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The Marli Hoppe-Ritter Collection
in Schwäbisch Gmünd
Antonio Calderara
(22.05.-18.09.2011)
In Focus: The 1950s to the 1970s
Works from the Marli Hoppe-Ritter Collection
Caution colour!
(10.10.2010 - 01.05.2011)
Regine Schumann - black box
(10.10.2010 - 01.05.2011)
Timm Ulrichs (08.05. - 19.09.2010)
Camille Graeser (08.05. - 19.09.2010)
Homage to the Square
(18.10.2009 - 11.04.2010)
MUSEUM RITTER on tour
(28.05.2009 - 25.06.2009)
François Morellet (17.05. - 27.09.2009)
Alighiero Boetti
(26.10.08 - 26.04.09)
Gastspiel
(26.10.08 - 26.04.09)
Bildertausch 3
(18.05.08 - 28.09.08)
Geneviève Claisse
(28.10.2007 - 20.04.08)
Werner Bauer
(18.05.08 - 28.09.08)
Bildertausch 2
(06.05. - 30.09.2007)
New Friends
(28.10.07 - 20.04.08)
George Pusenkoff
(06.05. - 30.09.2007)
Bewegung im Quadrat
(22.10.2006 - 15.04.2007)
Davide Boriani
Waltraut Cooper
Carlos Cruz-Diez
Gerhard von Graevenitz
Dieter Jung
Victor Vasarely
Mader|Stublic|Wiermann
Vera Molnar
Bridget Riley
Sabine Laidig
Sabine Straub
Jean Tinguely
Vadim Kosmatschof
Marcello Morandini
(21.05. - 03.10.2006)
Bildertausch 1
(21.05. - 03.10.2006)
SQUARE
(18.09.2005 - 23.04.2006)
Gerhard von Graevenitz
1934 born in Schilde, Brandenburg
1983 died near Hapkern in the Traubach Valley (CH)

Konkave reflektierende Quadrate auf Schwarz, 1962–64
Wood, metal, electric motor
61,7 x 61,7 x 9 cm
(c) VG Bild-Kunst, Bonn 2006/2007
The work "Konkave reflektierende Quadrate auf Schwarz" [Concave Reflecting Squares on Black] is part of an ongoing group of kinetic objects created by Gerhard von Graevenitz, which may be considered the climax of his unflagging quest as an artist to surmount the concept of the static picture.
 
Set in a regular pattern on a black surface are 324 concave hollowed squares made of metal. Here the artist has employed elements that were manufactured in series. Unlike paintings, where the artist maintains his or her influence over the entire creative process, this work demonstrates objectivity and functionality, as well as a feeling for scientific experiment.
 
Motion is engendered in two different ways in this piece: visually and concretely. The hollows in the picture’s components mean that the overall appearance of the work alters according to the angle of the light. In addition, the shiny metallic surface intensifies the erratic action of the light by creating reflections. At the same time, the individual squares are set into physical motion by an electric motor. While moving in changing rhythms, the elements land at different angles to each other and create new structural centres. The picture demonstrates a quite limitless number of visual possibilities, without a beginning or an end. And since the mechanism involved does not even allow the artist to determine the motion precisely, one cannot speak of a cycle that recurs at regular intervals. The unity of the system is overridden, both in terms of composition - due the infinite variations in the picture’s structure - as well of content  - due to the number of possible states, which far exceeds our visual capacity.