SEBASTIAN WICKEROTH

SEBASTIAN WICKEROTH

Les concepts de transition et de transformation et leur relation à la couleur, aux formes et à la matière peuvent être considérés comme les principaux sujets du travail de Sebastian Wickeroth. En combinant des éléments de peinture, sculpture et architecture, les formes sont en état de déconstruction et semblent à la fois se rejoindre.

La corrosion contrebalance la perfection du monochrome, générant une narration. L’analyse de l’espace pictural dévasté suggère une logique et une causalité d’incidents jamais advenus. Il ne s’agit pas de la destruction d’une sculpture mais plutôt d’une volonté de se servir de la décomposition comme méthode égale de construction. C’est ainsi que des événements apparemment accidentels et incontrôlés émergent en tant que structures méticuleusement composées.

Né en 1977, Sebastian Wickeroth vit et travaille à Düsseldorf, Allemagne. Il a étudié à la Kunstakademie de Münster, à l’École Supérieure des Beaux-Arts de Genève, et à la Kunstakademie de Düsseldorf. Il est récemment devenu professeur à l’Université des Sciences et d’Arts Appliqués de Dortmund et à la Peter Behrens School of Arts de Düsseldorf.

Demande d'information

    Né en 1977
    Vit et travaille à Düsseldorf, Allemagne

    COLLECTIONS

    Museum für Konkrete Kunst, Ingolstadt, Allemagne
    Sammlung Kunst aus NRW, Aachen-Kornelimünster, Allemagne
    Sammlung der Mediantis AG, Tutzing, Allemagne
    Inside-out Art Museum, Beijing, Chine
    Centre d`art contemporaine, Venniseux, France
    The Swatch Art Peace Hotel, Shanghai, Chine

    EXPOSITIONS PERSONNELLES / DUO

    2019
    Raw feels, Multimedia Art Museum, Moscou, Russie
    Perpetual Dawn, 3:e Våningen, Göteborg, Suède

    2018
    matter // constant, Galerie Paris-Beijing, Paris

    2017
    Eurobilder, E9A, Fribourg (avec Billy Gruner)

    2015
    Rise and shine, Galerie Ruth Leuchter, Düsseldorf, Allemagne
    Compound spaces (Ich tue das beste, was ich kann, unter der Berücksichtigung dessen, was du tust), Vitrinen, Cologne, Allemagne
    Back and forth, forever, snap-projects, Lyon, France

    2014
    Warp, dh artworks, Düsseldorf, Allemagne

    2013
    Triplestar, Inside Out Art Museum, Peking, Chine

    2012
    Soiled structures, GKG, Bonn (in company with Kai Richter), Allemagne
    SNO 89, SNO, Sydney, Autralie

    2011
    Nadir, graphisches Kabinett, Düsseldorf, Allemagne
    Becoming, Förderverein aktuelle Kunst FAK, Münster, Allemagne
    My way or the highway, Bruch & Dallas, Cologne, Allemagne

    2010
    Young artists, award, Aachen-Kornelimünster Kunst aus NRW, Allemagne
    S_MELT #2, hall of fame, Tilburg (in company with Andre Pielage), Pays-Bas
    Colours fade, The Briggait, Glasgow, Ecosse

    2009
    Superposition, Kunst-Station Sankt Peter, Cologne, Allemagne
    Szenenwechsel, Museum für konkrete Kunst, Ingolstadt, Allemagne
    Hell Feld, Kunsthaus, Essen (in company with Christian Forsen), Allemagne

    2008
    Draft, Mogosoaia palace, Bucharest, Roumanie
    Fragile, H29, Brussels (in company with Clemens Hollerer), Belgique

    2007
    Form fucks function, Konsortium, Düsseldorf, Allemagne

    EXPOSITIONS COLLECTIVES

    2020
    Non-sculpture, Lights of flexible, 2020 Changwon Sculpture Biennale, République de Corée
    Tamara Lorenz, Lukas Marxt, Alexander Romey, Sebastian Wickeroth | UMWELTEN, SETAREH Gallery, Düsseldorf, Allemagne

