Opening Reception:
September 06, 2024 18 00 – 21 00
Exhibition: September, 07 – November 01, 2024
Galerie MaxWeberSixFriedrich
Amalienstrasse 45, 80799 München

Mit Drei aus Köln freut sich die Galerie MaxWeberSixFriedrich neue Malereien und Keramikarbeiten der drei Kölner Künstler Andreas Schulze, Philip Emde und Marco Zumbé in München präsentieren zu können.
Der Ausstellungstitel mag lapidar klingen. In seiner scheinbaren Direktheit beschreibt er aber treffend den Ton der Werke und ist zugleich insofern irreführend als die Arbeiten weit mehr verbindet als ihre Herkunft. Die ungewöhnlichen, menschenleeren „Landschaften“, Fenster- oder Vorhangbilder von Andreas Schulze, Philip Emdes gemalte Ausschnitte seiner überbordenden Steifftiersammlung und Marco Zumbés Keramiken und Malereien von Küchentüchern verdichten sich zu einem vielstimmigen Bild von Interieur, Dingwelt und Erinnerungsmomenten.

Andreas Schulze (*1955) zieht die Aufmerksamkeit der Betrachter*innen zunächst durch seine großformatigen und eigentümlichen Bildwelten auf sich, die zwischen Abstraktion und Figuration oszillieren. Ohne Titel (Moonraker) wirkt dunkel und unheimlich. Der Blick ins Bild wird zunächst von einem zweifach geknickten Rohr verstellt, im Hintergrund ist eine gelbe Leuchte zu sehen, neben einer Holztür und einer Nebelschwade.

In zwei weiteren Malereien gibt ein Vorhang als wiederkehrendes Motiv den Blick auf eine Bühnensituation bzw. ein Fenster teilweise frei. Auch seine Fensterbilder, die einen Ausblick zulassen, bleiben gestaltlos und damit interpretationsoffen. Oder handelt es sich tatsächlich um einen Blick in den Himmel über Unterföhring oder dem Stachus, wie die Titel suggerieren? Schulze knüpft an die Traditionen von Trompe-l’oil und Fensterbildern der Kunstgeschichte an und übersetzt diese in seine humorvolle und mitunter ironische Bildsprache. Diese wird im Wintersportbild besonders sichtbar, in dem ein kleiner, eigenartig futuristischer Förderkorb an einer groben Gliederkette über weißen Zuckerhüten schaukelt. Ob es sich um ein winterliche Landschaftsdarstellung oder doch eine Modelllandschaft handelt, überlässt der Künstler den Betrachtenden.

Einen Gegenpol zu den eigenartig leeren Bildern schaffen die figurenreichen Einblicke in Philip Emdes (*1976) Steifftierkosmos. Wie übersichtliche Stillleben oder Porträt-Aufnahmen sind Affen, Dackel, Elefanten und andere Tierfiguren vor monochrom leuchtenden Farbfeldern oder aber als Teil eines dichten malerischen Geflechts zu sehen, aus dem sich die einzelnen Figuren erst bei genauer Betrachtung herausschälen lassen. Manche der einst geliebten Begleiter und Seelentröster blicken die Betrachtenden direkt an und schaffen, unterstützt durch die kräftige Farbpalette, eine emotionale Einbindung des Gegenübers. Emde gelingt es, Kindheitserinnerungen zu reaktivieren, auch – oder gerade weil – die Figuren mit raschem Pinselstrich ausgeführt oder teilweise angeschnitten sind. Wie eine flüchtige, aber dennoch präzise Umschreibung einer Gefühlswelt, die in der rationalen Erwachsenenwelt nur selten an die Oberfläche gespült wird.

In den großen, mehrteiligen Tableaus, in denen der Künstler eine überbordende Fülle von Plüschtieren und damit verbundenen Erinnerungen umd Emotionen zeigt, werden die Betrachtenden gleichsam in diese Bildwelt eingetaucht. Dagegen fungieren die in dieser Ausstellung gezeigten Momentaufnahmen wie ein Ausschnitt oder ein Blick mit dem Brennglas in Philip Emdes vielschichtigen Kosmos sowie in die Erinnerungswelt des Gegenübers.

