Jürgen Partenheimer, Mies van der Rohe House, Berlin 2011
 

Jürgen Partenheimer, o.t., 2004

 

Jürgen Partenheimer, born in Munich in 1947, counts among the internationally most renowned German artists of his generation. His art is marked by a minimalist abstraction, which opens up an inversely wide spectrum of associations. These
creative processes represent a model for an interpretation of the world and reality, which develop new standards of perception and run counter to all popular trends. Partenheimer's ability to combine his art with serious theoretical discourse testifies to his extraordinary qualities as an artist.
Since his participation in the Paris Biennale in 1980, the Biennale Sao Paulo in 1981 and the Venice Biennale in 1986, Partenheimer's work has been shown at the Museum of Modern Art, New York, the Stedelijk Museum, Amsterdam, the Gemeentemuseum, The Hague, the IVAM, Valencia, the CGAC, Santiago de Compostela, the Fundacion Miró, Barcelona, the Kunsthalle Bern, the Nationalgalerie Berlin, and the Museum Ludwig, Cologne, among others.

W E B S I T E   www.juergenpartenheimer.de

 
   

 


Cover (detail)

  De slapende goden | Sueños y otras mentiras, with poetry by Cees Nooteboom and lithographs by Jürgen Partenheimer, is a limited edition artist's book, in which the minimalism of Partenheimer is juxtaposed to Nooteboom’s ‘poetry of place’. The book contains several images, partly in color, a continuous etching on the front and back cover, and a suite of two signed lithographs.
De slapende goden | Sueños y otras mentiras is published by Ergo Pers in a limited edition of 48 copies, signed both by the author and the artist. Letterpress printing and manual binding by Rein Ergo, Gent; lithographs printed by Felix Bauer, Cologne. The entire edition was printed on Waterford Saunders 190 g. 38 x 28 cm, slipcase in crystal clear perspex. Price: € 1300.
Jürgen Partenheimer has produced more than 70 artists’ books since 1970. These books are the quintessence of an encounter between visual arts and literature.
De slapende goden | Sueños y otras mentiras is the result of Partenheimer’s most recent collaboration with Cees Nooteboom. The book will be on view for the first time at the exhibition
‘Jürgen Partenheimer | Künstlerbücher’ in Sinclair Haus in Bad Homburg.(10.05 - 24.07.2005) and in the summer of 2005 in Dresden [Buchmuseum der Sächsischen Landesbibliothek - Staats- und Universitätsbibliothek Dresden 15 8 - 6 11 2005].
 
       


Cover A la rêveuse matière,
(
continuous etching on front and back cover)

 


À la rêveuse matière
, a double volume artist book with a series of etchings by Jürgen Partenheimer and five texts by Francis Ponge.

A la rêveuse matière was published joining Partenheimers solo exhibition La robe des choses (The guise of things) at S.M.A.K. (Ghent) in the summer of 2002.

A la rêveuse matière is available in two editions; a limited deluxe edition of 24 copies, including seven etchings, and a regular edition of 24 copies including two etchings. The etchings were done directly by the artist at the studio of Henrie Hemelsoet in Ghent.
The poems were translated by Anthony Rudolf (English) and Piet Meeuse (Dutch). The letterpress text is handset in Bembo and Gill 18 point and printed by Rein Ergo. The etchings are printed by Henrie Hemelsoet.

The entire edition is printed on vélin d'Arches 200 g. Size 28 x 36 cms.

Each book is signed by the artist (frontispice and colophon)

 



Rolf Quaghebeur, The Act of Thinking, in 'La robe des chose's, S.M.A.K., Ghent 2002.

 

 

 
 

 
       

 

C O P A N, Diario Paulistano. Bilingual text edition of the Sao Paulo Diary. Published by the Kunsthalle Karlsruhe, 2006. 'Texts in which artists speak about their work are rare. Most artists speak only in the language of their art. They know the difference between speaking “about art”, as art critics and theorists do it, and speaking “as artists”,which can never be objective.The best texts are those that speak specifically from the experience of the artistic situation and describe the artist’s experience frankly and unsparingly.
As an artist’s text, Copan belongs to this rare genre. Its value lies not in any immediate comprehensibility for the reader, but rather in the closeness of what is spoken to what is done.The paradox of Partenheimer’s text lies in his ability to track his own experiences almost continuously and at the same time open them up for reflection. This is the city, which comes in through the window of the apartment in which Partenheimer is drawing. However, it is of crucial importance to understand why it does not enter as such in the artist’s field of vision, but presents itself framed by a splendid panoramic window which dominates the entire space of the apartment, the architectural precision of which must perforce be taken into account, given its crucial role in taking in the view it provides. What I mean to say is that, to all intents and purposes, the violence exerted by the metropolis upon the artist’s senses is filtered and purified by the aesthetic treatment conferred upon it by the architecture of the Copan (as designed by Oscar Niemeyer). And this relationship between architecture and what is urban produces a fundamental difference – for, since it is not any ordinary window, the world we see outside it, through it, undergoes a transfiguration.'
Jan Thorn-Prikker Cover

Special edition of 10 copies, with inserts, collages and some drawings. Slipcase.

 






 

Jürgen Partenheimer | Roma - Sao Paulo | Zeichnungen Drawings, 2003/2005, /Richter Verlag 2006.

Cover

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