    2019
    The Big Circle, M-17 Art Center, Kiev, Ukraine
    Paris Photo 2019, Paris, France
    Biennale International Reductive and Non Objective Art, Sydney, Australie

    2018
    Summer group show, Galerie Paris-Beijing, Paris, France

    2017
    Abstruct, Park, Tilburg
    Au hasard, Villa Balthazar, Valence
    Endless backup, FutureDome, Milan
    Mogodorf 10, Kunstraum Düsseldorf

    2016
    Run run run, Villa Arson, Nice
    Abstraction as an ageless approach, Galerie Ruth Leutcher, Düsseldorf
    Deformation Professionnelle, a project by Raphaël Denis, Galerie Paris-Beijing, Paris
    DYSTOTAL, Ludwig Forum, Aachen, Allemagne
    Out of shape, Maschinenhaus, Essen, Allemagne
    Offenes depot, Kunsthaus NRW, Kornelimünster, Allemagne
    F*** Newton, Karst, Plymouth, Royaume-Uni
    Grijs-Grey, Galerie de Meerse, Hoofddorp, Royaume-Uni
    Nonobstant, SUPER, Nozay, France

    2015
    Momentum BND, ECI Cultuur Fabriek, Roermond, Pays-bas
    Sans titre, Un-spaced, Paris, France
    SOON, snap-projects, Bruxelles, Belgique
    Meta-mistakes, Radial Art Contemporain, Strasbourg, France
    We are all looking for astronauts, WE, Shanghai, Chine
    UN_FORMED, PS Projectspace, Amsterdam, Pays-Bas

    2014
    30/30 image archive project, AB contemporary gallery, Zurich, Allemagne
    30/30 image archive project, noi, Dolceacqua, Italie
    Sie und Ihre Ausstellungen, Aachen-Kornelimünster, Kunst aus NRW, Allemagne
    Géométrie Immatérielle, Un-spaced (hosted by gallery Xenon), Bordeaux, France
    Frequences and Forms, snap-projects, Lyon, France
    Raving Disco Dolly On A Rock N`Roll Trolley, New York, USA
    Rise and shine“ Galerie Ruth Leuchter, Düsseldorf, Allemagne

    2013
    Grosse Kunstausstellung, Museum Kunstpalast, Düsseldorf, Allemagne
    S(ch)ichtwechsel, Museum für konkrete Kunst, Ingolstadt, Allemagne
    Octahedron – in the absence of one man » SÌM, Reykjavik, Islande
    Billo Bäm, Künstlerhaus, Dortmund, Allemagne
    Poste Concret, ParisCONCRET, Paris, France
    Kunstsalon Flingern, spam contemporary, Düsseldorf, Allemagne
    Moiras Planschränke, Raketenstation Hombroich, Neuss, Allemagne
    SNO 100“ SNO, Sydney, Australie

    2012
    Junger Westen, Kunsthalle, Recklinghausen, Allemagne
    The Reality of the Unbuilt, Raketenstation Hombroich, Neuss, Allemagne
    Herbst.Zeit.Lose, GKG, Bonn, Allemagne
    Topits, Kunstwerk, Köln, Allemagne
    30/30 image archive project, Le Moinsun, Paris, France

    2011
    Zentrale, Stadthausgalerie, Münster, Allemagne
    Construction-site, CON-SUM, Düsseldorf, Allemagne
    Invited » Klaus Benden gallery, Cologne, Allemagne
    Raumbilder Bildräume, Kunstverein, Gelsenkirchen, Allemagne
    Back from Glasgow, AaE, Düsseldorf, Allemagne
    Junger Westen, Kunsthalle, Recklinghausen, Allemagne

    2010
    New talents, kreative Energie, Landesvertretung NRW, Berlin, Allemagne
    A change of air, Arcade E.A.P, Nicosia, Chypre
    The castle of discipline, mischpoke, Mönchengladbach, Allemagne
    30/30 image archive project, PS, Amsterdam, Pays-Bas
    Und 6 Intercontinental, Schwartz Gallery, Londres, Royaume-Uni
    You and Now, Gallery Balice Hertling, Paris, France