Vervollständigt wird die Ausstellung durch die Keramiken und Malereien von Marco Zumbé (*1975). Ausgehend von früheren Arbeiten, in denen Zumbé Oberflächen und Alltagsgegenstände des Interieurs untersuchte, widmet er sich hier dem Küchentuch und seiner Verwendung bzw. seinem unterschiedlichen Bild je nach „Aggregatzustand“. Auf einem fein säuberlichen Stapel karierter Tücher liegt ein weiteres loses Tuch – ebenfalls aus Keramik – locker auf und reicht an einer Seite auf den Boden; ein helles Tuch hängt neben dem Ausschnitt einer gefliesten Wand; weitere sind als farbige Solitäre in der Galerie platziert. Das Spiel mit dem Trompe-l’oil, das sich auch in Schulzes Vorhangbildern findet, spinnt Zumbé in diesen Arbeiten weiter. Dabei interessiert ihn nicht so sehr eine möglichst genaue Wiedergabe. Die eher grobe, aber möglichst treffende Annäherung an das klassische Erscheinungsbild eines solchen Gebrauchsgegenstandes bezieht vielmehr “Fehler”, Sprünge oder Risse sehr bewusst ein.

In den beiden Leinwandarbeiten Been There Done That und Footsteps kehrt der Künstler in die Zweidimensionalität zurück und zeigt scheinbar achtlos hinterlassene Küchentücher als pure Malerei und Momentaufnahmen einer Alltagssituation. Auch hier geht es Zumbé um das Verhältnis von Raum, Linie und Fläche – womit er sich den klassischen Fragen der Malerei anschließt und dafür seine persönliche Bildsprache und typenhafte Objekte im Gleichgewicht von Abstraktion und Figuration findet.

Erweitert um den Aspekt der Invention könnte dieser Dreiklang – Abstraktion, Figuration, Invention – als das verbindende Moment der Drei aus Köln genannt werden. Während Schulze die Rahmenbedingungen des Raumes auf eigene Weise formuliert, Emde den Fokus auf nicht sichtbare Erinnerungen legt und Zumbé Gebrauchs- und Ausstattungsgegenstände in den Mittelpunkt rückt, gelingt es ihnen auf unterschiedlichen Ebenen die Charakteristika von Interieur und alltäglichen Objekten oder sehr persönlichen Momenten ins Bild zu setzen.

Für die Galerie ist diese Ausstellung zudem ein humorvoller Rückblick auf die mehr als vier Jahrzehnte zurückliegende Schau Fünf aus Köln (1982), in der neben Andreas Schulze die noch jungen Neuen Wilden Walter Dahn, Jiri Georg Dokoupil, Gerard Kever und Stefan Szczesny in München zu sehen waren und so die lebendigen Strömungen der zeitgenössischen Szene der 1980er Jahre aus Köln präsentieret werden konnten.

Text: Friederike Schuler

Opening Reception:
April 18, 2024, 6-9 PM
Exhibition: April, 19 – June 18, 2024
Salon Schmitz & Belle Etage
Aachener Str. 28, 50674 Köln

Home By The Sea

Home by the sea
Home by the sea
Home by the sea
Home by the sea
Home by the sea

Creeping up the blind side, shinning up the wall Stealing through the dark of night
Climbing through a window, stepping to the floor Checking to the left and the right
Picking up the pieces, putting them away Something doesn’t feel quite right
Help me, someone, let me out of here Welcome to the home by the sea
Pushing from above and below Shadows but no substance in the shape
of men Round and down and sideways, they go Adrift without direction,
eyes that hold despair Then as one they sign and they moan
Help us, someone, let us out of here
Living here so long undisturbed
Dreaming of the time, we were free
So many years ago
Before the time when we first heard
Welcome to the home by the sea

Sit down, sit down
Sit down, sit down, sit down

As we relive our lives in what we tell you Images of sorrow, pictures of delight
Things that go to make up a life
Endless days of summer, longer nights of gloom Waiting for the morning life
Scenes of unimportance, photos in a frame Things that go to make up a life
Help us, someone, let us out of here
‚Cause living here so long undisturbed Dreaming of the time we were free
So many years ago
Before the time when we first heard Welcome to the home by the sea

Sit down, sit down
Sit down, sit down, sit down, sit down

As we relive our lives in what we tell you Let us relive our lives in what we tell you

Sit down, sit down, sit down

‚Cause you won’t get away No, with us you will stay For the rest of your days

Sit down

As we relive our lives in what we tell you Let us relive our lives in what we tell you, oh

