for english version please scroll down Magischer Realismus oder können Zitronen fliegen? |
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Die christliche Religion gab Künstlern schon immer Anlass, per Auftrag oder frei, zu Gleichnissen Bilder zu malen. Zu Zeiten, als noch nicht jeder Lesen konnte, waren diese erzählerischen Darstellungen an Altären sogar notwendig, um die Lehre zu verbreiten. Sich jedoch heutzutage noch intensivst mit der christlichen Religion, deren Metaphern und Bildern auseinanderzusetzten, ist in der Kunst eher selten. Damit fällt Claudia Hauptmann bereits thematisch sehr auf. Die Verbindung von absoluter technischer Perfektion und rätselhaft religiösem Inhalt stellen das Spannungsfeld der Malerei von Claudia Hauptmann dar. Sie zeigt uns nicht nur klar Erkennbares, sondern führt z.B. eine Zitrone in heilige Gefilde, lässt toten Fisch wieder auferstehen, verwandelt Brot in einen männlichen Leib, der begehrt und beweint wird. Sie zeigt uns innerhalb des Realismus magische Momente. Sabine Aichele-Elsner MA / Galerie ARTAe Leipzig / 2007 Magic realism or can citrons fly? The Christian religion was always cause to paint per procurationem or to free to the stories of the bible. At the time, when not everybody could read, the narrative paintings in the churches were used to tell the idea and the stories of the Christian belief. Today it is very rare, that an artist disputes intensely with the Christian religion, their metaphores and pictures. Therefore Claudia Hauptmann, because of the subject, is an exceptional artist. The connection between absolutely technical perfection and mysterious religious subjects is the main focus in the painting of Claudia Hauptmann. She does not only show realistic things, she transforms for example a citron to an aureole, dead fish will resurrect, bread will become a human corpus. Hauptmann shows magic moments within realism. About „Evas recognition“ In the painting "Evas recognition" we see Eva with a man and we can suppose that it is Adam. So we have the situation in the paradise before they tasted the apple. Because the apple is still not in the hand of Eve. In the bible story Adam and Eve know, that they are not allowed to take an apple from the tree of recognition. Here in that picture Eve does not know what she is doing because Adam holds his hand over her eyes. She is not able to look. Another irritation we find in the feet and in the hands. Only upon the second look do we solve this problem. Another point is the sexual allusion. At first the lovely act, second his hand on her leg and third the way the hand is holding the snake. So Claudia Hauptmann finds a new interpretation in the case of sin. In my opinion it is a very important and special painting of Claudia Hauptmann. The painter sais:" Even since I was eleven years old, I knew, that I would be a painter." All her exhibitions are a "must go" because her paintings are very specially. Through the motifs, the composition, the colors and painting ductus Claudia Hauptmann interprets the old masters. She takes classical subjects and transfoms them to a new meaning. In the paintings "Pieta" and "Berliner Medusa" you also find it. Claudia Hauptmann was born 1967 in Eisenach, she studied at HGB Leipzig from 1985 – 1988 and studied Painting at University of Art and Design, Burg Giebichenstein, Halle from 1990 till 1995. She has been master student with Gudrun Brüne (wife of Bernhard Heisig) till 1997. In the exhibition „Take it and eat it!“ are shown the first time the paintings of Claudia Hauptmann in Leipzig. Sabine Aichele-Elsner MA, gallery ARTAe Leipzig |