Dieter Kränzlein © Annette Cardinale

Dieter Kränzlein

 

current exhibition

How white is the green of the stone rose 

stone sculptures and works on paper

until March 6, 2021

"Dieter Kränzlein's art possesses a highly developed individuality. The stringency of his formulations is exceptional.

The renunciation of everything artistic and sensational is conspicuous.

Form, line and color are clearly employed. Icons are like that.

The insight his works convey is that of a no-frills clarity.

The Suprematists had that, the Constructivists, the Bauhaus, the Conceptualists....

Compared to them, Kränzlein moves in an ideology-free space. The ideologies have outlived themselves."

Prof. Dr. Helge Bathelt

Dieter Kränzlein's stone sculptures are simple and powerful. Today's world is marked by the far-reaching effects of digitalization on almost all areas of life, in which human perception functions only in real time, in a fast-paced society characterized by a lack of concentration and an inability to reflect.

Sculptor Dieter Kränzlein practices an art that, figuratively speaking, is as old as the mountains. In the Stone Age, the earliest epoch in human history, tools were made of stone, i.e. flints. Even in ancient times, outstanding works of art were created, such as the 11cm tall limestone sculpture "Venus of Willendorf" from the early Paleolithic Age (about 40,000 BC). The Stone Age evolved into the Iron Age, which was followed by the Bronze Age, and so on. For eons, man has continued to incorporate new materials and techniques. And so, in the age of the 3D printer, traditional stone sculpting may seem anachronistic at first: Why spend days, weeks or even months chiseling away at a block of stone, putting up with sweat, dust and noise, when a three-dimensional form, designed by a computer, can be created at the click of a mouse? The confrontation with such hard material creates a connection that is also natural for the viewer.

Stone sculpting requires craftsmanship, perseverance and concentration. Indeed, working on a stone requires time and patience. In this respect, Dieter Kränzlein acts anticyclically to the ever-increasing speed of life. Under his guiding hand, timeless forms emerge that captivate with their unpretentious simplicity. Dematerialization of stone Dieter Kränzlein has worked primarily with Norwegian marble and mossy limestone, from which he has carved free-standing sculptures and wall reliefs. His artworks are characterized by extreme reduction and clarity of form. The geometric angularity of earlier works has increasingly given way to softer and more rounded forms. His concise, meditative formal language is finely tuned to the dynamic surface design of his works - which the artist daringly models with an angle grinder. Incisions on the outside of the stone serve only to enliven and dissolve the impression of static or weighty density. Thus, the lines in Kränzlein's honed drawing give the stone rhythm and movement. His hatchings create both regular and irregular grid patterns-filigree textures that seem borrowed from nature. Both the artistic signature and the material property merge to create the final expression of each work.

As the artist notes, each type of rock has its own characteristics: marble is crystalline and its tiny cleavage surfaces reflect light when played in the sun, while limestone, with its ferruginous inclusions, is fragile and porous. The rock texture inherent in several works is accentuated by a monochromatic color scheme. Through alienation effects, color applications are used that are completely alien to the stone - virtually breaking a taboo. Painted sculptures, as they are common in wood sculpture, are rare in contemporary, mainly non-figurative stone sculpture. Dieter Kränzlein not only gives his sculptures a coat of paint, but literally drenches them with color, i.e., he allows the paint to penetrate the surface. Until now, Kränzlein has mainly used achromatic shades of gray and black. Now, with the use of red, yellow, green, and blue paint, the unadorned natural exuberance of his work is tempered. Nevertheless, as monochrome reductions suspended in space, they continue to provide a symbolic quality whose presence is given additional substance by being offset by the weight of the object. The progressive dematerialization of his stone is also supported by a novel working method: Kränzlein casts inverted forms from his original stone sculptures using a negative mold, which is poured with synthetic resin at the end. His resin casts are not only light, but also slightly translucent. It is the sensuality of the surface, although the artist's reduced, symbolic colors and shapes are apparent from a distance, the feel of the surface can only be comprehended up close. Up close, the viewer not only recognizes the (analog) aura of the unique, but also senses the time inherent in the stone - which has nothing to do with the stone's enormous age, but with the countless days and weeks that went into its creation, and the artist's self-sacrificing dedication to transforming the stone into a work of art.

