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Matthias Sturm Art Stream Atom Tanderlund Tander Lund Paintings Music and Books Publication CV Art Gallery Galerie Blood And Thunder

Matthias Sturm Art Stream Atom Tanderlund Tander Lund Paintings Music and Books Publication CV Art Gallery Galerie Blood And Thunder

Matthias Sturm Art Gallery photo Matthias Sturm Art Stream Atom Tanderlund Tander Lund Paintings Music and Books Publication CV Art Gallery Galerie Blood And Thunder

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Art Gallery

art gallery online art gallery fine art gallery france artisan À propos de moi : CURRICULUM VITAE 1969 Matthias Sturm Tander Lund TanderLund geboren in Eisenach | 1977 Übersiedlung der Familie nach Dresden privater Kunstunterricht bei der Dresdner Konstruktivistin Inge Thiess- Böttner Abendklassen der Hochschule für Bildende Künste Dresden, unter dem Eindruck des erzwungenen Wehrdienstes entstehen erste Künstlerbücher 1990 Rückkehr nach Dresden, wirkt fortan als Autodidakt 1991 Bezug eines Ateliers in Hamburg St. Pauli am Hamburger Hafen Tätigkeit auf der Kampnagel Theaterfabrik und im Trickfilmstudio Anima 3, lebt zeitweilig in Berlin | seit 1991 zahlreiche Einzel- und Gruppenausstellungen in Deutschland, Österreich und den USA unter dem Künstlernamen Matthias Sturm alias tander lund | 1993 - 2008 ständig durch den Galeristen und Kunsthändler Michael Pabst in München vertreten | 1992-94 Bachelor der Hanseatischen Akademie für Medienkommunikation im Fachbereich Filmproduktion 1998 erste Einzelausstellung in den USA | 2001 Umzug nach Frankreich, wo er mit seiner Familie Wohnung und Atelier auf Schloss Chateau des Fougis im Department Allier bezieht, Beginn des Baus am Skulpturengartens von Erich Engelbrecht | seit 2003 als Zukunftsforscher und Börsenprognostiker tätig 2007 Aufenthalt in Los Angeles, Plattenaufnahmen mit bekannten Musikern der Seattle Grunge- Rock Era im Privatstudio von Blind Melon | 2009 Wiederaufnahme der Malerei, Konzertreise nach Indien ----------------------------------------------------------------------------------------------- Werke des Künstlers befinden sich in öffentlichen und staatlichen Kunstsammlungen, u.a. Sammlung Deutsche Bank (Deutsche Guggenheim, Berlin) | Westheimer Family Collection, Oklahoma (Oklahoma City Museum Of Art) | Dallas Museum Of Art | Staatliche Kunstsammlungen Dresden Kunstfonds Sachsen | Neuer Berliner Kunstverein (n.b.k.) | Sammlung Pabst, Wien | Sammlungen der Stadtsparkassen Dresden, Nürnberg und Schweinfurt sowie in zahlreichen privaten Sammlungen CURRICULUM VITAE 1969 born in Eisenach, Germany | 1977 family moves to Dresden private art lessons, evening classes at the Academy Of Fine Arts, coernced into doing military service, during this time first artist books | 1990 back in Dresden, works as a self-taugh artist | 1991 moves to Hamburg | since 1991 numerous solo and group exhibitions in Germany, Austria and the USA under the artist name Matthias Sturm a.k.a tander lund | 1992-94 Bachelor of the Hanseatic Academy Of Media Communication, department of film production 1998 first solo show in the US | 2001 moves with his family to France, residence at the bourbon castle Chateau des Fougis, since 2003 self-trained as future scientist and stock market forecaster 2007 stay in Los Angeles, musical collaboration and recordings with named musicians of the Grunge- Era in the private studio of the band Blind Melon ----------------------------------------------------------------------------------------------- selected art collections: Collection Deutsche Bank (Deutsche Guggenheim, Berlin) | Westheimer Family Collection, Oklahoma (Oklahoma City Museum Of Art) | Dallas Museum Of Art | Staatliche Kunstsammlungen Dresden Kunstfonds Sachsen | Neuer Berliner Kunstverein (n.b.k.) | Sächsische Staatskanzlei, Landesregierung Sachsen Stadtsparkassen Dresden, Nürnberg, Schweinfurt | Sammlung Pabst, Vienna | numerous private art collections ----------------------------------------------------------------------------------------------- CURRICULUM VITAE 1969 né en Eisenach, Allemagne | 1977 déménagement de la famille à Dresde leçons d’art privé, cours à l’ Académie des beaux-arts, forcer de effectuer son service militaire | 1990 retour à Dresde, faire son debut de autodidacte 1991 studio en Hambourg | depuis 1991 nombreuses expositions en Allemagne, Autriche et aux Ètats-Unis | 1992-94 diplôme de L’Académie Hanseatique de la Communication Mèdia, spécialité production cinématographique 1998 premier exposition aux Ètats-Unis | 2001 déménagement de la famille en France, résidence au Chateau des Fougis, depuis 2003 occupation de futurologie et prognostique boursier | 2007 à Los Angeles, collaborations musiales et enregistrements au studio privé de Blind Melon | 2009 en tournée à l’Inde ----------------------------------------------------------------------------------------------- ,, FOR HEAVEN'S SAKE'' ... Stone By Stone's Russian roulette turns Kraut poker with their latest offering. Showcased artist Matthias Sturm has this thing about the heavens--both kinds--the ethereal, spiritual kind with an omnipotent creator and all that, and the outer-space, "the-truth-is-out-there" kind. His art strives to reconcile one with the other and to find our identities somewhere in between. It's the same conflict theologians and scientists have been fondling since mankind scratched its head and stated, "I don't know if I should believe in what I can't prove," and then quickly added, "But I'd like to." In his mixed-media paintings and monotypes, Sturm often casts a human--an elongated, jutting-hipped, naked