james hugonin hoffmann james hugonin nr. 2/2019 und detlef ......druck: nejedly gmbh, friedrichsdorf...
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james hugonin und detlef orlopp 22./23. juni 2019 bis 17. november 2019 galerie hoffmann görbelheimer mühle friedberg/hessen eröffnung am samstag, dem 22.6. und sonntag, dem 23.6. jeweils 14 – 19 uhr james hugonin ist anwesend anschließend einladung zum feiern hoffmann nr. 2/2019 edition & galerie hoffmann ohg dokumentation konstruktiver kunst galerie hoffmann görbelheimer mühle 1 61169 friedberg/hessen ausstellungshalle friedberg-ossenheim florstädterstrasse 10 b 61169 friedberg/hessen geöffnet: di – do 11–16 uhr, sa + so 14 –19 uhr wir bitten um telefonische vereinbarung telefon +49 (0) 6031 2443 telefax +49 (0) 6031 62965 [email protected] www.galeriehoffmann.de 1/2019 john carter + klaus staudt 23./24. märz bis 8. september 2019 2/2019 james hugonin + detlef orlopp 22./23. juni bis 17. november 2019 3/2019 jan meyer-rogge + mehdi moutashar 21./22. september 2019 bis 22. märz 2020 4/2019 anett frontzek 30. november/1. dezember 2019 bis 13./14. juni 2020 gestaltung: karl-achim czemper, hamburg druck: nejedly gmbh, friedrichsdorf study in light grey (ev VII 1–108), 2018 study in dark red (ev VII 1–108), 2018 acrylic on paper, 47 × 42.4 cm (image), 96 × 84.5 × 4.7 cm (framed) photograph: john mckenzie | courtesy of the artist and ingleby, edinburgh study in light blue (ev I 1–108), 2018 study in indigo (ev II 1–108), 2017 james hugonin born 1950 in county durham, united kingdom 1970–71 winchester school of art, uk 1971–74 west surrey college of art & design, uk 1974–75 chelsea school of art, london, uk prizes 2011 art and christianity enquiry (ace) award for art in a religious context (joint winner). window for st john’s church, healey, northumberland. (fabricated by derix glasstudios, taunusstein, germany) selected solo exhibitions 1983 galerie brigitte hilger, aachen, germany 1987 galerie hoffmann, friedberg, germany 1991 serpentine gallery, london, uk 1996 kettle’s yard gallery, cambridge, uk 2006 james hugonin and ian stephenson, de la warr pavilion, bexhill, uk, touring to baltic, gateshead, uk 2010 ingleby gallery, edinburgh, uk 2015 binary rhythm paintings, ingleby gallery, edinburgh, uk 2019 galerie hoffmann, friedberg, germany, together with detlef orlopp selected group exhibitions 1997 a quality of light, tate gallery, st ives, uk 2013 a collector’s eye: contemporary art from the van hulten collection, museum belvedere, heerenveen, netherlands 2015 patterns of abstraction, john berggruen gallery, san francisco, usa 2019 the art of collaboration: kip gresham, heong gallery, downing college, university of cambridge public collections tate gallery, london, uk victoria and albert museum, london, uk national museums of wales/national gallery of wales, cardiff, uk white rabbit gallery, sydney, australia notebook and related colour chart for binary rhythm IX binary rhythm IX, 2015 (detail) oil and wax on wood, 180.5 × 169 cm photograph: john mckenzie | courtesy of the artist and ingleby, edinburgh since 2002, i have made paintings following written instructions that set out the locations of coloured marks within a grid of approxima- tely 55,000 rectangles. before this i had painted reactively and in- tuitively evaluating each colour as it was applied in the context of the painting as a whole. intuition alone, however, was restricting the potential of each painting within a series. i needed to introduce an element of controlled chance within a rules-based system. i did this in such a way that would enable me to minutely adjust the pre- cise placement of each coloured mark. from 2002 i made a notebook and a related colour chart for each painting that i worked on. this book is written and completed be- fore any painting is started and the painting is made following the parameters that are set out in it. by working in this way, i am exter- nalising and clarifying a thought process that is impossible to hold in my head. for me, painting is a process of making concentrated thought visible and an opportunity to watch a process slowly un- fold, gradually evolve and reveal its own internal complexities. these instructions create variable and unpredictable rhythms. in this respect the notebook is comparable to the function of a musi- cal score. each notebook contains nine double page spreads of information detailing the placement of 89 separate colours that are assigned to groups of rectangular coloured marks arranged in double-oval forms within a grid structure. to enable this system to work across a series of paintings i used dice-throws to establish the heights at which these double-oval forms would be positioned. the contin- gent nature of this process is pivotal. nothing is ever repeated in exactly the same configuration twice. this creates an ambiguous and constantly fluctuating colour field. repetition of oval-forms and the relative distances between them subvert the overall horizontal and vertical prominence of the grid. since 2013, the use of prime numbers has been a key element in establishing the distances between double-oval forms. i am fasci- nated by the way in which prime numbers create potentially dis- ruptive distances that do not repeat in a logical way. this line of thinking has informed the 2018 ‘twelve studies in elliptical form’ (print series), and the 2017/18 ‘six acrylic studies’. neither of these series of works employ a grid structure as such. the emphasis is on dots and small curved lines within the confines of different colou- red grounds. yet still, with the underlying influence of an overall linear construct. i am creating very ordered paintings, often of a size that relates closely to the human scale and orientation. however, that order is constantly being brought into question and the eye might interpret the paintings as being totally random when, in fact they are the product of a multiplicity of orders. where the eye cannot cope with this, we call ‘random’ but, in fact this is far from being the case. james hugonin 2019
Transcript of james hugonin hoffmann james hugonin nr. 2/2019 und detlef ......druck: nejedly gmbh, friedrichsdorf...
