Andreas Kocks
Andreas Kocks

Andreas Kocks

“As a sculptor I have always done a lot of drawings, technical ones out of practical necessity and free ones for joy and pleasure of the immediacy of expression they offer. The need to make more out of the medium drawing has, over time, led me to cut into the drawings in order to gain a sense of space and make the drawing come into life.

In this way I made my first reliefs that were initially very hermetic volumes which possessed strongly pictorial qualities. I have always been fascinated by their dual function as image and object. The deliberate positioning of the relief image on the wall then prompted me to work with side-specific installations to integrate the respective architectural situation into my artistic concept."

- Andreas Kocks

What kind of act is it to cut through a surface? Potentially savage, vicious and even violent, it could also be a kind of surgery or suture – a sign of healing and reparation to come. A cut is the way we speak of discharging someone – we cut them out or cut them deeply – a social metaphor based on a knife’s sharp line – the knife’s social sharpness that ruthlessly stabs in the back. But a cut is also a break, a release, a change, a sudden movement that is transformative - metamorphasizing from one state to another, the cut that stitches time and images in movies – the cut that binds by being the cut that releases and frees. The difference that is the remove of courage. But always the edge is central, the edge of one thing and the space that inhabits the difference between two planes, two levels. It scores, it engraves, it incises, it precises..

In contemporary art, the cut is associated primarily with the aesthetic legacy of Lucio Fontana, Italian artist and texturist par excellence (not textualist mind you). Fontana’s constant and inventive work stabs, punctures, slices and dices in its vivid attack on the modernist picture plane (and 1949 has been called the “year of the cut”, a moment of highlighting the torn, the ripped and the deliberately pierced in painting and collage). After Hiroshima, no surface capable of containing the poetry to conflate Adorno and the disillusioned European artists of that moment. But, like other avant-garde methodologies and politically aware art, its lessons are, today, played out with more nuance and less severity in their positioning.

Andreas Kocks understands these lessons from recent history and enhances both their extreme physicality and their metaphoric potential. He too cuts and marks deeply into a surface but his chosen medium is somewhat pliant, not as resistant as Fontana’s deliberately obdurate faces. Having abandoned the weight (the gravitas) of sculpture (steel, bronze, lead, cement), Kocks took to paper, the substance which sits between staid material and full elasticity – the stuff that artists return to again and again as though it is an ur substance of alchemy whether they be post-modernists or reactionaries. Together with the full exploration of the dimensional space in which his works reside, he carefully constructs a dialogue which is outside of outside of sculpture, outside of drawing and outside of time (or at least the historical time of style). This set of methods of abandoning something (a medium for instance) is the cut he performs before cutting into and through the passive, almost neutral manuscript and the benign spaces it occupies.. Incising, engraving in space, layering through the peel of the skin, Kocks manufactures an explosive image. The contradiction is observable. A careful methodology – a caring methodology even – the slowly emerging skeins are somehow now full of energy – they give off a palpable sense of movement and direction. They are optical maelstroms on the wall, on the ceiling, on the floor. Sweeping broadly away from the viewer and around at the same time, the work strangely accomplishes much more than its simple techniques would seem to promise.

I think for me what is the most improbable, and thus enjoyable and provocative, is that the actual works – made of simple cut lines and graceful negative spaces in white or black – are so emotional. They burst with a barely constrained and refined unconscious jolt. For me, Andreas Koks has somehow, in this weird and unexpected act of representation, unleashed from a history which began as resistant or even antagonistic, found a place where power can be unearthed without threat, where violence can be contemplative, where ferocious acts can be redemptive and where an image might tender the hope its process of creation offers.