one, presumably an everyman who might as well be you and me and Sturm all at once--in his intense, thoughtful dramas. These are strangely abstracted expressionist-cum-morality plays that fiddle with the origin of his little, visible soul. There's a cross floating beside him and a leafy plant under it and a spaceship-like orb wafting across the top; to whom, if anyone, will he answer? Everyman keeps one open eye (or two maroon eyes, or side-sweeping eyes) on all options with silent, curious regard--religion, nature, or the otherworldly. No, there's nothing so concrete in the works; a first glance will land you in a pleasantly chaotic color field a la Basquiat or Kandinsky, or recall the scratchy, barely-figurative works of de Kooning. And really, some would question how well a 28-year-old who lives in Hamburg could possibly apply these questions about mysticism so earnestly without losing his cool (which in art-scene speak means bitterness, cynicism, and apathy). Is he getting to the crux of anything, really? (And don't let the titles lead the witness.) But step closer, and there are those ever-present searching eyes, and that cross, and that plant, and that hovering science-fiction thing popping in from time to time. It's a repeated iconography, and while it's familiar, Sturm has taken it out of all familiar context. How often do we see spacecraft depicted in a medium as traditional as painting or printmaking, and how often does a spiritual painting make its calling card--the cruciform--smaller than anything else in the picture? Let's not assume anything about Sturm's soulful priorities. He's working them out, stacking and re-stacking them before our very eyes. He uses a generous dose of history as a compass---moral and concrete and cultural at once. Titles such as "Noah's Ark," "Satyricon," and "Levi" betray his predilection for the proverbial and mythical, which, as in Joseph Campbell's reverent eyes, has led man's search for identity from the get-go. Likewise, Sturm's version of an unnamed guitar player--gestural, fractal, and sporting one funky green boot--points to a newer kind of hero-god, one gaining power in our time and erasing the impact of traditional divinity. And when Strum goes on to sign these works with an elaborate, cryptic stamp recalling Chinese scroll signatures, or a briefly scrawled explanation of his subject matter (as in "totem"), he's really fabricating his own timelessness, his own small place in the scope of art history. The piece "Dr. Jekyll & Mr. Hyde," though it deviates from the spiritual-mystical thematics except in terms of identity, is getting the most attention of the show. Two skeletal faces, nearly mirror images, grin at you with innocuous, tilted-head inquiry. Clawed hands curling in the foreground fail to elicit true creepiness, though the unblinking eyes might. Here again a plant, and two other repeat motifs--an arrow and an "E" shape--appear faintly across the right creature's chest area. That same arrow, sometimes in a stronger lighting-bolt shape, tends to show up in other works pointing toward a character's heart, as in "The Letter From Suisse." This time the cross is Switzerland's flag, but the arrow threatens to pierce the letter-bearer's torso. Injury, or redemption? Because none of the creatures seem in turmoil, even in the mildly violent, Guernica-tinged "The Shipwreck," it's hard to believe that Sturm is damning his painted children or himself to too ugly a fate. He's not given up on this life just yet. Sturm has remained in Germany (he couldn't afford a plane ticket to Texas for this show, his first U.S. opening), and even his bio raises comparisons to German contemporary artists Anselm Kiefer and Sigmar Polke. But instead of finding the heavy-handed isolation of Kiefer's scorched landscapes, or the fluid sub- and super-stratums of Polke's color fields, we see in Sturm's work a greater likeness to earlier German Expressionism--the fathers of Die Brücke and Der Blaue Reiter. Kirchner's vertical characters with their exaggerated hands and feet; Klee's geo-tribal scrambles; toss in some of the French Fauves' way with unmodulated color. Not that the formally trained Sturm ever seems mired in what once was--his images are certainly fresh, or at least refreshing. Put bluntly, these could be children's book illustrations by way of an acid trip, or biblical colorplates by a sedated schizophrenic, all with a relaxed bonus unassociated with LSD or mental instability. The artist can rest assured that he's tapping a universal concern, and that his viewers will lean in closer to study it. In his artist's statement, Sturm says that "painting is a silent, secret thing"; the sentiment jibes well with the atmosphere he's created on paper and canvas. None of the works yell or even whisper. It's like looking at a stranger's facial features to figure out what he's thinking, and miraculously getting the gist. ( Christina Rees, curator & director of Fort Worth Contemporary Art Galleries @ the TCU, c download Stream Atom Matthias STURM Profil Myspace pour Matthias Sturm (Matthias Sturm a.k.a. tander lund). Recherche des amis, partage des photos, reste en contact avec des copains de classe et rencontre de nouvelles personnes sur Myspace. tanderlund - Stream Atom * M'abonner * Afficher le blog de Matthias Sturm a.k.a. tander lund german pronunciation german christmas songs bilingual books british artists art shop greek books scottish art italy music french music download oil painting on canvas book translation german audio old master drawings art to buy german cd pronounce german listen to german

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