GENESIS, 1983

Beiträge von: Dora Cohnen, Arne Reimann
Herausgegeben von: Gerhard Theewen

https://www.salon-verlag.de/de/produkt/1050/paint+the+town

SEBASTIAN FRITZSCH UND MARCO ZUMBÉ

Abstract painting is once again very popular in contemporary art.
For a long time, it had been lost from view. After the Second World War, it was ideologically and culturally praised as the superiority of Western art over socialist realism. But since the 1960s, when art was also expected to play a socio-critical and time-reflective role, it has received less attention because of its lack of narrative character.
So pure seeing is celebrated again. In terms of content, the viewer is given freedom to extract from the pictures that which is not immediately predetermined by representational elements, like an invitation to pause and concentrate.

A great love of experimentation can be seen in the works of Marco Zumbé (born 1975, Cologne). Starting from line, point and surface, the basic elements of every drawing, combined with an exuberant choice of colours, he creates opulent pictorial landscapes.
Numerous layers of the most diverse graphic and painterly components, combined with screen-printing techniques, form the texture of his pictures. His choice of tools and materials testify to his desire to question conventional painting methods. His pool of material consists of patterns from the dusty interior design of past decades, such as imitation wood, floral patterns and awning stripes, which are underlaid with gestural painting and in turn also covered over.

Groupshow – Tahnee Godt, Tom Krol, Marco Zumbé

A sculpture doesn’t occupy a room, usually it is creating it. At first you can’t imagine this when you are looking at Marco Zumbé’s work as the canvas blind is occupying the entire exhibition room. It is not hanging outside over the shop window, it is hanging inside the exhibition room. However, once you start looking at the canvas, you are approaching its layers, grids and lines – everything seems to be in motion, a bit undisciplined and wild – and you soon get a feeling for its harmonious and rhythmical condition. A condition that leaves enough room for playfully plunging into the matrix and surfaces and appear again in a different position somewhere else.
Neither Marco Zumbé’s work nor the meaning of the defintion of sculpture at the beginning of this text describe a physical room. However, both the narrowness as well as the position of the canvas blind leave room for further interpretation. Influenced by the two current crisis (Corona virus and climate) there is even more room for interpretation or the other way round – the interpretation can lead to these two themes. In fact the lockdown is loosening right now. One can visit beer gardens or cafés again under canvas blinds, even public pools are open again. However, due to the position of Marco Zumbé’s work and the irritation resulting from it one can still feel the lockdown or can clearly remember it.

Thomas Zika’s work Vertical Pools is presenting itself clearly, calmly and resolutely – one can even call it „straight“. Travelling along the Route Nationale in France, one can’t miss these huge bathtubs. It seems they are randomly positioned into the landscape, almost surreal, and therefore these vertical pools present themselves with an incredible sculptural potential. The shapes of the pools vary from classical rectangular to embryo like and rectangular rounded down shapes.

We sat in Thomas Zika’s studio in summer 2019 and were talking about his pools again. The new high temperature records in France that were rising ever higher in various places in the country (new all-time record of 45,9 degrees in Gallargues-le-Montueux near Montpellier) had a massive impact on our conversation. At that time Greta was peparing her sailing trip over the Atlantic. The start on 21st September was already noted in the diary. The idea arose quickly to present the photos Vertical Pools that were shot between 2007 and 2009 as part of an exhibition concept that is dealing with the topic climate change.

In his show „Welcome to the Jungle“, Marco Zumbé is presenting his latest screenprint-paintings. They deal with the question of the original and its technical reproduction in art. He starts with a concise, gestural composition of various lines, that he transfers to differently painted backgrounds using the screen printing process. As a result one can see a series of duplications of a single motif, that, however, results into individual, independent works because of the different background „settings“. The composition as well as the background are characterized by repetition, rhythm and a picturesque musicality. The motif and „setting“ are formed separately as individual works that finally merge during the printing process. Lines are on top of others or underneath, foreground and background become blurred. The result is a complex, sculptural composition with an atmospheric, narrative density.

In his abstract works, Marco Zumbé deals with fundamental compositional and creative issues of painting, above all with the line as a formative element.

Here he uses unconventional materials from areas of commercial art or interior design. Zumbé works on unprimed canvas with marker pens, uses screen printing or he layers plastic sheets that he paints and mixes with textiles. These techniques serve to deconstruct his compositions, which he fans out in several levels and reassembles to get to the bottom of them.

