. The subjects of his pieces are simple still lifes, scenes from residential architecture and the female figure, each rendered with a fine eye to detail and a slightly disquieting sense of heightened observation.

Artist Thomas Schönauer - Painting of tomorrow


The Space Paintings on Steel are Schönauer’s point of departure for three-dimensional imagery on a plane surface. This field of his work came about from the idea of arriving at object-like and three-dimensional pieces via the two-dimensionality of, for example, ink and watercolour drawing. The Space Paintings virtually reproduce the different planes of a sculptural group – elevation, ground plan and bird’s-eye-view.

In the CT-Paintings (CT as in Computer Tomography), Schönauer distils this procedure in a continuing exploration of the material/non-material theme. This technique was developed over many years, in collaboration with a manufacturer of industrial varnishes. The fusion in this series is of a prolonged process of development with a manner of painting that breathes improvisation. The act of creation is brief, but based on intense preparation and detailed mental planning. It culminates in a moment of utter concentration.

Only the primary colours and black and white are used – five elements added as liquid pigment to a medium of epoxy resin.

Other outstanding works are the Skydrop – these  sculptures do not rise from the ground, they drop from the sky. Besides these his exceptional and meanwhile worldwide highly regarded Atompops: works of polished, silver-glinting spheres of stainless steel.

                                                                                         http://thomas-schoenauer.com/

Ralf Rduch

Ralf Rduch creates large-sized nude paintings. His only motif is the human being who is posing nude exclusively. By abandoning clothing his cultural background, social status and that what he wants to represent most is not apparent. Clothing implies pretending – the body itself though will never be a feint.

This concentration on the individual is yet intensified by the fact that the posing characters are positioned in a free space. There is no spatiality, no tangible reality, mostly only some monochrome space, in front of which they are arranged – stage-like- and illuminated from above on the right.

By the concurrence of extreme light- and shadow sections, the bodies have a very vivid appearance.

The individual is not a homogeneous creature but he consists of layers and fractures, of manifests and secrets or clandestine emotions.

Ralf Rduch therefore composes arrangements of individuals originating from separate floors - he is segmenting them by eleven tonal values, each one having a shade of color of its own. Here, the full scope of tonal value is presented ranging from black to white.

To the artist, twelve is the figure of truth, eleven the will to approach the truth. The eleven shades thus represent the wish to achieve awareness on one hand, but also the knowledge that this is impossible after all. However, there is one feasible approach! The twelfth color is present in the painting – it is the background color...

                                                                                   www.ralf-rduch.de

 

With the dialogue of materials worlds apart, Schönauer once again directs his attention to the fusion of contrasts and to dialectics.