Bruce W. Ferguson
New York, March 27th, 2007

Andreas Kocks

born 1960 in Oberhausen
1980 studies at the Kunstakademie Düsseldorf with Norbert Kricke, Ulrich Rückriem und Erich Reusch 
1987 BFA in Integration of Fine Art and Architecture, Kunstakademie Düsseldorf
1989 MFA in Sculpture, Kunstakademie Düsseldorf
1998-2006 lives and works in New York
2010/11 Lecturing Artist at SCAD, Savannah College of Art and Design, Lacoste, France, Atlanta, Savannah, GA, USA
lives and works in Königsdorf

Solo exhitbions since 2000 (selection)

2023Der Schaum dieser Tage, Galerie Fenna Wehlau, Munich
2022Real Ghosts, Winston Wächter Fine Art, Seattly WA.
2021Heavy Metal, Winston Wächter Fine Art, New York
2020We were talking about the space between us all…, Galerie Martin Kudlek, Köln
2019Solid Ether, Winston Wächter Fine Art, Seattle, WA
2017Im Dickicht der Stätten, Sebastian Fath Contemporary, Mannheim
 Places, Winston Wächter Fine Art, New York
2015The First Round, Winston Wächter Fine Art, Seattle, WA
2014The Singles Collections, Winston Wächter Fine Art, New York
 Galerie Wuensch, Linz
2013To Be Continued, Neue Werkstätten, München
2012in the loop, Städtische Galerie im Kornhaus, Kirchheim unter Teck
2011re:paint, Winston Wächter Fine Art, New York
 Momentary Suspension, Pei Ling Chan Gallery, Savannah College of Art and Design, Savannah, GA
2010Scattered, Sebastian Fath Contemporary, Mannheim
 Momentary Suspension, Trois Gallery, Savannah College of Art and Design, Atlanta, GA
 The Perfect Splash, Galerie Pfriem, Savannah College of Art and Design, Lacoste, FR
2009Current Events, Winston Wächter Fine Art, New York
 Eleven Works, Galerie Florian Walch, München
 Der Ort und sein Geschehen, Neue Galerie, Dachau
2008Paperworks, Neue Werkstätten, München
 The Making of Paperworks, Künstlerhaus am Lenbachplatz, München
2007Cannonball, Jeannie Freilich Fine Art, New York
2005INstallation, Papermuseum Lenningen 
1999Präsenz und Zurückhaltung, Diözesan Museum, Limburg

group exhibitions since 2000 (selection)

