• • • Christoph Bangert • wall painting......................................................................................................................................................................... Bangert, künstlerischer Grafiker, Bildender Künstler, Kunstmaler, Künstler, Kunst, Bildende Kunst, Form, Keilrahmen, Leinwand, Wandbild, Geometrie, geometrisch, Duesseldorf, Dusseldorf, Statistik, statistisch, Raumbezug, Computerkunst, Computergrafik, Performance, zeitgenössische Kunst, Medienkunst, Druckgraphik, Druckgrafik, Zeichnung, Installation, Rauminstallation, Experiment, Kunstausstellung, Ausstellung, Kunstprojekt, experimentelle Musik, experimentelle Kunst, Relief, Diagramm, Acrylfarbe, Farbe, Malerei, Diagrammbild, Grafik, Wandmalerei, Bild, Gemälde, Düsseldorf
Raumbezug (bh25)
Raumbezug (VOORKAMER)
I am not here
Raumbezug (FAK)
Raumbezug (CAS)
Raumbezug (Christine)
projektraum bahnhof 25, Kleve, 2013
emulsion paint and acrylic on wall
(around the corner) 1079 x 317,5 cm
Voorkamer, Lier, Belgien, 2006 / 07
emulsion paint and acrylic on wall
312 x 357 x 263 cm
full spectrum light bulb
Künstlerhaus Dortmund, 2004
emulsion paint and pigmented ink on wall
252 x 516 cm
Förderverein Aktuelle Kunst, Münster, 2003
emulsion paint and acrylic on wall
321 x 1098 x 22 cm
Gallery CAS, Osaka, Japan, 2001
paint on wall
248 x 415 x 16 cm
Künstlerhaus, Dortmund, 1999
emulsion paint and acrylic on wall, 2 parts
312 x 132 x 115 (87) and 314 x 58 x 64 (29) cm
The Raumbezug works for walls are based on a careful analysis of the geometric and colour conditions of the space. For the selected wall I calculate a made-to-measure loop drawing, which is simple, which has a good rhythm and which corresponds well with the architecture.
The rather monumental, radially symmetrical form of the loop extract is deprived of power by the coloration, in order to serve the space. The colours of the wall painting are aligned with the colour faults of the gallery’s light sources. Another aspect of camouflage is the addition of a lot of white at the main wall. At the slim side walls the colours are a little bit richer; they charge the pale main wall with energy. Since the colour is built up of several layers, and because of the indirect illumination, the wall painting has an immaterial effect, not unlike to a projection.
I am not here is as well based on a loop drawing. It introduces the idea of an all over perspective; numerous equitable vanishing points evoque a more or less deep penetration of the wall. Its materiality is not ignored though.
DE