Brunhilde Bordeaux-Groult / Sebastian Fritzsch
Ankica Marjanovic / Linda Nadji / Marco Zumbé

Eröffnung 14.6.2019 / 19:00 -open end
Samstag 15.6.2019 / 14:00 – open end
Sonntag 16.6.2019 / 14:00 – 19 00

Polymedialer Ponyhof / Kienitzer Str. 11 / 12053 Berlin

contact
+49 1577 200 5174
mzumbe.de
mail@mzumbe.de

atelierhaus v6  
boltensternstrasse 16
50735 cologne
https://goo.gl/maps/KJWmrqfHDv32

The line, according to Paul Klee, is „thought“, and the thought is a „medium between earth and cosmos“. The line that makes visible is a mediator between the visible and the invisible world. But the line also „the first movable act“, a primium movens – and thus creative.The line shapes and becomes art. „Art“, therefore „is a parable of creation“.
Paul Klee, Notebooks Vol I, The thinking eye

In his abstract works, Marco Zumbé deals with the line as a formative element in painting and above all with this moment of decision in which an abstract line becomes a representation of a real form. His works always moves between these two poles, which leads to abstract pain-tings with a narrative soul. For this he uses unconventional materials from the fields of com-mercial graphics or interior design. Zumbé works on unprimed canvas with marker pens and corresponding cartouches with alcohol-based ink, or he layers foils on top of each other, which he mixes with textiles and paints or printing on it. The painting backgrounds are always worked on from both sides, the picture is fanned out into two or more layers.

The starting point here is a composition of lines that intertwine, overflow and undermine each other. This construct is brought onto the unprimed canvas in an unconscious painterly act with liquid ink. The canvas absorbs the paint and by overdosing the line expands on the painting surface, thus becoming itself a form. Zumbé does not paint on the canvas, he paints into it, colors the canvas fabric and thus creates the impression as if the line compositions were peeling out of the canvas, spreading even further after we have already turned our backs on them. Through our contemplation we experience only a fleeting moment of a continuous process. This third, temporal dimension breathes life into the abstract lines: The abstract construct certifies itself by this deceptive appearance of an independent reality. Zumbé’s line compositions often seem like amorphous organisms, living sculptures in an incised space. He fills these spaces inside and outside the line formations with marker pens with which he works on both sides of the canvas, whereby the painting process on the back of the canvas shows itself to the viewer on the front only in the excessive traces of the hatching of the pens. Zumbé documents here the process of painting, the result of which remains hidden from the viewer.

In his collage works, these unconsciously created constructs are fanned out on several levels by transfer to transparent foil and broken down into their individual parts. Each line has its own character: Zumbé paints them with paint on foil, cuts them out of fabrics or creates them by filling the surfaces outside the edges of the lines. By joining the individual layers together, the finished image is created: a singular whole that, on closer inspection, allows the information of the individual parts and the creative process to remain visible

Claudia Wyludda, Curator

09. September 2017 – 14. Januar 2018
Ausstellungseröffnung Freitag, 8. September 2017
um 18.30 in den Domschatz

Domplatz 16a
D-38820 Halberstadt

halberstadt@die-domschaetze.de

Marco Zumbé’s work is formed at the point when the abstract line creates a real image for the viewer. Lines are the most important artistic elements in his drawings and paintings. He uses them to boldly fill empty spaces acting almost intuitively without any plan in mind. This automatic construction of lines is transferred onto transparent foil in layers. Every line has its own character. Zumbé draws them on foil with colour, cuts them out of fabric or colours in all but the outside edges. The final image is formed when the different layers are merged together but on closer examination the individual components are still visible. In his recent works lines lose their graphic appearance. They expand, flow into each other and form surreal shapes that resemble sculptures or abstract portraits.

Marco Zumbé lives and works in Cologne, Germany

salon schmitz, cologne

text by jodi waynberg, curator artistallianceinc

EXHIBITION
dec 11 – jan 10

OPENING
friday dec 11   6-8 pm

CUCHIFRITOS
120 Essex Street
(inside essex street market)
new york, ny 10002
hours: tuesday – sunday from 12-6pm
for appointment call +1 646 824-7290
gallery@artistsallianceinc.org   mail@mzumbe.de

linie14.blogspot.de

KUNSTGRUPPE – ART COLOGNE 2014 – SALON SCHMITZ, Aachener Str. 28, 50674 Köln