james hugonin und detlef orlopp
22./23. juni 2019 bis 17. november 2019 galerie hoffmann görbelheimer mühle friedberg/hessen
eröffnung am samstag, dem 22.6. und sonntag, dem 23.6. jeweils 14 – 19 uhr
james hugonin ist anwesend
anschließend einladung zum feiern
hoffmann nr. 2/2019 edition & galerie hoffmann ohg dokumentation konstruktiver kunst galerie hoffmann görbelheimer mühle 1 61169 friedberg/hessen ausstellungshalle friedberg-ossenheim florstädterstrasse 10 b 61169 friedberg/hessen geöffnet: di – do 11–16 uhr, sa + so 14 –19 uhr wir bitten um telefonische vereinbarung telefon +49 (0) 6031 2443 telefax +49 (0) 6031 62965 [email protected] www.galeriehoffmann.de 1/2019 john carter + klaus staudt 23./24. märz bis 8. september 2019 2/2019 james hugonin + detlef orlopp 22./23. juni bis 17. november 2019 3/2019 jan meyer-rogge + mehdi moutashar 21./22. september 2019 bis 22. märz 2020 4/2019 anett frontzek 30. november/1. dezember 2019 bis 13./14. juni 2020
gestaltung: karl-achim czemper, hamburg druck: nejedly gmbh, friedrichsdorf
study in light grey (ev VII 1–108), 2018
study in dark red (ev VII 1–108), 2018
acrylic on paper, 47 × 42.4 cm (image), 96 × 84.5 × 4.7 cm (framed) photograph: john mckenzie | courtesy of the artist and ingleby, edinburgh
study in light blue (ev I 1–108), 2018
study in indigo (ev II 1–108), 2017
james hugonin born 1950 in county durham, united kingdom 1970–71 winchester school of art, uk 1971–74 west surrey college of art & design, uk 1974–75 chelsea school of art, london, uk prizes 2011 art and christianity enquiry (ace) award for art in a
religious context (joint winner). window for st john’s church, healey, northumberland. (fabricated by derix glasstudios, taunusstein, germany)
selected solo exhibitions 1983 galerie brigitte hilger, aachen, germany 1987 galerie hoffmann, friedberg, germany 1991 serpentine gallery, london, uk 1996 kettle’s yard gallery, cambridge, uk 2006 james hugonin and ian stephenson, de la warr pavilion,
bexhill, uk, touring to baltic, gateshead, uk 2010 ingleby gallery, edinburgh, uk 2015 binary rhythm paintings, ingleby gallery, edinburgh, uk 2019 galerie hoffmann, friedberg, germany, together with
detlef orlopp selected group exhibitions 1997 a quality of light, tate gallery, st ives, uk 2013 a collector’s eye: contemporary art from the van hulten
collection, museum belvedere, heerenveen, netherlands 2015 patterns of abstraction, john berggruen gallery,
san francisco, usa 2019 the art of collaboration: kip gresham, heong gallery,
downing college, university of cambridge public collections tate gallery, london, uk victoria and albert museum, london, uk national museums of wales/national gallery of wales, cardiff, uk white rabbit gallery, sydney, australia
notebook and related colour chart for binary rhythm IX
binary rhythm IX, 2015 (detail) oil and wax on wood, 180.5 × 169 cm
photograph: john mckenzie | courtesy of the artist and ingleby, edinburgh
since 2002, i have made paintings following written instructions that set out the locations of coloured marks within a grid of approxima-tely 55,000 rectangles. before this i had painted reactively and in-tuitively evaluating each colour as it was applied in the context of the painting as a whole. intuition alone, however, was restricting the potential of each painting within a series. i needed to introduce an element of controlled chance within a rules-based system. i did this in such a way that would enable me to minutely adjust the pre-cise placement of each coloured mark. from 2002 i made a notebook and a related colour chart for each painting that i worked on. this book is written and completed be-fore any painting is started and the painting is made following the parameters that are set out in it. by working in this way, i am exter-nalising and clarifying a thought process that is impossible to hold in my head. for me, painting is a process of making concentrated thought visible and an opportunity to watch a process slowly un-fold, gradually evolve and reveal its own internal complexities. these instructions create variable and unpredictable rhythms. in this respect the notebook is comparable to the function of a musi-cal score. each notebook contains nine double page spreads of information detailing the placement of 89 separate colours that are assigned to groups of rectangular coloured marks arranged in double-oval forms within a grid structure. to enable this system to work across a series of paintings i used dice-throws to establish the heights at which these double-oval forms would be positioned. the contin-gent nature of this process is pivotal. nothing is ever repeated in exactly the same configuration twice. this creates an ambiguous and constantly fluctuating colour field. repetition of oval-forms and the relative distances between them subvert the overall horizontal and vertical prominence of the grid. since 2013, the use of prime numbers has been a key element in establishing the distances between double-oval forms. i am fasci-nated by the way in which prime numbers create potentially dis -ruptive distances that do not repeat in a logical way. this line of thinking has informed the 2018 ‘twelve studies in elliptical form’ (print series), and the 2017/18 ‘six acrylic studies’. neither of these series of works employ a grid structure as such. the emphasis is on dots and small curved lines within the confines of different colou-red grounds. yet still, with the underlying influence of an overall linear construct.
