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Hans Jandl Artpage

Biografie

 

tfaces.jpg (7148 Byte) Hans Jandl der Maler und

Hans Jandl bei der Arbeit an einem großen Format

 

"Suffering People"

Öl / Leinen / Blei
300x500cm / 1997

Hans.gif (94744 Byte)
Hans Jandl
Reise in die Schweiz - vor der Kirche mit den Glasfenstern von Mark Chagall. Weitere Ziele: Winterthur, Zürich und Basel.
 

 

Painting as place of hiding

Hans Jandl´s pictures have clearly changed. First of all, his new works seem to be a radical counterpoint to the narrative and figurative pictures of the time before. His new paintings, determined by colour, texture and by a simple pictorial arrangement, are an expression of a reduction and a simplification which he contrasts with the endlesspossibilities of figurativeness. Concretisation instead of narration.

For about two years Hans Jandl has been dealing with abstract painting. Similar to the American colour-field painting of the post-war period he sets out - skillfully handling his medium - to search for the true substance of painting. He transfers the stringent approaches of the Americans to a European painting tradition in which his formal vocabulary originates. Every area has a certain form and structure being open to a great variety of interpretations, though without necessitating them. It can be a way leading in a certain direction, but it can, in its colourfulness and structure, also refer to spheric infiniteness. A certain mysteriousness is calculation and keeps the spectator deliberately in the ambiguity of concrete and abstract. He also visualizes a boundary walk between the energetical effect of colour and the high expressional value of a simple pictorial order. The shining colourfulness of the pictures creates spheric effect and mystical aura. His preference for contrasts also manifests itself in his setting smooth colour stripes against others having a colour and plastic structure.The scraped stroke is likewise used as pictorial structure. The effect of the colours by their harmony and their difference expresses itself in these pictures just as the possibility of their various applications reaching from the uniform, smooth colour surface to a coloured depth space having been paintet over several times. With reference to Arnulf Rainer he creates tension by hiding: he repeatedly over-paints particular colour fields and by blank spots enables us to look into the colour coatings lying underneath. He contrasts the resulting meaningful colour spaces with simple colour areas - without giving any comment.

Being conscious of the impossibility of demystyfying painting by painting he confronts it with different materials, preferentially lead. He thematises the non-painted painting in a lead picture, by directly mounting the lead on a wedge frame, just as the canvas on the conventional painting. He makes clear that painting - in trying to find its sense and justification - transcends its limits, because it is, according to M. Fried, forced to "risk its identity by binding itself to things which are not painting".1

Hans Jandl however is not only concerned by the painting effect of lead due to its constant changing, for him it is above all a synonym for ambivalence and vagueness. Lead is one of the heaviest and at the same time softest metals , it is malleable and compact, just as dangerously poisonous as protective. It has a direct reference to painting by its own gray colour, as white lead and as component for various colours in form of lead oxyde.

Jandl´s preference for this material is an expression of his preference for contrasts, ruptres, differences. in their calculated vagueness his pictures can be seen as an encouragement to become conscious of the variety and uncertainty of all being. They are just as much spontaneous as devised, open and resurved, concrete and abstract. At any rate they are good painting and their many-layered substance is revealed to any interested and attendive critic.

Gertrude Celedin

1. M. Fried: How Modernism Works: A Response to T. J. Clark, in: Critical Inquiry Band 9, Nr. 1 (1982), S 223.

Im November 1994 zeigte ich in Israel im Museum von Holon diese bedeutungsvolle Arbeit aus Blei. "Hannibal schifft in das nächste Jahrtausend - eine Erfahrung" besteht aus einer Bleifläche, auf der eine Flotte von Papierschiffchen aus Blei, wie auf einer unruhigen Wasseroberfläche treiben. Eine Reihe abgelegter Helme begrenzt seitlich diese Installation.

(Das Wort "schifft" hat in der deutschen Umgangssprache eine ordinäre Zweitbedeutung und bezeichnet die männliche Harnausscheidung.)

Ich war beeindruckt, wie sehr die großteils deutschsprachigen israelischen Besucher sich mit dieser Arbeit auseinandersetzten und auch ihre ständige Geschichte darin wiederfanden.