2024vielschichtig, Galerie Fenna Wehlau, München
 art Karlsruhe, Galerie Fenna Wehlau
2023small is big, Galerie Fenna Wehlau, München
 POSITIONS Berlin Art, Galerie Fenna Wehlau
2022Accrochage, Sebastian Fath Contemporary, Mannheim
2021Zbrika – Die Sammlung – The Collection Wuensch, Muzej-Museo Lapidarium & Galerija Rigo, Nowigrad-Cittanova
 SCHWARZ/WEIß. Zeitgenössische Papierschnitte, Neue Galerie Dachau
 25th Anniversary Exhibition, Winston Wächter Fine Art, New York
2020Cut Up, Winston Wächter Fine Art, Seattle, WA
2019UNTITLED Art Fair, Miami Beach, Winston Wächter Fine Art
 Silhouettes and Shadows, Kerava Art Museum, FIN
2018Schnittstelle Cut-Out trifft Schattenriss, Museum August Macke Hause, Bonn
 White, Sebastian Fath Contemporary, Mannheim
 kunstBUCHaktion, Modo Verlag, Freiburg
2017ART.NOW.2017, Hearst Tower Galleries, New York
 Art Cologne, Galerie Thomas, Köln
 paper positions munich, Galerie Thomas, München
2016Walking the Line, Galerie Martin Kudlek, Köln
 Splotch, Sperone Westwater Gallery, New York, NY
 Splotch, Lesley Heller Workspace Gallery, New York
2015Art on Paper Fair, Winston Wächter Fine Art, New York
 Die Heiterkeit der Seele, Galerie König, Hanau
 reliefreduktiv, QuadrART, Dornbirn, Österreich
 ART Karlsruhe, Galerie Linde Hollinger, Karlsruhe
 reliefreduktiv, SNO, Sydney, Australien
2014Weiss Inspiriert, Galerie Linde Hollinger, Ladenburg
 reliefdeduktiv, Kunstverein, Speyer
 Final Cut, Horst-Janssen-Museum, Oldenburg
2013Art Cologne, Galerie Thomas, Köln
 Habseligkeiten, Archäologische Sammlung, München
 The First Cut, The SeaCity Museum, Southhampton, England
 Djanology Art Gallery, Nottingham, England
20122D/3D, Reliefs in der reducktiven Kunst, Kunstverein Marburg
 reliefreduktiv, Künstlerverein Walkmühle, Wiesbaden
 ART Karlsruhe, Galerie Kränzl, Gaienhofen-Horn
 Kunst und Religion-Stille Zeichen, Kunstverein Villa Streccius, Landau
 Paperwork: Material and Metamorpohose, Crampedon Center of Art, L’lsle-Sur-La-Sorgue, FR
 The First Cut, Manchester Art Gallery, Manchester, England
2011ART Karlsruhe, Galerie Kränzl, Gaienhofen-Horn
 Im Blütenschimmer, Galerie Kränzl, Gaienhofen-Horn
2010KapuzinNeue Münchner Malerei, Galerie Vogdt, München
 Position 1, Galerie Bob Gysin, Zurich, Switzerland
 Auf: Bruch, Museum Biedermann, Donaueschingen
 LichtSchatten, Sebastian Fath Contemporary, Mannheim
2009Slash: Paper under The Knife, Museum of Art and Design, New York
2008On/Off Paper, Galerie K4, München
2007Galerie Kränzl, Göppingen
 9, Jeannie Freilich Fine Art, New York
 In The Beginning..., DG-Deutsche Gesellschaft für Christliche Kunst, München
2006Galerie Gisele Linder, Basel, Switzerland
 Cut It Out, The Roger Smith Gallery, New York 
 ART Basel, Galerie Gisele Linder, Basel, Switzerland 
 100 Artist - 100 Watercolors, Jeannie Freilich Fine Art, New York
 White, Anya Tish Gallery, Houston, TX
2005Sculpture, Haus der Kunst, München
 Papierkunst, Galerie Kränzl, Göppingen
 Over the Top- Under the Rug,” Shore Institute of Contemporary Art, Long Branch, NJ
 Remixed-PaperArt 9, Leopold-Hoesch-Museum, Düren 
2004Große Kunstausstellung, Haus der Kunst, München
2003Fresh: Works on Paper, James Kelly Contemporary, Santa Fe, NM
2002Große Kunstausstellung, Haus der Kunst, München
2001Kunstverein Schenefeld/Hamburg
2000Konrad Bosman Museum, Rees/Kleve
 Zu Gast in der..., Galerie Prisma, Bozen, Italien

Public collections

Virgin Hotel, Las Vegas, NV
MGM, Las Vegas, NV
Redwood City, San Francisco, CA
Mannheimer Versicherung AG, Mannheim
IBM Headquarters, Armonk, NY
Meeschaert Group, Paris
Daniel & Pamella De Vos Foundation, Grand Rapids, MI
Museum für Konkrete Kunst, Ingolstadt
Städtische Kunstsammlungen, Rehau/Bayern
Museum Schloß Moyland, Kleve
Städtische Kunstsammlungen, Aichach/Bayern
Bayrische Staatsgemäldesammlungen, München
Papiermuseum, Lenningen
Maxine and Stuart Frankel Foundation for Art, Michigan, USA

awards and prizes

2006Grant Pollock-Krasner Foundation, New York

bibliography (2009 and after)