Dieter Kränzlein knows how to penetrate the essence of the stone and extract its meaning. His work has a quiet, calming aura. He brings the viewer into the here and now, especially because his art appeals so much to our sense of touch. Because the digital world is primarily focused on the visual and auditory senses, the tactile sensuality and literal grasp of our world has been largely lost in our everyday lives. The legacy of the artist, who lives in Bietigheim-Bissingen, includes not only three-dimensional, free-standing sculptures and relief-like wall objects, but also printed monotypes that he pulls directly from the worked stone. Binder and pigment, mixed with stone dust, track the eroding stone and more, its eventual disappearance. Although each print is unique, Kränzlein's monotypes are typically created in series. Whether monotypes or sculptural creations, the sensual nature of the sculptural material proclaims its own existence without distracting from the other temporal dimensions in his work. Lucia Angela Cavegn

Dieter Kränzlein

1962

born in Stuttgart

1982-85

apprenticeship as a stone sculptor

1985-89

student of Franz Dakáy

Seit 89

working freelance in Bietigheim-Bissingen

solo exhibitions (selection)

2020

Wie weiß ist das grün der steinernen Rose, Galerie Fenna Wehlau, München

2019

ART FORUM UTE BARTH, Zürich, Schweiz 

2018

Galerie Netuschil, Darmstadt

 

Kunsthaus Fischer, Stuttgart

2017

Anhaltischer Kunstverein, Dessau

 

Moritzkirche, Naumburg a. d. Saale

 

Espace Jean-Marie-Poirier, Sucy-en-Brie, FR

2016

JanKossen Contemporary Art Gallery, New York, USA

 

Galerie an der Pinakothek der Moderne, Barbara Ruetz, München

2015

ART FORUM UTE BARTH, Zürich, CH

2014

arthea, Galerie am Rosengarten Dorothea Gänzler, Mannheim

2013

KNOLL.art, Warthausen

 

GAM Galerie Obrist, Essen

2012

Claus K. Netuschil Galerie, Darmstadt

 

ART FORUM UTE BARTH, Zürich, CH

 

Galerie der Stiftung S BC-pro arte, Biberach

2011

Galerie Dorn, Stuttgart

 

Galerie an der Pinakothek der Moderne, Barbara Ruetz, München

2010

Die Künstlergilde e. V., Esslingen

 

GAM Galerie Obrist, Essen

2009

Galerie Kränzl, Gaienhofen-Horn

 

Claus K. Netuschil Galerie, Darmstadt

2008

GAM Galerie Obrist, Essen

 

Galerie Roland Aphold, Basel, CH

2007

Galerie Monika Beck, Homburg/Saar-Schwarzenacker

2006

Galerie Dorn, Stuttgart

 

GAM Galerie Obrist, Essen

 

Galerie Roland Aphold, Basel, CH

2005

GAM Galerie Obrist, Essen

 

Galerie Roland Aphold, Basel, CH

2003

Galerie Monika Beck, Homburg/Saar-Schwarzenacker

2002

Galerie Dorn, Stuttgart

2001

Galerie Dorn, Stuttgart

 

GAM Galerie Obrist, Essen

 

PNCA, Philip Feldman Gallery, Portland Oregon, USA

 

Kunstzentrum Karlskaserne, Ludwigsburg

2000

Installation Kloster Maulbronn, Maulbronn

 

Installation Kloster Alpirsbach

 

Galerie Dorn, Stuttgart

 

GAM Galerie Obrist, Essen

exhibition participations (selection)

2020

Art Forum Ute Barth, Zürich, Switzerland
Kunstverein Landshut

 

Goldwerk Galerie, Roststock

 

Galerie Netuschil, Darmstadt

 

