Eberhard Havekost

Eberhard Havekost (born 1967 in Dresden) is a contemporary German painter.

1984-1985 graduated Havekost trained as a stonemason. From 1991 to 1996 he studied at the Academy of Fine Arts in Dresden. In 1997, he was there a master student under Ralf Kerbach. In 1999 he received the Karl Schmidt- Rottluff scholarship. Havekost lives and works in Berlin.

From the tradition of realist painting and partly of Photorealism in the 70s he developed his own style, which acts truthfully and augentäuschend simultaneously. Apart from the purely representational paintings are part of his work as abstractions, which Havekost always pursues the same objective with the two modes of representation: to explore the mechanisms of our visual perception. However, his works do not act as a documentation of reality. He breaks through distortions consciously with the viewing habits of the viewer.

Works by Havekost are among others in the collections of the Museum of Modern Art, the Denver Art Museum and the Marx Collection, the Rubell Family Collection, the Frieder Burda Collection, Museum of Fine Arts in Leipzig and the Tate Collection.

The Dusseldorf Art Academy called him with effect from the summer semester 2010 professor for painting.

Painting

Perspectives and perceptual processes

As models for his paintings Havekost uses own or discovered photographs. They are subject to digital manipulation. This chiaroscuro and color is to be changed, details blurred or distorted. These photographs often bear no symbolic or social value, but focus only on the process of perception. You do not pursue a goal of providing a recognizable part of the world, but on the contrary deprive the familiar objects of their recognizability.

With his pictures Havekost attempts to resolve the viewing habits and constant change of perspective to make us the process of seeing and perceiving to be aware. A major role is played by the subjectivity of vision, whose randomness is revealed with artistic techniques into Havekost's paintings. The fact that people do not see directly, but rather identify the things of the outer world only within the empirical structures Havekost prompted to propose a way out of this determination by the visual changes on ordinary objects and to move us to the independent pure viewing. Havekost it comes to " asking which filters we perceive " and " decipher " these filters.

Details and perspectives

In Havekost images cutouts are represented by objects mostly. He tightened our attention to details that make up the totality of reality. Often one and the same motif in series of several plants being treated. With the change of perspective, a permanent change of the object is connected: the slightest displacement means that each a slightly different part of the object is visible and the viewer each time has a different object in mind. Because of the constant change of perspective Havekost reveals the complexity of reality.

Objects

Focusing on the world of things running at Havekost addition to the fact that he often standing alone presents the objects without any human intervention. He tried to cast our eyes on the object to relieve them of the meanings that are attributed to him in the process of functionalization. His paintings suggest that " the things an irreducibility, a liveliness and density is to own that exists independently of our perception. "

Surface

Another important feature of Havekost dealing with motifs that emphasized close view to the objects represented. He focuses on the surface as the actual visible part of the objects. Often these theming is understood in the digital context and compared with the phenomenon of user interface. This term refers to the visible portion of a computer program, which is suitable for interaction with the user. It is important that the actual digital system is concealed behind said surface and remains invisible to the ordinary user. According to this analogy Havekost presented in his paintings visible reality through its surface. Is required in order to get behind the outer facade an increased concentration glance. Havekost not paint the objects that are visible on the surface, but he paints the interface itself

The highlighting of the surface assumes a distinctive form in the representation of persons. Here the skin is seen as a surface. Although the figures at first glance have individual facial features, they will be exposed in the next step as average types. Either they wear sunglasses ( as in the series staff Engineering, 2004), which block the view of the actual person, or their faces are digitally altered to trifles ( PC series, 1998-2002) and thus confirmed in their arbitrariness and referentiality. Often the faces are not visible. This handling of the face emphasizes its role as a mask that causes an interplay of concealment and revelation.

Distance and cold

To turn our attention to the objects Havekost working with opposites such as distance and proximity, as well as heat and cold. In this case, these categories always go into one another: the extreme close-ups and the sober realism detail evoke an appreciable distance, the warm and cold colors change and bring forth but no impression of familiarity. Thus, an impenetrable style of painting, which corresponds to our glimpse of the outside world developed. He is discussed in Havekost images. In his painting of this view is subject to a deceleration process.