2021Schiegl, Georg, Nicht von Pappe, in: Süddeutsche Zeitung, 19.05.2021
 Schatten-Schnitte, in: Münchner Feuilleton, Juli 2021
2013Padberg,Martina, Scherenschnitt reloaded, in: Schnittstelle, Cut-out trifft Schattenriss, Museum August Macke Haus, Bonn (cat.)
 Dichter, Claudia, Schnittstelle, Audiobeitrag in: Mosaik,WDR, 06.07.2018
 Kliemann, Thomas, Schnittstelle, in: General-Anzeiger Bonn, 09.07.2018
 Thiemen, Rolf, Zeichnen mit Messer und Skalpell, in: Rheinische Anzeigenblätter, 25.07.2018
 Wirth, Heidrun, Brückenschlag zwischen den Zeiten, in Bonner Rundschau, 24.07.2018
 Wirth, Heidrun, August-Macke-Haus erweitert, in: in Rhein-Zeitung, 24.07.2018
 Franz, Hans-Dieter, In Bücher kann man nicht nur schreiben, KunstBuchaktion, Modo Verlag, Freiburg
2017hey, Explosive Meditationen, in: Mannheimer Morgen, 22.11.2017
2016Jeng, Eileen, Splotch: A Visual Paradox, in: Splotch, Sperone Westwater and Lesley Heller Workspace,  New York (cat.)
 Morgan, Robert C., The Structure(s) of Splotch, in: Splotch, Sperone Westwater and Lesley Heller Workspace,  New York (cat.)
 Dafoe, Taylor, ‚Splotch‘ at Sperone Westwater, in: Blouin Artinfo, 22.12.2016
 Cohen, Alina, The Art World’s Most Daring – and Fun – Season, in: The New York Times Style Magazine, 28.07.2016
 Schütte, Christoph, Offene Türen in Hanau, in: FAZ, 15.01.2016
 Im Dialog mit tibetischer Kultur, in: Hanauer Anzeiger, 11.11.2015
 Pollinger, Melanie, Schule des Sehens, in: Main Echo, 16./17.05.2015
2014Lähnemann, Ingmar, Akkurate Dynamik, in: Final Cut, Horst Janssen Museum, Oldenburg (cat.)
2013Schumann, Frank, Zwischen Herzblut und Beitragskalkulation, in: Mannheimer Morgen, 06.11.2013
2012Kühne Andreas, Dialog über Jahrtausende, in: Habseligkeiten, Archäologische Staatssammlung München (cat.)
 Mutz Katharina, Alt oder neu?, in: Münchener Merkur, 12/2012
 Howes Natasha and Corridan Fiona, The Muse of Paper, in: The First Cut, Art Museums in Manchester, Nottingham, Southampton, (cat.)
 Space Invaders in: High Touch/Tactile Design and Visual Explorations, Gestalten, Berlin (Hrsg.)
 Kern Jan Peter, Pssst!, in: Die Rheinpfalz, 27.08.2012
 Herold Inge, Stille Zeichen, in: Stille Zeichen, Kunstverein Landau (cat.)
 Wheatley Paul, Andreas Kocks: paperworks, in: Artima Aktuell (cat.)
 Bleyl Matthias, Relief und Farbe, Janecke Christian, Darf’s etwas mehr sein? in: reliefreduktiv, Künstlerverein Walkmühle, Wiesbaden, Kunstverein Speyer, QuadrART Dornbirn, Neuer Kunstverein Aschaffenburg (cat.)
 Lamparth Brigitta, Was zählt ist das Wesentliche, in: Wiesbadener Kurier, 26.04.2012
 Peschke Marc, Zwischen zweiter und dritter Dimension, in: FAZ, 27.04.2012
 Bauer Kai, Über die Formatgrenzen hinaus, in: Teckbote, 03.04.2012
 Cadot Catherine, Quattre Artistes, in : La Provence, 25.02. 2012
2011Arning Anja, Kränzl versinkt im Blütenschimmer, in Südkurier 27.07.2011
2010Harris, Jane, Slash: Paper under the Knife, in: Time Out, New York, Jan.14 2010
 Neunhoeffer, Gerda, Eingefrorene Zeitmomente, in: Südkurier, 22.6.2010
 Warning, Wilhelm, Metamorphose des Raums, in: Auf:bruch- Vier Positionn zeitgenössischer
 Kunst, Museum Biedermann, Donaueschingen/ Freiburg 2010
 hey, Explosionen in der Galerie Fath, in: Mannheimer Morgen, 22.05.2010
2009Kuchenbeiser, Bernd, Zeigen und schweigen, in: Andreas Kocks, Der Ort und sein Geschehen, Neue Galerie, Dachau(Cat.)
 McFadden, David Revere, Andreas Kocks, Benign Violence, in: Slash:Paper under the Knife, Museum of Arts and Design, New York (Cat.)
 Schmidt, Petra und Stattmann, Nicola (Hg.) in Unfolded, Papier in Design, Kunst, Architektur und Industrie, Basel, Boston, Berlin
 Heise, Rüdiger, Papierene Explosionen, in: Applaus, München, Okt.2009

in situ images

examples of site-specific works