Kunsthaus Fischer, Stuttgart

2019

Conny Dietzschold Gallery, Sydney, Australia

 Galerie Netuschil, Darmstadt
 Art Forum Ute Barth, Zürich Switzerland
 Galerie Fenna Wehlau, München
 Mannheimer Kunstverein, Galerientage, Galerie arthea, Mannheim

2018

ART FORUM UTE BARTH, Zürich, CH

 

Galerie Bayer, Bietigheim-Bissingen

 

Galerie Kunstbezirk, Stuttgart

 

„Neue Gruppe“, Halle 50, DomagkAteliers GmbH, München

 

JanKossen Contemporary Art Gallery, New York, USA

 

„Neue Gruppe“, Landkreisgalerie, Passau

 

Landratsamt Ludwigsburg, Ludwigsburg

 

Galerie LS LandskronSchneidzik, Nürnberg 

2017

ART FORUM UTE BARTH, Zürich, CH

 

Kunsthaus Fischer, Stuttgart

 

Gallery Artpark, Karlsruhe

 

Kunsthaus Klüber, Weinheim

 

JanKossen Contemporary Art Gallery, New York, USA

 

Nuovi Orizzonti, Venedig, IT

2016

Claus K. Netuschil Galerie, Darmstadt

 

Conny Dietzschold Gallery, Sydney, AUS

 

Gallery Artpark, Karlsruhe

 

ART FORUM UTE BARTH, Zürich, CH

2015

Städtische Galerie im Kornhaus, Kirchheim unterTeck

 

Galerie Dorn, Stuttgart

 

Galerie LS LandskronSchneidzik, Nürnberg

 

Conny Dietzschold Gallery, Sydney, AUS

 

ART FORUM UTE BARTH, Zürich, CH

 

Villa Najork, Galerie LS LandskronSchneidzik, Leipzig

2014

Städtische Galerie, Bietigheim-Bissingen

 

Regierungspräsidium Karlsruhe, Karlsruhe

 

Conny Dietzschold Gallery, Hong Kong, CHN

 

Conny Dietzschold Gallery, Köln

 

Conny Dietzschold Gallery, Sydney, AUS

 

ART FORUM UTE BARTH, Zürich, CH

 

Galerie Dorn, Stuttgart

 

arthea, Galerie am Rosengarten Dorothea Gänzler, Mannheim

 

Claus K. Netuschil Galerie, Darmstadt

2013

ART FORUM UTE BARTH, Zürich, CH

 

Galerie Dorn, Stuttgart

 

GAM Galerie Obrist, Essen

 

Die Künstlergilde Esslingen, Esslingen

 

„Wintergroupshow“, ART FORUM UTE BARTH, Zürich, CH

2012

Claus K. Netuschil Galerie, Darmstadt

 

„Wundertüte“, Galerie Obrist, Essen

 

Kleinskulpturenbiennale, Galerie Dorn, Stuttgart

2011

Galerie Dorn, Stuttgart

 

Galerie Obrist, Essen

 

Galleria Kröger, Ascona, CH

 

ART FORUM UTE BARTH, Zürich, CH

 

Tobias Mayer-Bildhauersymposium, Marbach am Neckar

2010

Kleinskulpturen-Biennale, Galerie Dorn, Stuttgart

 

Galerie Obrist, Essen

 

Stadtgalerie Bamberg, Bamberg

2009

Kunstforum Ostdeutsche Galerie, Regensburg

 

Galerie Dorn, Stuttgart

2008

Galerie Obrist, Essen

 

Galerie Dorn, Stuttgart

 

Galerie Roland Aphold, Basel, CH

2007

Regierungspräsidium, Karlsruhe

 

Neues Schloss, Stuttgart

 

Galerie Obrist, Essen

 

Galerie Roland Aphold, Basel, CH

2006

Städtische Galerie, Bietigheim-Bissingen

 

„Neckarkunst“, internationales Kunstprojekt

 

Skulpturengarten Sürth, Köln

 

Kunsthalle Kempten, Kempten

 

Galerie Dorn, Stuttgart

 