    2009
    Back from, Atelier am Eck, Düsseldorf, Allemagne
    Minimal-maximal, Gallery Andreas Grimm, Munich, Allemagne
    Grauzone, Künstlerverein Malkasten, Düsseldorf, Allemagne
    K.O.nsens, Kunstraum Blast, Cologne, Allemagne
    Blok, Schloss Ringenberg, Hamminkeln, Allemagne
    NordWestKunstpreis, Kunsthalle, Wilhelmshaven, Allemagne

    2008
    Do you have expectations?, Wartesaal, Zurich, Allemagne
    Würdest du bitte endlich still sein, bitte, Dina4 Projekte, Munich, Allemagne
    2, camp, Düsseldorf, Allemagne
    New talents, biennale, Cologne, Allemagne
    Highlights of german academies, Dina4 Projekte, Berlin, Allemagne
    Unsculptured, Atelier35, Bucharest, Roumanie
    Kleinere Arbeiten, Raum500, Munich, Allemagne

    2007
    Große Kunstausstellung, Haus der Kunst, Munich, Allemagne
    Stahl im Sturm, glue, Berlin, Allemagne
    Das Gesetz der guten Gestalt, KKB, Berlin, Allemagne
    Junger Westen, Kunsthalle, Recklinghausen, Allemagne

    2006
    Exile on cottage street, Temporary, Düsseldorf, Allemagne
    Das letzte Wort der Kunst, Kunsthalle, Düsseldorf, Allemagne
    Wir waren mal Freunde gewesen, Gloriahalle, Düsseldorf, Allemagne
    Contemporary zoomansicht, Meisterhaus1, Düsseldorf, Allemagne

    2005
    Vous êtes ici, Gallery Palais de l´Athénée, Geneva, Suisse

    RECOMPENSES

    2018
    Prix de la Lepsien Art Foundation, Düsseldorf, Allemagne
    Travel grant of the state NRW, Beijing
    Residencia Artística FAAP, Sao Paulo, Brésil
    “AIR“ Multimedia Art Museum, Moscou, Russie

    2017
    GNMH award, Seoul
    AIR, CCA Andratx, Majorque

    2015
    AIR, The Swatch Art Peace Hotel, Shanghai, Chine

    2014
    Rondo fellowship, Autriche

    2013
    SIM Residency, Reykjavik, Islande
    Project grant, Inside – Out Art Museum, Beijing, Chine

    2012
    Travel grant of the state NRW, Sydney, Australie

    2010
    AIR, Wasps Studios, Glasgow, Ecosse
    Young artists, award, Aachen, Allemagne

    2009
    Schloss Ringenberg scholarship, Allemagne
    Project grant, Kunststiftung NRW, Allemagne

    2008
    AIR, Mogosoaia palace, Bucharest, Roumanie

    2007
    Haus der Kunst Preis, Munich, Allemagne

    Text by Tobias Hoffmann

    In the early 20th century the Russian suprematists and the Dutch De Stijl group started revolutionizing the image notion. Works of art would detach themselves from the standing requirement of reproducing reality and turn into autonomous or, as Theo van Doesburg put it in 1930, concrete works. Geometric form and surface ratios became the fundament of an omnipresent and self-evident artistic language of modernism. Following the European Avant-garde movement of the constructivists in the 20s and 30s, particularly the Zurich Concrete Art representatives headed by Max Bill, Richard Paul Lohse and Camille Graeser intensified and systemized in the 40s and 50s the critical dealing with this canon of forms. During the 50s, however, a controversial position developed in parallel against too stringent an adherence to the given geometric forms. This may certainly be considered as a system-immanent criticism for the traditional method of image creation was not at all questioned by those artists who used to rigorously reject it. There was rather the fear of the image language to be freezing that induced the attempt to find different geometry-based possibilities for enlarging the form canon. Lucio Fontana, for example, intervened in the monochrome rectangular image surface by slitting the canvas, thus breaking the strict geometry and bending the image surface into the third dimension. Also Christian Megert’s starting point is a monochrome surface for the mirror, Megert’s primary working material, is initially monochrome unless it reflects something. Megert breaks and cuts his mirrors into cullets to disintegrate their originally geometric form. Both artists reinforce their dealing with geometrical forms through disintegration by the processes of slitting and breaking. They tackle their works almost violently and make this action visible.

