01/10 Auswahl  




Coalmine our Fritz 2/3

Coalmine our Fritz 2/3



Pictures of boundless globalisation

Klaus Schnocks-Meusen exhibits "horizontal fusions" in the artist coalmine. Pictures from different cultures clash suddenly.

The extensive oil paintings work as views in other worlds in the showroom of the artist coalmine our Fritz 2/3. "Klaus Schnocks-Meusen has horizontal fusions called his exhibition ".

Ancient Greek sculptures seem to float and to change into Indian sculptures in front of Asian temple friezes. Two shiny American big limousines move from a wildly rampant tropical vegetation. Indicated shadowily Australian natives stand in front of a Venetian silhouette. In the work of Klaus Schnocks-Meusen pictures clash suddenly from different cultures and times. He holds scenes collagen custody tightly as we often know her from the media. His pictures seem restless, dissolving themselves in different, apart pouring movements. The observer has hardly discovered a motive, he is passed on to the next one. Confusing details let the look find hardly quiet.

His pictures arise as a mixture of been different completely. Journey experiences of one's own, seen and read influence his pictures. Pictures of the globalisation of a crossover of the cultures are held tight pernicketily exactly in old masterly technology. These are surreal or fantastic pictures although the individual motives by the media seem known to us. Pictures which create completely new seeing experiences by the combination of other pictures.

Klaus Schnocks-Meusen sees himself himself as a neutral observer. Without comment he places different lines of sight side by side. In endless stories he talks about it besides each other of different. He abstains apparently from every interpretation. His pictures are open to the observer. "One should not lose himself too much into the details, however, one then loses the summary. It is ", always good, a step to step down Klaus Schnocks-Meusen advises alone the observers of his pictures. The exhibition "horizontal fusions" is inaugurated on Saturday at 5 p.m. Andrea speaks about Bardeleben. The pictures still can be seen until October 9th (Mi, so 15-17 hours).


Exhibition opening at this sum, the 17th 09. at 17.00 hours

Horizon fusions

If one analyses the pictures of the Lower Rhine painter Klaus Schnocks-Meusen, then the idea coined by the philosopher Hans Georg Gadamer of the "horizon fusion" seems reasonable. This horizon fusion takes place in a diverse way in the works of the artist. Fragments from most miscellaneous cultures seem to melt together with each other here: Egypt, the caribbean, the Italian renaissance, the Australian aborigines, African tribes, the Maoris from the Pacific, archaic people in front of the dome buildings of Venice. In the pictures of the painter the room time continuum is, these impressive markednesses human culture performances from each other this separate, lifted. The ethnoses which are brought together by the painter here, however, mix under no circumstances to a faceless "Multikultibrei" but keep her respective unusual features. There is, one could conclude from these pictures so no ranking between the cultures but equivalence.

The link of these scenarios is the reflection of the architecture which unites contrasting prospects in a uniform picture structure here. Reflections are essential compositional means for Schnocks-Meusen. You appear in many of his works. Symmetrical axes which would curtly disassociate themselves from each other without these reflections as in the case of a collage penetrate themselves alternately and connect picture zones now and then. The individual works are connectedly, then also the same figures under each other by reflections and fragments appear in different work in respectively other context.

So picture worlds arise in the bipolar game of times where painting of the tradition feels obliged. The painter as observer, narrator and chronicler and not least as a visionary. Share our visions, go to the exhibition and you merge the horizons.