Mark Lammert
Mark Lammert ( born September 30, 1960 in Berlin ) is a German painter, draftsman, printmaker and stage designer. He lives and works in Berlin.
Life
1979-86 studied painting at the Art Lammert School Berlin and 1989-92 he was a master student at the Academy of Arts in Berlin. In 1993 he created his first stage space for Heiner Müller's production "Duel Tractor Fatzer " at the Berliner Ensemble. In the following years, he has received grants for painting at the Senate for Cultural Affairs, Berlin ( 1994), and the Foundation for Art Fund, Bonn (1996 ), which he had joined as a board member since 1997. In 1997, a longer business stay in Lisbon. The following year, 1998, he was awarded the Prize of the graphic art fair in Dresden, and the 1999 Käthe Kollwitz Prize of the Academy of Arts. It was 2000/2001 invited by the Academy of Experimental Théâtres to Paris and in 2002 awarded the Eberhard- Roters Fellowship for painting the Prussian Seehandlung. In 2003 he spent as artist in residence at the Couvent des Récollets, Paris, for a long time in France. Since 2011 Lammert is a professor of painting and drawing at the University of Arts in Berlin.
Work
Lammert came early equally with paintings and drawings to the public and was in numerous exhibitions of German art (including " Images of Germany ", Martin -Gropius -Bau, Berlin, 1997, and "Art of Two Germanys ," Los Angeles County Museum of Art, 2009) represented. His work is determined by a conceptual process in which the boundaries of the pictorial be questioned. This applies to the early portraits ( Stephan Hermlin, 1987), which have been described as artistic protests against the lack of history, as the series in painting, drawing and graphics: from the early group pictures of those waiting ( 1983-88 ) across the frozen white file and battle scenes to the image sequence " chins " (1993), which set the cliché Heiner Müller overridden.
In his large-format paintings series " allied ", 1994-1995, which he applies a palimpsest with reds on backs of maps, increasing his principle of reduction of fragments of human figures can be seen. He began to experiment with different working cause, to work book cassettes and put fine line networks as a quadrature over drawings on coarse paper. Since 1998, he has deliberately turned the small image sizes, which he extended to tableaux. In the scarcity of the balance between carnal and skeletal, skeleton and matter, line and color is also held between image and polyvalent character. The reduction included here not only the figurative traces of the physical, but also the color of the background on which the color patches appear as personal injury. " Crossbow " (1997-1999), " Case" (1998-1999), " rib cage " (1998-2000) and "white" (2001-2003) are to white and "Passion" (2001-2002) and " Black " (2002-2004) set to nuanced dark backgrounds. Increasingly, open the color moods ( " Floaters ", 2005-2009 ), where the relations of reason and pixel to be changed and to contact as with the paperwork in their compilation into ornamental.
In addition, an extensive graphic oeuvre has arisen lithographic templates are included in the collage-like imagery in the partly old. Since the 80s Lammert also collecting his material in work books, which form a parallel work area and play in the media reflection of the political context in which his work is created. In addition to collagen, photos and drawings, which often disclose techniques of representation of the violent, these books are also filled with written notations and excerpts from a variety of theoretical texts. Visual is entangled with verbal. In the " cracks " titled work (2004) the handwritten copy method is first used to create images that are both text and drawing and release through cutouts in the blocks of text forms and figures. Increasingly, these notations are fragmented and mapped, as in the "Bone " (2006/ 07), in which colored, free-floating fields in linear contours as documents of the color-coded stages of growth of the animal art collection of the Musée Fragonard, Paris, with text excerpts are confronted.
Through its collaboration with Heiner Müller since 1991 ( "From the House of the Dead ", 1990; " blockade ", 1991; dead drawings 1995) Lammert began to create the stage area, where it transfers the materiality of his painting into space. The sometimes only by falling colored towels ( Germania 3, 1996) or structured by a rotating wall spaces ( Persian, 2006), to other players and have been referred to as dramaturgy machines.
Works ( selection)
Solo Exhibitions
Group Exhibitions
Stage rooms
Public collections
- Prussian Cultural Heritage Foundation, Prints and Drawings, collection of drawings, Berlin
- Berlin Gallery, National Museum of Modern Art, Photography and Architecture, Berlin
- Museum of Fine Arts, Leipzig
- State Lindenau - Museum, Altenburg
- State Art Collections, Dresden
- Staatliches Museum, Schwerin
- Collection of Ann and Werner Kramarsky, New York
- Art collection of the Academy of Arts, Berlin
- Collection German Bank, Frankfurt q.s.