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Jörg Heise von der SZ konnte trotz Denkarbeit auch den Spaß in der Sache erkennen. Vor allem "die 'Blps', lautmalerisch benannt nach Radar-Gepiepse: schwarze Graffiti in Pillen-Form, meist nicht größer als eine Servierplatte", hatten es ihm angetan.
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Jörg Heise from the SZ was able to see the fun in the matter in spite of the thinking work required: more than anything else, he's acquired a foible for the "blps, onomatopoeically named after radar peeps: black graffiti in pill form, usually no larger than a serving tray. … Artschwager installed them in the most impossible places. In the Deutsche Guggenheim, they appear in the left hand corner above a drawing, and then again at electrical outlet-height on the way to the museum shop. There, only a small handful of books are offered (apparently, the public is not expected to consist of avid readers), but an array of breakfast trays and handbags are on sale,
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Jörg Heise von der Süddeutschen Zeitung konnte trotz Denkarbeit auch den Spaß in der Sache erkennen. Vor allem "die 'Blps', lautmalerisch benannt nach Radar-Gepiepse: schwarze Graffiti in Pillen-Form, meist nicht größer als eine Servierplatte", hatten es ihm angetan.
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Jörg Heise from the Süddeutsche Zeitung was able to see the fun in the matter in spite of the thinking work required: more than anything else, he's acquired a foible for the "blps, onomatopoeically named after radar peeps: black graffiti in pill form, usually no larger than a serving tray. … Artschwager installed them in the most impossible places. In the Deutsche Guggenheim, they appear in the left hand corner above a drawing, and then again at electrical outlet-height on the way to the museum shop. There, only a small handful of books are offered (apparently, the public is not expected to consist of avid readers), but an array of breakfast trays and handbags are on sale, covered in Formica of the kind that can be found in any gift shop, thanks to retro fashion. Yet Artschwager cleverly insured himself against any tendencies to see this game between the original and the forgery as a pure striving for effect: a photograph of the artist can be seen on a poster above the museum cash register, clapping his hand to his forehead in a gesture that seems to be saying 'Ouch.'"
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Von Imi Knoebel zeigen wir die Linienbilder und von Palermo eine blaue Wandmalerei, die er 1970 im großen Saal über dem Stuckfries angebracht hatte. Außerdem zeigen wir raumgreifende Skulpturen aus Bandeisen von Ulrich Rückriem, Gemälde von Almut Heise und Schriftbilder von KRIWET.
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Absolutely. 7 x 14 is an exhibition series we are presenting on the occasion of the 100th anniversary of the Kunsthalle Baden-Baden. The project ties into the exhibition series 14 x 14 initiated by Klaus Gallwitz from 1968 to 1973 which at the time enabled young artists to presented a sort of work in progress in the Kunsthalle's exhibition rooms. Some of the participants who had their first solo exhibitions in an institutional framework in 14 x 14 embarked on great careers and today are among the most important artists of our age. At the start of 7 x 14, we are reconstructing rooms from these historic exhibitions. Where a reconstruction is no longer possible, we are showing details or fragments. Of the more than 100 Gerhard Richter paintings shown at 14 x 14, we are presenting two examples: the famous paintings 8 Lernschwestern (8 Student Nurses) and Faltbarer Wäschetrockner (Foldable Clothes Dryer). In the earlier show Georg Baselitz showed 56 paintings, of which two hero paintings are on view at 7 x 14. We are showing Linienbilder by Imi Knoebel and a blue wall painting by Palermo which he hung in 1970 above the stucco frieze in the large hall. We are also showing huge band-iron sculptures by Ulrich Rückriem, paintings by Almut Heise and text images by KRIWET.