Galerie Fenna Wehlau - Dieter Kränzlein
© Annette Cardinale
Arbeiten in Stein und Papier
Dieter Kränzlein Stone sculptures are plain and powerful. Today's world is dominated by the far clutching effects of digitization on nearly all aspects of life, where human perception operates merely in real time, in a swift paced society marked by a lack of concentration and the inability to reflect.
The sculptor Dieter Kränzlein exercises a skill that is, figuratively speaking, as old as the hills. In the Stone Age, the earliest epoch of human history, tools of stone i.e. flints were being crafted. Already in ancient times outstanding works of art were evolving, such as the 11-centimeter limestone sculpture “Venus of Willendorf” of the early Paleolithic period (about 40,000 BC). From the Stone Age arose the Iron Age, which was then followed by the Bronze Age etc. For eons humans have continuously incorporated new materials and techniques. And so in the era of the 3D printer traditional stone carving may at first seem anachronistic: Why take days, weeks or even months to chisel away at a block of stone, at the same time, taking in all that sweat, dust and noise of such an operation, when a three-dimensional form, designed by a computer, can be formed at the click of a mouse? Grappling with such hard matter creates a connection that is self-evident even unto the viewer.
Sculpturing stone calls for technical skill, fortitude and concentration. Working a stone indeed takes both time and patience. In this regard Dieter Kränzlein acts counter-cyclically to the ever accelerating pace of life. Under his guiding hand timeless forms emerge which captivate with their unpretentious simplicity. Dematerialization of the stone Dieter Kränzlein has worked primarily with Norwegian marble and Mooser limestone, out of which he´s hewn freestanding sculptures and wall reliefs. His works of art exhibits upmost reduction and clarity of form. The geometric angularity of earlier pieces has given way to increasingly softer and rounded forms. His terse, meditative form language is finely tuned to the dynamic surface design of his work - which the artist daringly sculpts using an angle grinder. Gashes on the stone´s exterior serve no more than to enlivened and disperse any would-be impression of static or heavy-weighted density. Thus, the line-work in Kränzlein´s grinded drawing gives the stone rhythm and movement. His hatching creates both regular and irregular grid patterns – filigree textures that appear borrowed from nature. Both artistic signature and material property merge to fashion the final expression of any one work.
As the artist notes, each rock type has its own distinct property: Marble is crystalline and its tiny cleavage faces reflect light when played in the sun, while limestone with its iron packed inclusions is fragile and porous. The innate rock texture inherent of several works is accentuated with a monochromatic color scheme. Estrangement effects make use of color applications quite foreign to the stone – virtually amounting to a taboo break. Painted sculptures common to wood sculpture, are rare in contemporary, particularly non-figurative stone sculpture. Dieter Kränzlein not only gives his sculptures a paint coat, but downright soaks it with paint, i.e. he lets the color penetrate the surface. Up to now Kränzlein has employed mainly achromatic grays and black. Now with the application of red, yellow, green and blue color, the unabashed natural exuberance of his work is lessened. Nevertheless, as monochromatic reductions suspended in space they go on to ensure a symbolic quality, whose presence is awarded additional substance in having it set off against the object´s weight. The ongoing dematerialization of his stone is further assisted by a novel work method: Kränzlein casts inversed forms from his original stone sculptures using a negative mold, which, in the end, is poured out with synthetic resin. His resin casts are not only light-weight, but slightly translucent. It is the sensuality of the surface although the artist´s reduced, symbolic colors and forms are capable of revealing themselves from a distance the feel of the surface can only be comprehended up close. At close-range, the viewer will not only realize the (analog) aura of the unique, but will also be able to feel the inherent time contained within the stone – having nothing to do with the enormous age of the stone – but to feel those countless days and weeks that went into its making, and the artist´s upmost devotion in transforming the stone into a work of art.
Dieter Kränzlein understands how to penetrate the essence of the stone and extract its meaning. His work poses a quiet, settling charisma. It brings the viewer to the here and now, for the most part, because his art appeals so much to our sense of touch. Because the digital world focuses primarily on the visual and the auditory sense, tactile sensuality and literal comprehension of our world have largely gone lost in our daily lives. The legacy of this Bietigheim-Bissingen residing artist not only includes three-dimensional, free-standing sculptures and relief-like wall objects, but also printed monotypes, which he pulls directly off the worked stone. Binder and pigment, mixed with stone dust, track the eroding stone and more so, its eventual disappearance. Although each print is unique, Kränzlein´s monotypes typically occur in series. Whether monotypes or sculptural creations - the sensuous nature of the sculpted material proclaims its very existence, without diverting from the other temporal dimensions in his work. Lucia Angela Cavegn
Dieter Kränzlein | |
1962 | in Stuttgart geboren |
1982-85 | Ausbildung zum Steinbildhauer |
1985-89 | Schüler von Franz Dakáy |
Seit 89 | freischaffend arbeitend in Bietigheim-Bissingen |
Einzelausstellungen (Auswahl) | |
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 |
Ausstellungsbeteiligungen (Auswahl) | |
2020 | Art Forum Ute Barth, Zürich, Switzerland |
| 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 |
Kunstmessen | |
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 |
Mitgliedschaften
Künstlerverband Neue Gruppe e.V. Haus der Kunst, München
Verband Bildender Künstler Baden-Württemberg e.V., Stuttgart
Bund freischaffender Bildhauer Baden-Württemberg e.V.
Vertreten in privaten und öffentlichen Sammlungen (Auswahl) | |
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 |
Marmor gefärbt · 13 x 44 x 15 cm
Muschelkalk gefärbt · 14 x 14 cm
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Marmor gefärbt / Marmor · 30 x 30 cm
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Muschelkalk gefärbt · 10 x 40 cm
Muschelkalk gefärbt · 220 x 22 10 cm
Steinschnitt · 74,5 x 113 cm
Marmor gefärbt · 22,5 x 22,5 x 22,5 cm
Muschelkalk schwarz gefärbt · 19 x 19 x 19 cm
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Kunstharz · 16 x 23 x 8 cm
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Kunstharz · 14 x 26 x 26 cm
Kunstharz · 15 x 21 x 21 cm
Marmor gefärbt · 11 x 35 cm Durchmesser
Kunstharz · Durchmesser 65 cm
Muschelkalk · 220 x 22 x 10 cm
Marmor gefärbt · 120 x 19 x 12 cm
Muschelkalk gefärbt · 67 x 29 cm
Marmor gefärbt · 60 x 40 cm
Marmor · 59 x 12 x 20 cm
GALERIE FENNA WEHLAU, Amalienstraße 24, 80333 München-Germany
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