Let it Paint
Landscapes are a diverse motif for Holger Bär, worked in his distinct script. Panoramas of the Alps as well as park landscapes from international cities such as New York or Shanghai arise from painting machines, precisely placing points of color according to his calculation.
Holger Bär is an image-shifter, who doesn’t fascinating surfaces uncompromised by false aesthetic, the development of which you can only guess at. Shimmering scenes of nature created from numerous points of color evoke impressions that recollect the pointillist style. As one gets closer to the painting’s surface, one realizes that the points of color are latticed. With distance from the painting, the points appear as fantastically strewn effects of light and color, reflecting a lively optical mix.
Whether Holger Bär works with photographic exemplars, his own photographs, or media material, a reality is created which provokes a challenging and fascinating aesthetic. Holger Bär plans the color palette, limits the spectrum, the relative size, and format, and controls the style and texture of the pictures.
The authentic recognizability of his work comes from the dotted optic's fine lines, which seem convincingly spacious from afar.
One would not necessarily guess that a machine was the creator, given the extent to which Holger Bär has considered each point of light and deep effect to the smallest detail. Although the color palette is reduced, their gradient is not always regular. Holger Bär doesn’t demand absolute perfection. As artist Rebecca Horn said about her tricky painting machines in the 1970s, “My machines are not a Laundromat. They are nervous and sometimes need to take a break. When a machine ceases to work, that doesn’t mean that it’s broken, but that it’s exhausted. The tragic and melancholic aspects of the machines are important to me. I don’t want them to work forever.”
Holger Bär stands among artistic engineers such as Jean Tinguely, who developed a painting machine in 1959, lovingly and respectfully christening it “Metamatics” for its achievements. In an age of mass media, he places high value on the distinctiveness of his style: it is not only the distinct process which is important, but also their special surfaces – whether it be canvas or the finest Hahnemühle paper.
Christina Wendenburg
| 1962 | Born in in Wuppertal, Germany |
| 1986 - 1989 | Studies at the University Wuppertal, Prof. Michael Badura |
| Lives and works in Wuppertal, Germany |
Exhibits (Selection)
| Single Exhibitions (Selection) | |
| 2010 | Parks and landscapes, Galerie Deschler, Berlin, Germany |
| 2006 | Preußisch Blau, Galerie Deschler, Berlin, Germany |
| Art Karlsruhe, One-Man-Show, Karlsruhe, Germany | |
| 2001 | Digital Paintings, Hoffmann Gallery, Paris, France |
| 2000 | Wie Maschinen Menschen sehen, Galerie Deschler, Berlin, Germany |
| Wie Maschinen Menschen sehen, Museum Bochum, Germany | |
| 1999 | Zeppelinmuseum Friedrichshafen, Friedrichshafen, Germany |
| 1998 | Ikonen der Malerei, Galerie Rössler, Ravensburg, Germany |
| 1997 | Digital Painting, Galerie Deschler, Berlin, Germany |
| 1995 | Art 95, Zürich, Switzerland |
| 1993 | Digital paintings, Galerie CULT, Wien, Austria |
| Group Exhibitions (Selection) | |
| 2009 | Summer Setting, Galerie Deschler, Berlin, Germany |
| 2007 | Technical Matters, Galerie Deschler, Berlin, Germany |
| 2006 | This Ball Is Square – Everything You Always Wanted To Know About Fußball, Galerie Deschler, Berlin, Germany |
| Spiel mit Technik, Deutsches Technikmuseum Berlin, Germany | |
| 2005 | Berlinbilder, ART COLOGNE, Köln, Germany |
| 2004 | FIAC, Paris, France |
| 2003 | Art Frankfurt, Galerie Deschler, Frankfurt, Germany |
| 2001 | Art Frankfurt, Frankfurt, Germany and Art Bodensee, Germany |
| 1997 | Portrait im 20. Jahrhundert, Galerie Raab, Berlin, Germany |
| Endstationen, Städtische Galerie, Paderborn, Germany | |
| 1994 | Trench Art Festival Sfântu Gheorghe, Rumänien |
| 1992 | Trivial machines, Karl-Ernst-Osthaus Museum, Hagen, Germany |
LINKS
www.holgerbaer.com
Books/Catalogs (Selection)
| Catalogs | |
| 2010 | Holger Bär, Maschinen malen. Berlin: Galerie Deschler |
| 2006 | Holger Bär, Preußisch Blau Berlin. Katalog zur Ausstellung „Holger Bär, Preußisch Blau Berlin“, Berlin: Galerie Deschler |
| 2004 | Holger Bär, Berlin 2004. Katalog zur Ausstellung „Holger Bär & Salomé, 567 Bilder“, Berlin: Galerie Deschler |
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