Claus K. Netuschil Galerie, Darmstadt

2005

Galerie der Stadt Herrenberg, Herrenberg

 

„Kunstprojekt zum Schillerjahr“, Ludwigsburg

 

Skulpturenbiennale, Elsass, FR

 

Rathaus, Stuttgart

2004

Künstlerhaus, Ulm

 

Diözesanmuseum, Rottenburg

 

Kleinskulpturen-Biennale, Galerie Dorn, Stuttgart

2003

Bildhauer-Symposium, Marbach am Neckar

2002

Skulpturenweg Eigenart, Baden-Württemberg

 

Skulpturenbiennale, Elsass, FR

 

Kleinskulpturen-Biennale, Galerie Dorn, Stuttgart

2001

Galerie Dorn, Stuttgart

2000

Kleinskulpturen-Biennale, Galerie Dorn, Stuttgart

art fairs

2020

art Karlsruhe, Kunsthaus Fischer, Stuttgart

2019

art Karlsruhe (One-Artist-Show mit Kunsthaus Fischer, Stuttgart)

 The Sydney Fair, Conny Dietzschold Gallery, Sydney, (Australia)
 Positions, München, Galerie Fenna Wehlau
 AAF Stockholm, Gallery 40 NL, Niederlande
 AAF Amsterdam, Gallery 40 NL, Niederlande
 AAF Hamburg, Gallery 40 NL, Niederlande

2018

artKarlsruhe, (One-Artist-Show mit Kunsthaus Fischer, Stuttgart)

2017

artKarlsruhe, (One-Artist-Show mit Kunsthaus Fischer, Stuttgart)

 

ART ASPEN, Jan Kossen Contemporary Art Gallery, Colorado, USA

 

CONTEXT ART MIAMI, Jan Kossen Contemporary Art Gallery, USA

2016

art Karlsruhe, Kunsthaus Fischer, Stuttgart

 

Art PARIS, Jan Kossen Contemporary Art Gallery, New York, USA

 

ART NEW YORK, Jan Kossen Contemporary Art Gallery, New York, USA

 

SCOPE BASEL, Jan Kossen Contemporary Art Gallery, Basel, CH

 

Art Bodensee, Jan Kossen Contemporary Art Gallery, Dornbirn, AT

2015

art Karlsruhe, Galerie Obrist, Essen

 

Sydney Contemporary Art Fair, Conny Dietzschold Gallery, AUS

 

Kunst Zürich 15, ART FORUM UTE BARTH, Zürich, CH

 

CONTEXT ART MIAMI, Jan Kossen Contemporary Art Gallery, New York, USA

 

SCOPE MIAMI, Jan Kossen Contemporary Art Gallery, New York, USA

2014

art Karlsruhe, (One-Artist-Show), arthea Galerie am Rosengarten, Mannheim

 

Melbourne Artfair, Conny Dietzschold Gallery, Sydney, AUS

 

Kunst Zürich 14, ART FORUM UTE BARTH, Zürich, CH

2013

artKarlsruhe, Galerie Obrist, Essen

 

Kunst Zürich 13, Galerie Obrist, Essen mit ART FORUM UTE BARTH, Zürich, CH

2012

art Karlsruhe, Galerie Obrist, Essen

 

Kunst Zürich 12, Obrist-Galerie, Essen mit ART FORUM UTE BARTH, Zürich, CH

 

Art Miami Contemporary and Modern Art Fair, USA mit ART FORUM UTE BARTH, Zürich, CH

2011

art Karlsruhe (One-Artist Show mit GAM), Galerie Obrist, Essen

 

Selection artfair, Basel, CH

 

Kunst Zürich 11, ART FORUM UTE BARTH, Zürich, CH

2010

art Karlsruhe (One-Artist Show), Galerie Obrist, Essen

 

Selection artfair, Basel, CH

 

art bodensee (One-Artist Show), Dornbirn

 

art London, ENG

 

Kunst Zürich 10, ART FORUM UTE BARTH, Zürich, CH

2009

artKarlsruhe (One-Artist Show), Galerie Obrist, Essen

 

