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Christian Lemmerz

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Christian Lemmerz (born January 30, 1959) is a German-Danish sculptor and visual artist, who attended the Accademia di Belle Arti in Carrara, Italy from 1978–82 and the Royal Danish Academy of Fine Arts from 1983-88.[1] Despite the classic sculptor training in Carrara, Lemmerz drew his main inspiration from the post-war process-oriented Pop Art; not least from his fellow countryman, Joseph Beuys.[2]

In the early 1980s Lemmerz was part of the Danish artist collective Værkstedet Værst[3] and the performance group Performancegruppen Værst. Here he conducted numerous performances from 1985 to 1994; many of these alongside life-long friend and artist Michael Kvium.[4][5]

For his artistic achievements, Lemmerz was honoured with Thorvaldsen's Medal in 2009 and the Eckersberg Medal in 2008. In 2015 he received the New Carlsberg Foundation's Artist Grant.[2]

Career

The span of Christian Lemmerz' oeuvre is extensive and pluralistic. Regardless of the material, the form or the medium employed, Lemmerz’ work can generally be characterized by aesthetics of effect. The artworks grasp out and clutch into the surrounding environment and call for more than mere contemplation.

There are only a few themes and taboos that are not turned upside down in the Lemmerzian universe, which has been stretched between, on the one side, Kant, Heidegger and other philosophers and authors, and on the other, a mass-media dominated world where suffering and death are central themes in an examination that circles around identity, existence and being.

In Lemmerz' view, to be effective art has to be confrontational. However, as he maintains, art also has to do with experience. And as a matter of fact, sculpture is particularly suitable for establishing a confrontational and experience-exchanging situation, especially when it is perceived from a phenomenological point of view. In such a situation, the sculpture is connected with the (human) body. Just as does the human body in phenomenology, the sculpture enters into relations where the senses interact in such a way that the work can be experienced as a visual and tactile challenge, in the cognitive sense. Instead of being a more or less distanced onlooker, the viewer becomes an active participant, who becomes entangled in new relations and gets moved in some direction or other.[6] The viewer's visual and tactile senses are alerted, thus engaging him as an active participant.[7]

Lemmerz' approach can be seen as a rejection of the formal idiom in favour of experimentation with material aesthetics, often evoking illness, death or philosophy. Confrontation with the view is important in all the art forms he employs whether sculpture, installation or photography. In parallel, he has increasingly moved into performance, film and video.[5]

Lemmerz has worked as a scenographer in Steven Berkoff's Brok (1994) and Rainer Werner Fassbinder's Petra von Kants bitre tårer (1996). He is also the author and director of A.L.P. Traum, an interpretation of the end of James Joyce's Finnegans Wake (Edison 1997). This novel also inspired Lemmerz and Michael Kvium's The Wake (2000), an eight-hour silent movie, available in several versions. Within the last decades, Christian Lemmerz has resumed his work with marble and thus enters into a sculptural tradition that dates back to the Renaissance and Neoclassicism; examples of this is his Todesfigur (2012 Ny Carlsberg Glyptotek) and the Marble Altar in Lyngby Church (2013).[1]

Style

On the basis of an urge to widen the artistic possibilities and a need to offer resistance to the prevailing conventions, Lemmerz makes use of stone wool, foam rubber, margarine, chocolate and other composite materials that effectively elicit an intensely direct effect. He yearns to create an imbalance on different levels. The artist formulates a couple of sculptural conceptions, “the impossible sculpture” and the “pre-linguistic” sculpture,” by means of which he links up his project with Heidegger's reflections on being and his rumination on everything's – and especially art's – beginnings, hereby aiming at creating paths more than just artworks.[8]

The artist works with white Carrara marble. He re-actualizes classical Greek art with the statue, Adam-Kadmon, and in the light of an art historical timeline that runs through classical, baroque, neo-classical and French salon art, he elaborates on the incessantly recurring themes of violence, terror and death while supplying this entire register of heavy and somber issues with erotic, absurdist and ironic twists.