    Geometric form and its concurrent disruption, destruction and deformation is also the starting point for Sebastian Wickeroth’s art. This can be the forcefully brute presentation of an implied destructive act such as in his work „strategie der steine 3“. A big rectangular block seems to have crashed to the ground from such height that one of its edges is completely shattered. Here Wickeroth plays with the zest for association of the viewer who may be unable to reject the immediately arising impression of a destructive act. Actually, however, Wickeroth does not cause destruction, he constructs destruction. His point is not the act of destruction itself but the construction of the deconstructed form. He did not smash the block in „strategie der steine 3“ by having it drop but created its deformed form right from the beginning. In this way, he addresses both the stringent geometric form and its deformation.

    In „graceful degradation“ a black rectangle simply disintegrates at its bottom. The object appears unable to retain its form. The absolutely precise shape of the upper part, which is still emphasized by an impeccably smooth surface, starts draping, becomes wrinkled and seems to melt. Wickeroth has even the substructure, the framework, randomly jut out. In these works, Wickeroth approximates the American Steven Parrino who used to deform geometric surfaces by first removing the canvas from the frame in order to re-mount it crumpled. Unlike Parrino’s, Wickeroth’s works allocate a minor role to the reflection about the image notion. He develops his works out of a sculptural perspective. Surfaces excel in extreme smoothness and perfect neutrality that refer to industrial fabrication rather than painting. Moreover, most of his installations are composed of several parts whose interaction causes a confrontation of clear geometric form with vanishing orthogonality. For example, „untitled – fragile“ consists of three equally sized black rectangles arranged horizontally on top of each other. One edge of the uppermost rectangle penetrates the one below, significantly deforming it and transferring the resulting fall of the surface’s folds down to the third rectangle.

    In his work „immer darüber hinaus“, created in 2009 for the Museum für Konkrete Kunst Ingolstadt, Wickeroth separates for the first time strict geometric form clearly from apparently formless chaos. A large geometric cube with high-gloss finished surface stands out of a pile of broken, yellow-lacquered Rigips panels. The cube’s order and the Rigips panels’ chaos, form and anti-form, oppose, accentuate and, at the same time, challenge each other. With its monochrome colour and its faultless surface – Wickeroth mounts glossy foils over a frame structure – the cube recalls the American Minimal Art whose simple geometric bodies are made of pre-fabricated industrial materials such as acrylic glass, stainless steel or aluminium. The glossy foil in Wickeroths works alludes to these superior materials and feigns a polished plastic body. In „vielleicht morgen“ he employs the foil so skilfully that the play between form and deformation incorporates the entire environment. The outer sides of the flat ground-based work are slightly bent downwards and distort the reflections from the surrounding room. Accordingly, the form is no longer deconstructed only in the work itself but visually affects the static architectural forms in the surroundings. The room becomes an integral component of the work ostensibly designed as an autonomous sculpture. Being viewed, the visual deformation of the room gains such dynamics that the actual form of the installation distinctly retreats into the background. Wickeroth qualifies the effect of the form without destructively reshaping it.

    How does one deal with the achievements of the historical avant-gardes in the beginning of the new century? What can the artistic understanding of forms look like today under the aspect of the long tradition of an almost overpowering geometry? With a certain brutalism, Wickeroth attacks the formalistic principles of the art of the 20th century. His works represent an ideological-critical questioning of traditional aesthetic positions as he confronts striving for order and clarity always with its contra position. In the subtitle of a work „form fucks function“ Wickeroth refers unmistakably to the historical avant-gardes. Construction, however, principally comes first. For even if his works may evoke the association that their final design has evolved from a radical gesture of destruction, it is nevertheless he who has constructed anti-form, chaos, destruction. His works unite construction and de-construction of form, the aesthetics of geometry and its invalidation, obvious formal stringency and its ironic negation by anarchy and failure. In this way, Sebastian Wickeroth manages in a refreshing way to merge Punk and Minimal in his works of art.