KunstZuerich, Zürich, CH

2008

artKarlsruhe (One-Artist Show), Galerie Obrist, Essen

 

Kunst Zuerich, Zürich, CH

 

TIAF, Toronto, CAN

2007

art Karlsruhe (One-Artist Show), Galerie Obrist, Essen

 

Kunst Zuerich, Zürich, CH

 

TIAF, Toronto, CAN

 

Liste Köln (One-Artist-Show), Köln

2006

art Karlsruhe, Galerie Obrist, Essen

2005

art Karlsruhe, Galerie Obrist, Essen

2004

art Karlsruhe, Galerie Obrist, Essen

2001

art Frankfurt, Frankfurt

 

Memberships

  • Künstlerverband Neue Gruppe e.V. Haus der Kunst, München

  • Verband Bildender Künstler Baden-Württemberg e.V., Stuttgart

  • Bund freischaffender Bildhauer Baden-Württemberg e.V.

represented in public and private collections (selection)

Sammlung Stadt Overlandpark, USA

Sammlung Gordon Gilkey im Portland Museum of Art, Oregon, USA

Sammlung Landesbank Baden-Württemberg, Stuttgart

Städtische Galerie Bietigheim-Bissingen

Sammlung Stadt Herrenberg

Landkreis Böblingen

Landkreis Ludwigsburg

Kunstsammlung Regierungspräsidium, Stuttgart

Kunstsammlung der Kreissparkasse Ludwigsburg

Kunstsammlungen der Volksbanken Herrenberg und Ludwigsburg

Stadt Marbach

Sammlung Biedermann, Museum Biedermann, Donaueschingen

Sammlung Schoess, Bochum

Sammlung Stadt Kusatsu, JPN

Sammlung Stiftung bc pro arte, Biberach

Publikationen (Auswahl)

„Skulpturen in Filderstadt“ 1990, Alfred M.W. Schürmann

„Idee – Werk“ 1994, Die Künstlergilde, Esslingen

„Skulptur“ 1996, Bund freischaffender Bildhauer Baden-Württemberg

„Kultur Saarland“ Fernsehsendung zur Ausstellung in der Galerie Monika Beck

Homburg Saar, 06/1998

„Foyer“ Kulturvielfalt im Ruhrgebiet, Ausgabe 11/99, S. 31

„k + m Magazin“, Ausgabe 2/99, S. 72/73

„Eigensinnlich“, Filmdokumentation über die Entstehung von Farbplastiken 1999

„Gallery Exhibitions“ Ausstellungsführer der Stadt Portland (Oregon), USA Ausgabe 09/01, S. 11

„art.communication.structure“ Katalog zur Ausstellungsreihe Essen-Ludwigsburg-Portland, (Oregon) USA 2001

„eigenART“ Katalog Kunst und Natur am Venusberg, 2002

„Heilige Kunst, Lebensspuren“ Katalog S. 94/95, 2004

„Wie Kunst Widerstand wird – Stationen – Gedankenformen Entwicklungs-prozesse“,von Jörg Palitzsch in: „LogBuch“, Peter Valentin Verlag Ludwigsburg, 2004, S. 36–41, ISBN 3-932290-41-0

„Dieter Kränzlein – Skulpturen und Wandarbeiten“ ISBN 978-3-939825-91-3, 2008

„Jerg Ratgeb Pfad Herrenberg“ 2012

„Dieter Kränzlein“,von Manfred Bornemann in: Tobias-Mayer-Jahr Schriftenreihe des Tobias-Mayer-Vereins e.V., hrsg. vom Prof. Dr. Armin Hüttermann, Band 1, 2012, S. 12–13

„SKULPTOURA“ Katalog S. 92/93, 2014

„Kunstspuren hüben/drüben“ Sammlung Reinhard Besserer, 2015

„Dieter Kränzlein“, 2015, ISBN – 13 978-3-9522855-8-9

„Künstlerverband Neue Gruppe – 70 Jahre – 1946-2016“ S. 49, 2016

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