Materiality

Detached objects, facades of buildings, human acts, transportation, plants, landscapes and rare character constellations are recognizable motifs in Havekost's paintings. The real issue, which is realized on the basis of the selected motifs, is the materiality of the reality that is perceived fleeting and often overlooked because of the primacy of meaning attribution. In fact, the physical nature of the subject image is transferred into the visual - that Havekost uses against the dematerialization of the gaze with his painting. He takes the structures apart to bring them together again, and in this way leads the complications of seeing and materiality in mind.

Solo exhibitions (selection )

  • 2014 New Gallery Gladbeck ( with Tatjana Doll)
  • 2013 title, Küppersmühle Museum, Duisburg
  • 2013 La Fin et le lever du jour, Hussenot Gallery, Paris
  • 2013 Cosmos Now, White Cube, London
  • 2012 Eberhard Havekost. The collection of MAP, Museum of Modern Art, Salzburg
  • 2012 Printmaking 2001-2012, Kunstverein Augsburg
  • 2012 Copy Ownership, Anton Kern Gallery, New York
  • 2012 Sightseeing Trip, Kerala Lalitha Kala Akademi Durbar Hall Art Gallery, Ernakulam / Kochi, Kerala
  • 2012 News ( with Manish Nai ), Gallery Mirchandani Steinruecke, Mumbai
  • 2012 Sightseeing Trip, Dr. Bhau Daji Lad Mumbai City Museum, Mumbai
  • 2012 Endless ( with Frank Nitsche ), Brandenburgischer Kunstverein, Potsdam
  • 2011 Take Care, Roberts & Tilton, Culver City, California
  • 2011 Colors game, Galerie Gebr Lehmann, Berlin
  • 2010 Exhibition, Kunsthalle in the Lipsius Building, SKD, Dresden
  • 2010 Affirmation, Exhibit Space Céline and Heiner Bastian, Berlin
  • 2010 Retina, Schirn Kunsthalle, Frankfurt / Main
  • 2009 Le manie ment nonchalant d' Accessories chers, Hussenot Gallery, Paris
  • 2008 Entrée, FRAC Auvergne, Clermont Ferrand
  • 2007 Paintings from the Rubell Family Collection, Tampa Museum of Art, Tampa, FL
  • 2006 Paintings from the Rubell Family Collection, American University Museum, cats Arts Center, Washington DC
  • 2006 Harmony 2, Stedelijk Museum, Amsterdam
  • 2006 Backstage, Galerie Gebr Lehmann, Dresden
  • 2005 Harmony, Kunstmuseum Wolfsburg
  • 2004 graphics 1999 to 2004, Cabinet of Prints, Dresden State Art Collections
  • 2001 DRIVER, Museu de Arte Contemporanea de Serralves, Porto
  • 1999 Statements, Art Basel, Basel
  • 1997 Förderkoje, Art Cologne, Cologne

Group exhibitions ( selection)

