JAN MUCHE - AUFMACHEN. LINIEN. WEITEN.
JUNE 21 TO AUGUST 3, 2019
Opening hours: Wed– Fr, 1:00 pm – 6:00 pm and Sat, 11:00 am – 3:00 pm
Opening: June 21, 2019, 7.00 pm to 9.00 pm
Due to limited space a reservation for the opening is needed till June 18, 2019. Please contact us at email@example.com or call us: +49 (0)30 – 4508 6878.
The painter and sculptor Jan Muche, born in 1975, looks back once again to early modernism, its representatives and thus also to his artistic work of recent years.
While many considered the artist living in Berlin to be a ‘restorer’ of constructivism, Muche proves the opposite in his last pictures. He goes partly back in to the figuration and takes on the tragic heroes of breakup and modernity from the time of the first half of the 20th century.
He portrays Vladimir Tatlin, who died in Moscow in 1953, and combines his figure with a picturesque structure reminiscent of the three-dimensional reliefs of the Russian and Soviet artist. Influenced by Kasimir Malevich, Tatlin created a model for the monument for ‘The Third International’ (1919-1920) and Muche incorporates the symbolism of fine steel mesh in Tatlin’s sculpture, as well as the surfaces of Malevich’s painting, into his own imagery.
Thin, sometimes superimposed colored lines cover Muches canvases. In collaged pictures he pastes surfaces of old papers and fabrics that seem like an anachronistic quotation of the modern age, but at the same time transfer them into the contemporaneity.
With another image, Jan Muche honors the Hungarian-American photographer Robert Capa, one of the defining documentarists of the Spanish Civil War and the First Indo-China War. Capa studied journalism in Berlin in the 1930s and worked as a photo lab assistant at Ullstein Verlag. To the collective pictorial memory of modernity can certainly be counted ‘Last Photo’, which shows a soldier of the Interbrigades in the fight against Franco and the moment of his death. The picture Capa by Muche is different: woven into a carpet of many connected threads, the war photographer, who died in today’s Vietnam in 1954, looks out of the reddish colored background.
This work and further portraits mentioned here are presented among the abstract non-figurative works, the ‘Machines’ of Jan Muche. In this way, Muche expands his view to the background of a modern age that today appears to many only as an aesthetic relic of bygone times. Thus, Muche’s paintings show more than ‘Nulla dies sine linea’ – no day without drawing a line. His art interferes and is not unbiased.