The exhibition is part of the Winckelmannfeier. The opening of the event begins with introductory remarks at the Neubaukirche in Würzburg, after which we will all walk over to the museum gallery in the Würzburg Residence.
Andreas Schlaegel drums, Manfred Peckl voices, bejaneinen einander dialogisch, Jäger auf Lauer, rollen sie Töne in die Steinzeit. Live ertakten sie Körper in Rhythmen, tauchen Momente ins Weit. Welt.
Tue 26.6.2018, 6 pm
Laura Bruce / Valeska Peschke / Zuzanna Skiba / Antje Blumenstein / Thomas Draschan / Jens Hausmann / Ekaterina Mitichkina / Carola Ernst / Joanna Buchowska / Heike Kelter / Malte von Stein / Wolfgang Ganter / Kai Teichert / Franziska Hufnagel / Karsten Konrad / Anne Schreiber / Michael Markwick / Heidi Sill / Petra Trenkel / Harriett Gross / Fritz Bornstuck / Thomas Henninger / Heike Gallmeier / Fabian Hub / Christine Molis / Tine Furler / Nicola Staglich / Hansjorg Schneider / Peter Dobroschke / Reiner Neumeier / Wolfgang Flad / Stefan Muller / Thilo Staudt / Jessica Buhlmann / Peter Bohnisch / Tom Fruchtl / Manfred Peckl / Andreas Schlaegel / Sascha Boldt / Olivia Berckemeyer / Jerry Kowalski / Anke Volk / Annelen Kaferstein / Ann Schomburg / Alexander Hopfner / Adrian Maryniak / Stefan Draschan / Sarah Alexander / Marc van der Hocht / Sybilla Weidinger / Bram Braam / Sador Weinsčlucker/ Stephanie Neumann / Mathias Deutsch / Shila Khatami / Eva Maria Wilde / Marten Frerichs / Ruprecht Dreher / Lennart Grau / Marc Jung / Patrick Alt / Marco Schmitt / Hansa Wißkirchen / Phillip Topolovac / Corry Mirski / John von Bergen / Lutz Braun / Peter Klare / Melou Vanggaard
CONZERT: 9 pm
Bar in der Karl-Marx-Allee 36
Michael Markwick”Most of Markwick’s pictures develop out of innumerable layers and over-painting. To accentuate the physical structure of the paint, he sometimes mixes sand into it or cuts it away with razor blades and spatulas. Markwick understands the painting process as both a dialogue and conflict between colour, form and narrative motifs such as elements of landscapes. In his current work hints emerge of human figures, a flower or a paper kite.
In titles such as Sailor on the Styx (2018) or Clattering Bones of a Flower (2018) the artist has started to emphasize traces of bones, skulls or skeletons, which had continually appeared spontaneously in older works during the painting process and in this way emphasised the latent confrontation with death and mortality.
A new, brighter state of pictorial composition has created room for this. Until 2015 Markwick was inspired primarily by expressionist influences – by Joan Mitchell, Willem de Kooning or the CoBrA group. Since making a journey to see the work of Piero della Francesca and frescoes of the early Italian Renaissance, you can see a greater lightness in his paintings. This lightness is characterised by brighter colours, more open spaces and stronger graphically nuanced forms.
Nevertheless the pictorial space is still wrought with discords. In this way Markwick keeps all the elements active and vibrant and stimulates the gaze of the viewer. The viewer’s gaze is pushed away from the finely shaded or swirled paint, zooms into details with an enormous impression of depth or, as in The Slide (2017) is sucked into a lead-dark chasm. In Poet Climbing out of the Earth (2017) a spring-like lyricism seems to conquer the weightiness, while in Bird Waiting for Storm (2018) a cascade of light rebels against the stone grey shadows that threaten to swallow up all other colours.”
Above quote from exhibition text.
Dr. Karin Schulze