Erwin Wortelkamp, Oranges for Hans von Marees, 1996, DKM Installation Museum, Duisburg, © artist, DKM Foundation
Photo: Werner J. Hannappel
October 30, 2019
Even a glimpse of the work: Erwin Wortelkamp at the DKM Museum in Duisburg – art & good 11/19
The kick off to the Museum DKM is spectacular. In the first room, a peeled and peeled oak trunk protrudes from floor to ceiling, held by the column in which it is inserted. It blocks the direct path and forces the walk in the exhibition space. The trunk of the tree conveys an enormous lightness and nevertheless influences the spatial structure: in a respectful dialogue, as suggested by the title of the work "Sculpture – Architecture". "An exterior without interior or vice versa is a volume without air," Erwin Wortelkamp wrote in 2001 during the first presentation, which also took place in Duisburg, in the former DKM showroom in the inner harbor. , then parallel to the exhibition of Wortelkamp at the Museum of Lehmbruck and outside, to town.
Now the next appearance of Wortelkamp in Duisburg follows, and it's great that his works are back. The exhibition presented in the recently opened DKM museum is structured by themes. It shows all the repertoire with the wood and metal materials, also takes into account the metal coating of the logs at the beginning, as well as several drawing groups. Only the participatory objects created by Wortelkamp at the end of the 1960s, politicized, are lacking but do not make much sense. Wortelkamp, born in Hamm / Sieg in 1938 and having studied in Munich with iron sculptor Robert Jacobsen, was made known early on for his tree sculptures. Abstract sculptures, treated in detail on the surface, are often monumental and rest partly on the ground. Duisburg's first work is now the first iron sculpture in the series "Maybe a Tree" (1974).
At these impressive demonstrations of sculptures come the discreet gestures. On the side of the tree trunk that climbs diagonally in a shop window, a tree leaf is pointed by DKM, tilted by a branch that keeps itself in balance. Wortelkamp is always concerned with the visually perceptible perception of the quality of nature. He abandons the traditions of art history, as is the case for his tribute to Hans von Tides and his painting "The Hesperides": in his installation, what does it look like? can see in Duisburg in the second room, he focuses on the field orange field pattern. Of course, he also thinks that Tides understood the human figure in relation to nature and explored their "stability". And that he takes his scenes all the time. From there, the exhibition evolves and shows the big, stocky, almost coarse heads and wooden surfaces of the end of the gossamer, emphasizing the fact that nature has symbols for man: less in his physical existence – and so on. his mental state. For decades, Wortelkamp has been rediscovering wood – and metal as its equivalent – over and over again: its concentrated, meditative art is doing very well in an accelerated, often virtual society.
Erwin Wortelkamp – A lifetime for art | at 1.3. | Museum DKM in Duisburg | 0203 93 55 54 70