i am creating very ordered paintings, often of a size that relates closely to the human scale and orientation. however, that order is constantly being brought into question and the eye might interpret the paintings as being totally random when, in fact they are the product of a multiplicity of orders. where the eye cannot cope with this, we call ‘random’ but, in fact this is far from being the case. james hugonin 2019
detlef orlopp und james hugonin
22./23. juni 2019 bis 17. november 2019 galerie hoffmann görbelheimer mühle friedberg/hessen
eröffnung am samstag, dem 22.6. und sonntag, dem 23.6. jeweils 14 – 19 uhr
detlef orlopp ist anwesend
anschließend einladung zum feiern
hoffmann nr. 2/2019 edition & galerie hoffmann ohg dokumentation konstruktiver kunst galerie hoffmann görbelheimer mühle 1 61169 friedberg/hessen ausstellungshalle friedberg-ossenheim florstädterstrasse 10 b 61169 friedberg/hessen geöffnet: di – do 11–16 uhr, sa + so 14 –19 uhr wir bitten um telefonische vereinbarung telefon +49 (0) 6031 2443 telefax +49 (0) 6031 62965 [email protected] www.galeriehoffmann.de 1/2019 john carter + klaus staudt 23./24. märz bis 8. september 2019 2/2019 james hugonin + detlef orlopp 22./23. juni bis 17. november 2019 3/2019 jan meyer-rogge + mehdi moutashar 21./22. september 2019 bis 22. märz 2020 4/2019 anett frontzek 30. november/1. dezember 2019 bis 13./14. juni 2020
gestaltung: karl-achim czemper, hamburg druck: nejedly gmbh, friedrichsdorf
detlef orlopp 1937 in elbing, westpreußen geboren bis ende 1944 wohnhaft in saalfeld am ewingsee, ostpreußen flucht nach ende des 2. weltkrieges über breslau, danzig, sachsen, thüringen nach siegen in westfalen, dort schulbesuch 1952 – 1954 fotografenlehre in siegen 1955 besuch der höheren fachschule für fotografie in köln 1956 – 59 fotografie-studium in saarbrücken bei otto steinert und kilian breier, abschlußarbeit mit portraits aus altenheimen 1961 beginn der lehrtätigkeit an der werkkunstschule in krefeld 1973 – 2000 professur für fotografie und film im fachbereich design der fachhochschule niederrhein in krefeld detlef orlopp lebt und arbeitet in st. goar am rhein seit 1965 viele einzel-, gruppen- und themenausstellungen in galerien, kunstvereinen und museen im in- und ausland wichtige autoren sind für ihn: reinhold köhler, helmut heißenbüttel, raoul schrott kataloge u. a. galerie ruth nohl, siegen, 1968 galerie karsten grewe, köln, 1990 alfred ehrhardt stiftung, köln, 2007 werkübersichtkatalog, museum folkwang, essen, 2016 21.09.2017 (ohne titel)
27.09.2017 walchensee
naturfotografie – man sagt von meinen bildern dass sie ein meer aus strichen seien – ihr quadratischer ausschnitt nähe und ferne zusammenrückt – es darin kaum erkennbar wird ob es sich um einen berg eine bucht oder eine küstenlinie handelt – das wasser einmal schwarz in stein gemeisselt ein andermal weiss aufgelöst nichts darin sich jemals bewegt zu haben scheint – und sie allein aus brechungen und reflexionen an homogenen flächen bestehen abstrakte muster die zugleich unsere wahrnehmung widerspiegeln ich arbeite noch mit schwarz-weiss auf film und papier weil sich damit deutlicher wiedergeben lässt worin sich die welt bewegt worin sie besteht – schauer von licht durch die sich die erde dreht um all ihre formen zu behaupten – ich nenne sie lichtzeichnungen weil das silber auf dem film und dem papier reine sonne ist: silber das sich in allerletzten minuten einer sonne bildet kurz bevor sie explodiert – und licht das sie vom ersten moment an ausstrahlt so reagiert das ende mit dem anfang – und augenblick mit ewigkeit sobald ich auf den auslöser der kamera drücke …
04.09.1985 b le glacier