Blei läßt die Bedrohung erahnen, in dieser, wie ein Kinderspiel inszenierten Metapher für Machtverhältnisse und ist zugleich eines der gegensätzlichsten Materialien, macht nachdenklich, gibt der Arbeit aber auch einen malerischen Akzent.

Hans Jandl, April 1996

 

In November 1994 I showed this meaningful work made of lead in Israel in the museum of Holon. "Hannibal ships into the next millennium - an experience" consists of a field of lead, on which a fleet of boats made of folded lead seem floating on unquiet water. A row of lead helmets borders this installation on one side.

(The German translation of the word "ships" has a second and very vulgar meaning, namely urinating.)

I was very impressed, how profoundly, the mainly German speaking Israeli visitors dealt with the idea of this work and how they found their own history represented in it.

Lead gives a feeling of the threat in this, like a child’s play presented metaphor for relations of power, and is at the same time one of the most contradictory materials, evokes reflections, but also gives a picturesque accent.

Hans Jandl, April 1996

 

 Hans Jandl

Pischelsdorf 348

A-8212 Pischelsdorf

AUSTRIA

Tel: [0043]0664-4448299

 

I was born 1958 in Rotgmos near Graz in Austria and live and work in Styria and Vienna, where I have a studio. I studied German language, Roman Catholic religion, computer science and fine arts. Soon I turned to my profession as modern painter. 1987 I joined the artists group "gruppe77" in Graz.

Since 1983 I have reached many national and international art prizes as well as invitations to international art symposiums and exhibitions in Europe and overseas. State Museums and private collectors buy my art.

 

 

Some exiting activities for example:

1985 Exposition of young Austrian painters in Ljubljana, Zagreb, Beograd

1988 Paris Salle Wagram: Exposition of international painters works

1990 Prize for Arts in public area by the city of Graz

1991 Artists house of Graz: “Contemporary Art”

1992 Prague: Gallery ULUV, Tallinn: Gallery Kik in de Kök

1993 Exposition Forum of Düsseldorf (Germany)

1994 Dissonance’s in Europe; conceptual Sculpture at the university of Graz

"Large Format" international painters symposium in Valtice Czech Republic

"Nighthawks" an Exhibition feathering Edward Hopper, Gallery Eugen Lendl, Graz

1994 "Message to Friends" group77 Exhibition in Museum Bet Meiron in HOLON, Israel

1995 International art festival styrian autumn’95 "One Night in the Sun" immedial journey to Italy performed in the hotel restaurant "Sonne" in Hartberg

International Art Symposion Mirire 95 Czech Republic, Show in Karlovy Vary

Post Medial Art Performance “Guarding the Nuclear Chain Reaction” Graz

1996 Odessa: Museum for Eastern and Western Art, Gallery Seghaier Vienna, Austrian Artists

Building a modern Chapel at Penzendorf in Styria

1996/97 Graz Gallery Eugen Lendl Show for Mayreder Collection

2000 New York: New Century Artists, Inc. – Soho (Mercer Street) Contemporary Austrian Artists presented by Seghaier Gallery, Vienna

2001 Hartberg Castle, Special Show of Hans Jandl Paintings

2003 Graz, Project for International Art, “walls” at the Brick Factory Wolf

2004 Gleisdorf: Wolf Collection, Special Show of Hans Jandl Paintings

2005 Graz: Minoriten Galleries, “Soft Wars” Special Art Show by Hans Jandl

Zagreb: Galerija Klovicevi dvory, group show, Gruppe 77 / Graz / Austria

Graz: Video Project of group 77 “Disappearing the Art Hall”

2006 3rd Hertfordshire Art Fair England, HF Contemporary Art Gallery, London

Fürstenfeld: City Gallery, Special Show of Hans Jandl Paintings

Fürth (Germany): Kunstlauf Fürth, Participating the Show by Doris Baum

New York: - Chelsea, 530 West 25th Street Suite 406, New Century Artists Gallery
September 19 – 30, 2006 – Contemporary Austrian Artists, Presented by Suzanne Seghaier