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Prologue by David Neuman<\/strong>, Director Magasin 3 Stockholm Konsthall Exhibition catalogue no 20 Language:<\/strong> Swedish and English EXCERPT:<\/p>\n\n\n\n Restlandschaft \u2013 Thoughts on Per Kirkeby<\/em> by Thomas Elsen<\/p>\n\n\n\n (\u2026) While, on the one hand, he is in a position to sound out the possibilities of lyrical language, on the other hand Kirkeby shows equal command of the \u2018sober\u2019 factual language. Besides his activity as poet he is at the same time author of a multitude of essays, and art historical articles including on Manet, Delacroix, Turner and Schwitters.<\/p>\n\n\n\n INTUITION<\/strong> PAINTING<\/strong> A certain methodological analogy to the observation of geological layers in Nature is found in the reciprocal overlapping of painting and drawing in the picture field that plays a dominant role in his work. The drawing is \u2013 in this case \u2013 an essential dialogue event with reference to the self-confirmation of the picture and therefore integrally contained in this. The sketched motifs of the vignette in this catalogue may also be used by way of comparison, the vocabulary of which \u2013 sometimes concealed \u2013 in the pictorial series \u2018Rest-Landschaft\u2019 now and then stand out very directly. (\u2026)<\/p>\n<\/div>\n<\/div>\n","protected":false},"featured_media":100604,"template":"","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"98788,77089,71264,71354,77084,98774","_relevanssi_noindex_reason":"","_links_to":"","_links_to_target":""},"class_list":["post-28376","m3_publication","type-m3_publication","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\n
Blue, blue oblivion<\/em>, essay by Aris Fioretos<\/strong>, Author
Restlandschaft \u2013 Thoughts on Per Kirkeby<\/em>, essay by Thomas Elsen<\/strong>, Director Neue Galerie im H\u00f6hmann-Haus, Augsburg, Germany <\/p>\n\n\n\n
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No of pages: <\/strong><\/strong>49, color, illustrated
Binding<\/strong>: <\/strong><\/strong>soft cover
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Year: <\/strong>1999
Publisher<\/strong>: <\/strong>Magasin 3 Stockholm Konsthall
ISBN:<\/strong> 91-972986-4-6
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Intuition is a central impulse for Kirkeby in order to carry out his art and \u2013 at the same time \u2013 a type of counter-idea to that of spontaneity. He emphasises the qualitative difference in relation to the spontaneous works, as a creative process that for him is essentially related to the difference between slowness and speed. On the basis of intuition as the starting point and his point of departure as a painter, the picture \u2018grows\u2019 through many stages, corrections, superimpositions, through visible and invisible transitions. It is, albeit also to a large extent dominated by the mood, (\u201cThe pictures that emerge in this case are often much more depressive,\u201d Kirkeby in conversation with the author in Frankfurt, summer 1997) never only the expression of a unique moment but rather a \u2018time continuum\u2019, though it must be said frequently only a short one.<\/p>\n<\/div>\n\n\n\n
The occasional categorisation as modern landscape painter has always been rejected by Kirkeby. Nevertheless, it is both the intensive observation of nature (e.g. of fragments of tree, states of weather, light conditions that change with the time of day and year) as well as the geological motifs and motivation (study of surface structures and shifts, erosion processes) that in his pictures represent a definitive artistic continuum. However, Nature is not directly portrayed but rather appears as fluid; the change of a subject state. Kirkeby\u2019s painting constantly deals with this metamorphosis.<\/p>\n\n\n\n