Current political and ethical questions become endowed with a clearer voice through the works, which always, in terms of their form and content, constitute a transformation from recognizability to the more veiled or unknown, inasmuch as Lemmerz is working rhizomatically, where the assertion sometimes assumes a classically distinct form and sometimes manifests itself with a gestural formlessness. His whole pluralistic oeuvre is bound together, at the same time, by the fragment – as an open and processual figure.[9]

Seminal works

For the exhibition Scene at Esbjerg Kunstmuseum in 1994 Christian Lemmerz was working with blood smeared surfaces and decomposing pigs' carcasses in glass-walled, steel framed vitrines inspired by traditional still life's where lifeless objects are often used as existential symbols. The exhibition was actualizing the universal theme of death and the transitorial through sculptures that were contemporary in their form and presentation. The installation ensnared the audiences into a limbo of intrigue and disgust, making it close to impossible to look away. Audience might have wondered, if the pigs were brutally killed for the exhibition or if they died a natural death, much like they would around the artwork Away from the Flock from 1994 by British artist Damien Hirst. The banality of the pigs and their known similarity to humans give the work its emotion. With Scene, Lemmerz' was working within a psychological borderline area, where the very notion of sculpture had been distended to its most extreme implications.[9]

Selected solo exhibitions

Selected group exhibitions

Selected public works and commissions

Selected awards and recognitions

Collections

Statens Museum for Kunst, Nationalmuseet, ARoS Museum of Modern Art, SAXO Collection, Kunsten Museum of Modern Art Aalborg, HEART, Trapholt, Esbjerg Kunstmuseum, Horsens Kunstmuseum, Kanstrupgårdsamlingen, KØS Museum for Offentlig Kunst, The Saatchi Collection London, Stavanger Kunstmuseum.

Art market and fair

Christian Lemmerz is represented by Copenhagen-based Hans Alf Gallery, by Galleri Franz Pedersen in Horsens, Galleri Brandstrup in Oslo, Tang Contemporary Art in Hong Kong and Faurschou Foundation New York. He has exhibited his work at international art fairs such as ENTER Art Fair, Art Cologne and FIAC.

References

  1. ^ a b "Christian Lemmerz" (in Danish). danskefilm.dk. Retrieved 2 November 2014.
  2. ^ a b "Christian Lemmerz | Gyldendal - Den Store Danske". denstoredanske.dk (in Danish). Retrieved 2020-03-23.
  3. ^ "Værkstedet Værst | Gyldendal - Den Store Danske". denstoredanske.dk (in Danish). Retrieved 2020-03-23.
  4. ^ "Værkstedet Værst" (in Danish). KunstOnline. Retrieved 2 November 2014.
  5. ^ a b Ann Lumbye Sørensen. "Christian Lemmerz" (in Danish). Kunstindeks Danmakr & Weilbachs Kunstnerleksikon. Retrieved 2 November 2014.
  6. ^ "Christian Lemmerz" (in Danish). Retrieved 2020-03-23.
  7. ^ "Christian Lemmerz, Germany/Denmark". Hans Alf Gallery. Archived from the original on 2 November 2014. Retrieved 2 November 2014.
  8. ^ Christian Lemmerz : genfærd. Lemmerz, Christian, 1959-, Aarhus kunstmuseum. Åarhus: ARoS Åarhus Kunstmuseum. 2010. ISBN 978-87-92184-08-5. OCLC 727107290.{{cite book}}: CS1 maint: others (link)
  9. ^ a b "Marble | Christian Lemmerz" (in Danish). Retrieved 2020-03-23.
  10. ^ "Tildelinger af medaljer". Akademiraadet. Archived from the original on 2 February 2015. Retrieved 25 January 2014.
  11. ^ "Christian Lemmerz" (in Danish). Den Store Danske. Retrieved 2 November 2014.
  12. ^ "Christian Lemmerz". www.kunst.dk. Retrieved 2020-03-23.

Literature

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