Minimalism and After
February 2002
New acquisitions
Douwe Jan Bakker
Greg Bogin
Andre Cadere
Martin Gerwers
Gerold Miller
John Nixon
Jan van der Ploeg
Eckhard Schene
1941-1975 in Kiel/DTrophy 9/71,
1971; Wood, artificial resin, PVC, 100 x 100 x 30 cmIn the 60s, Minimal Art, and logically a stress on three-dimensional work, became increasingly accepted. Eckehard Schene, like many of his fellow artists at the time, abandoned painting in favour of sculpture, so that he could test the spatial power of his work, and create a synthesis of space, light, volume, body and movement.
He created wall sculptures whose wooden bodies were already sculptural works in their own right, and reminiscent of Donald Judd's "specific objects", while the air cushions could be the equivalent of Robert Morris's anti-formal work.The separate parts of Trophy 9/71 were manufactured industrially and finished by a craft firm to Schene's instructions. The PVC admits reflections from the surrounding external area, provides a view of the interior space enclosed and also makes it possible to see the body behind. Changes in the quantity of air make it possible for the artist to respond to prescribed external conditions like light, colours or the surroundings, but also personal moods. But the pneumatic bodies do not have the stability and visual lucidity of the wooden sculpture. The squares seem solid, thrust into the space, giving it structure and rhythm, but make it impossible for the cushions to be expanded any more. On the other hand, the amorphous shapes of the cushions loosen the rigid composition and vary in their shape and firmness.
Trophy III/69
1969; 2 parts, wood, artificial resin, 192 x 140 x 30 cmIn 1969, Eckehard Schene, who had been interested in Zero for a long time, took the final step towards Minimal Art with Trophy III/69. The object consists of two long bodies of different sizes that lean against the wall on their bevelled sides. The shortened perspective, reinforced by a bevelled edge, creates a dynamic thrust. At the same time, the positioning of the sculpture creates a triangular space between the wall, the floor and the work itself. The flat front sides convey the impression of being the main view, while the slanting quality of the object tends to suggest that the side view is the one intended.
In this way, Schene involved the viewer's movement in his work, and extended the three-dimensional effect of his objects by adding the fourth dimension, time. He wanted viewers to move when confronted with his work, so that they could encompass it completely.Trophy III/69 clearly shows Schene's efforts to detach his objects from the wall and allow them to intervene in the surrounding space. Their form, their relationship with architecture and their calculated effect make an impact on the spatial conditions in which they are placed and implement Minimal Art's essential premise of "place and presence". The large format of the works suggests lucidity, but is disturbing because Schene abandons a clearly defined position for the viewer. At the same time, this forces the person responding to the works to investigate their various aspects.
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