New prints by K.O. Götz and Axel Hütte

K.O. Götz, Siekri 12, 2014K.O. Götz, Siekri 12, 2014
The painter Karl Otto Götz, who was born in 1914, is rightly regarded as a major protagonist of the difficult history of modern and contemporary art in Germany. Banned from painting during the Nazi era for his abstract technique, he became a member of the artist’s group CoBrA after World War II; with other painters of his generation who created what is known as Art Informel, he redefined the role of the gestural register in painting.

Their studies, which exerted a major influence on the art of the twentieth century, echoes in “Siekri 12”, Götz’s edition for "Texte zur Kunst". The work, reproduced as a Ditone print, is based on a gouache; in its visual rhetoric of wiping and condensed development of edges, it exhibits the work of the brush as a choreography of movement, stoppage, changes of direction, and resumption of the gesture. It never lapses into expressiveness; its primary source of inspiration, suggested also by the palette of dark hues on a paper-colored ground, is calligraphy. But where the latter is linear, Götz builds a broad and flatly expansive ensemble, a diaphanous composition whose layers – like superimposed lengths of gauze – seem to enfold spatial depth as well.

Medium: Ditone print
Size: 65 x 50 cm
Edition of 100 + 20 AP
Numbered and signed on the front
Price: €550

Axel Hütte, Ca’Corner della Regina-3, 2012/2014Axel Hütte, Ca'Corner della Regina-3, 2012/2014
Structured by an austere ensemble of verticals and diagonals, Axel Hütte’s photograph, taken inside the Palazzo Ca’ Corner della Regina in Venice, presents itself to the eye not primarily as the depiction of a tangible space but rather as an arrangement of lines and color fields in the flat surface of the picture. The interior shot wards off any expectation of a documentary registration of the architectural situation. Our gaze, guided into the picture in accordance with the rules of one-point perspective, finds itself stopped abruptly in the corner of the room. The glaring light falling through the cracks in the shutters and illuminating the painted tympanum in the palazzo, which was built in the early eighteenth century and has housed the Prada Foundation’s art collection since 2011, is dramatic and cool at once; the overexposure effectively foregrounds the photographic surface and counteracts the rigidity of the perspectival composition. As in many of Hütte’s architecture photographs, the deliberate framing of the motif in the grid of its pictorial logic highlights marginal elements: in this instance, the red switch in the corner and the wallpaper printed with an imitation-curtain pattern—fringing the windows and doorframe, it is part of a work by Thomas Demand and defamiliarized in the print by the mirror effect. Everything conveys an impression of indeterminate specificity: of the contemporary use of the palazzo as a showcase of contemporary art, rendered anonymous by a clean utilitarian aesthetic.

The work is part of a cycle of Venetian pictures on display, together with night shots of Asian megacities, at the Fondazione Bevilacqua La Masa on Piazza di San Marco during this year’s Architecture Biennial.

Medium: Print on mirror board
Paper size: 59.5 x 50 cm,
Image size: 46 x 36 cm
Edition of: 100 + 20 A.P.
Signed and numbered
Price: €350

These limited edition prints are available at Texte zur Kunst

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