  • 2013 False Optimism, Crawford Art Gallery, Cork
  • 2013 footnotes to leave, motor Halle, Dresden
  • 2013 The Legend of the shelves, Auto Center, Berlin
  • 2013 Land Ahoy!, Museum der Moderne Salzburg
  • 2013 here now. Contemporary art. From the Art Fund, Contemporary Art Centre in the Lipsius Building, Dresden
  • 2013 Cultural Freedom in Europe, Goethe Institute Brussels
  • 2013 Saxony. Works from the Collection German Bank, Museum of Fine Arts, Leipzig
  • 2013 25, Galerie Gebr Lehmann, Berlin
  • 2012 People Images, Museum Frieder Burda, Baden -Baden
  • 2012 Jewels in the Das Rheingold, Kunsthalle Dusseldorf
  • 2012 New Realities, photo graphic from Warhol to Havekost, Galerie Stihl, Waiblingen
  • 2012 divided / undivided. Art in Germany 1945-2010, Galerie Neue Meister, Dresden State Art Collections
  • 2012 Artists children. From Runge to judge of Dix to Picasso, Kunsthalle Emden
  • 2012 collection of the Kunstmuseum Wolfsburg. Selected works by Carl Andre to Sergej Jensen, Kunstmuseum Wolfsburg
  • 2012 Art and Press. Art. Truth. Reality, ZKM Karlsruhe
  • 2012 No Town, Wayne State University 's Elaine L. Jacob Gallery, Detroit
  • 2012 Art and Press. Art. Truth. Reality, Martin -Gropius -Bau, Berlin
  • 2012 Rendezvous II the painter - painting at the Art Academy in Dusseldorf from 1986 to today, Academy Gallery, Dusseldorf
  • 2012 Paintings / Pinturas. The Rubell Family Collection, Fundación Banco Santander, Boadilla (Madrid )
  • 2012 works of American and European paintings of Marx collection, Muzeum Narodowne, Szczenie
  • 2011 works of American and European paintings of Marx Collection, a selection, Atlas Sztuki Gallery, Lodz
  • 2011 New Realities. From Warhol to Havekost: Photography in the medium of printmaking, Cabinet of Prints, Berlin
  • 2011 Halleluhwah! Hommage à Can, Künstlerhaus Bethanien, Berlin, and variety Gallery, Stuttgart
  • Hotspot Berlin 2011 - A Snapshot, Georg -Kolbe- Museum, Berlin
  • 2010 If not in this period of time - Contemporary German Painting, Museu de Arte de São Paulo, São Paulo
  • 2010 The Promised Land, SKD, Albertinum, Dresden
  • 2010 100th Exhibition, Auto Center, Berlin
  • 2009 Serralves 2009 - The Collection, Museu Serralves, Porto
  • 2008 The > La Caixa < Contemporary Art Collection, CaixaForum, Barcelona
  • 2008 Havekost, Lucander, Pflumm, Milliken Gallery, Stockholm
  • 2008 Living Landscapes. A Journey through German Art, National Art Museum, Beijing
  • 2007 Painting now, Kunsthal Rotterdam, Rotterdam
  • 2006 The Triumph of Painting, Leeds City Art Gallery, Leeds
  • 2006 Painting S ( e) oul, Kukje, Seoul
  • 2006 The Other Side, Tony Shafrazi Gallery, New York
  • 2006 Back to the Figure, Hypo - Kunsthalle, Munich
  • 2006 Wrestle, Hessel Museum of Art, Annandale -on-Hudson, New York
  • 2005 Imagination Becomes Reality - Painting Surface Space, Goetz Collection, Munich
  • 2005 Trials and Terrors, Museum of Contemporary Art, Chicago
  • 2005 Private View 1980-2000 - Collection Pierre Huber, Musée cantonal des Beaux -Arts, Lausanne
  • 2005 Do it yourself, Marx Collection in Hamburger Bahnhof, Berlin
  • 2005 Urban Realities: Focus Istanbul, Martin -Gropius -Bau, Berlin
  • 2005 La nouvelle peinture Allemande, Carré d'Art, Nîmes
  • In 2005 Arte Contemporáneo, Museo Municipal de Málaga
  • 2004 reality real, Galerie Gebr Lehmann, Dresden
  • 2004 Happy Birthday: works from the collection, Kunstmuseum Wolfsburg, Wolfsburg
  • 2003 Prague Biennale 1, National Gallery, Prague
  • 2003 Interview with Painting, Fondazione Bevilacqua La Masa, Venice
  • 2003 German painting two thousand and three, Frankfurter Kunstverein, Frankfurt / Main
  • 2003 Berlin - Moscow from 1950 to 2000, Martin -Gropius -Bau, Berlin
  • 2003 Karl Schmidt- Rottluff scholarship, Kunsthalle Dusseldorf
  • 2001 I Love NY, Anton Kern Gallery, New York
  • 2001 shock sensor 2, Municipal Gallery Gladbeck, Gladbeck
  • 2000 The ongoing cities, urban situations, Galerie im Taxispalais, Innsbruck
  • 2000 Golden - Springer - The Cold Heart, White Cube, London
  • 1999 Ways Deutsche 1949-1999, Martin -Gropius -Bau, Berlin
  • 1999 At eye level, Neuer Berliner Kunstverein, Berlin
Stedelijk Museum Amsterdam Print room Museum of Contemporary Art (Chicago) Integrated Authority File
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