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71. Appointment, hormigón,  reloj, largo 55 cm, 2015

71. Appointment, hormigón, reloj, largo 55 cm, 2015

Evtl. Einladungskarten bild...

Evtl. Einladungskarten bild...

9. Layer-Portrait, yeso y resina, tamaño real, 2003

9. Layer-Portrait, yeso y resina, tamaño real, 2003

73. Time stands still, resina, hormigón,  juguete, altura 7 cm, 2013

73. Time stands still, resina, hormigón, juguete, altura 7 cm, 2013

34. Upper Town Lower Town, hormigón, 9 x 12,5 x 7 cm, 2011

34. Upper Town Lower Town, hormigón, 9 x 12,5 x 7 cm, 2011

36. Meaning, hormigón,  juguetes, 16 x 8 x 6 cm, 2014

36. Meaning, hormigón, juguetes, 16 x 8 x 6 cm, 2014

71. Appointment, hormigón,  reloj, largo 55 cm, 2015
Evtl. Einladungskarten bild...
9. Layer-Portrait, yeso y resina, tamaño real, 2003
73. Time stands still, resina, hormigón,  juguete, altura 7 cm, 2013
34. Upper Town Lower Town, hormigón, 9 x 12,5 x 7 cm, 2011
36. Meaning, hormigón,  juguetes, 16 x 8 x 6 cm, 2014
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I hardly ever knew what I wanted, yet what I didn’t want. And mostly succeeded in avoiding the latter. This attitude resembles my working process. Fragments of concepts and spontaneous ideas vary, hence I always work on several pieces at the same time. Content, material and representation are manifold, improvisation is confronted with concepts. 

Oliver Czarnetta, 2015.

Born in 1966, Birkensdorf, Duren, Germany.

Art historian, filósofo.Tras years of studies on art and philosophy and unable to remain aloof playing the role of observer, critic or teacher, comes to the creative process almost inevitably.

Being your spontaneous work tremendously in terms of materials, execution and Czarnetta approach makes both, it senses a speech that transcends and based only apparent simplicity. Perhaps it is a thorough knowledge of art history and philosophy which leads him to rethink everything. And perhaps it is this excess disciplined study what "forced" to leave the development of practical random, to try to act with absolute freedom from forms, concepts and materials.

His concern for man's relationship both with himself and with those around him, those which he called "spectator" becomes theme of his artistic discourse. It seems conceive each other as energies interacting positive and / or negative but always being influenced, the extent.

Early in his career his great concern about what happens inside the head of the human mind, led him to spend seven years creating sculptures that recreate the shape of the head. At first its size is tiny, with the passage of time, increase to reach accurately reflect his own. In the first he used materials are totally opaque, from bronze or plaster to duct tape. These materials are not chosen by chance, everything in them has a particular connotation, a map, a specific reference. His early pieces show just an expression, a gesture, that sometimes reminds ancient sculptures and in which, because of their small size, are the work of the fingerprints of the author that models like sketches were addressed. Gradually these heads need more communication, will go deeper inside and materials begin to become lighter, to suggest an intention. These steps directed inevitably the individual to the way of interaction that surrounds it are urging him to use of transparent materials - their preferred resin is correct in calling himself "the cristallíquido" which hint at the messages himself introduce within those heads and made in full size. In them we see a stratification that overlaps, amalgam, and sorts the messages by way of thoughts inside the sculptures. Each stored inside a universe where we can find both pain and joy, violence, implicidad, nature, complexity ... the heterogeneity of human beings.

It seems to hang his head as our center, our home, where we are protected, free of glances or external influences. In clear parallel, these premises lead him to consider the issue of home.

Develops since an entire project on the buildings in which we live proposing envelopes sculptures that can penetrate using different openings that let us look only narrowly, there will always be a wall, stairs, a mirror, an obstacle that we prevented from reaching the depths, to the core, the heart of the house, our home.

The artist played with the viewer can physically look different or using quedades not knowing what is going to find. Thus seemingly playful faces, we are faced with issues such as confidence in ourselves and in others, a reflection of our propioser, limits on private, the freedom to design our own lives, the ability to choose, etc.

From micro to macro and from macro to micro because it is inevitable, because they are interrelated and that what happens at one inevitably affects the other.

Oliver Czarnetta manages to create his own language, his own artistic universe despite or because of the knowledge acquired. His treatment of the aesthetic of the material seems to remember Joseph Beuys but free from mystical, political or mythological element. His proposals bring us the theories of Claude Levi-Strauss in his text Mentesalvaje, "... using materials collected sinr umbo in order to build a" model ", which is the result not of a scientific but mystical thought." And probably was influenced by Arthur Ken Koestlery Wilberen whose books ran into the shell model of Holaren systems which the same autocratic mode, each layer can only reflect Also, she transcends the underlying. We can raise the possibility of finding your leftovers artistic Brancusio even reminiscent of Francis Bacon.

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