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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)
Eröffnungsrede Bildertausch 2
Andreas Brandt
Camille Graeser
Auguste Herbin
Gabriele Langendorf
Platino
Günter Umberg
New Friends
(28.10.07 - 20.04.08)
George Pusenkoff
(06.05. - 30.09.2007)
Bewegung im Quadrat
(22.10.2006 - 15.04.2007)
Marcello Morandini
(21.05. - 03.10.2006)
Bildertausch 1
(21.05. - 03.10.2006)
SQUARE
(18.09.2005 - 23.04.2006)
Gabriele Langendorf 
Parasiedlung 3, 2006
This puzzling example of canvas with the equally puzzling title "Parasiedlung". The picture itself is certainly thought-provoking. The explanation of the name allows us to see the painting as a highly stylized, perhaps somewhat exaggerated, but realistic representaion of a present-day high-rise facade. A balcony, a half-seen balcony door and one satellite dish form the module that is the module that is repeated in a few shades of beige and brown to cover the surface of the painting. The strict stylization and the contiuned repetition make our preception of the picure oscillate between geometrical ornament, pattern and architectural scheme. The pure pattern version almost wins out since Langendorf has placed her modules in such a way in the picture that they appear to be cut of the edges- allowing an infinite extension of the pattern to be imagined.
The very large format of the picture intensifies an impression of wall-paper- which most artists labor ot avoid. There is no doubt that Langendorf has intended this impression. Not only because her work expresses criticism of the architecture and culture of the housing estates with their numbing unifomity which can only deform the residents. Above all, she deliberately toys with the contradiction between apparently industrial mass production and the craft of the painted canvas. Although she uses paper templates, which she cuts out herself, and a rather impresonal coloration which she applies using sponges- still the result is an origianl painting- a unique work in the classical sense of the word. However, Langendorf wxpo9ldes all of that again, by exploring the notion of ´repeat pattern`, at term normally used for wallpaper or printed textiles. She also developped what she calls ´Collection stand`on which she presents patters from existing and planned or future paintings
They hang on a movable stainless steel stand like a collection of carpet samples or textiles. Thus the viewer has become a customer- and can order any painting in any desired size based on the patterns.The visitor to the exhibition can buy pictures pret à porter. And even get a lovely new title free of charge from the artist.