Rolf Hans Frankfurt am Main 1938 - 1996 Basel Great Totem VIII, 1992 wood Signed on the underside, dated and titled Size incl. Socket: 193 x 20.5 x 17 cm including a catalog about the artist Provenance: from the estate of the artist Poetry of things At the beginning of the 1970s, Rolf Hans begins with the design of objects for the first time. There are small sculptures, which he consumed from iron tubes with round or square profile. With them, he seeks to create a new, three-dimensional experience in parallel with his simultaneous paintings. In 1987, Hans reappears the medium sculpture. The work process is now no longer considered to consciously construct it, but a guided manner. And as with his picturesque work, his objects are now emerging from an inner need not to fill an intellectual vacuum. This forced has been under control for decades and for a few years I try to pacify him with the cycle, poetry of things. The spiritual climate was prepared . So Hans focuses on the work on the sculpture cycle in his last year of life. And as in the intoxication, he draws from the new possibilities, which offers him the design of the objects: The poetry of things grows, she swarms all time, much is neglected, barely letters, the journal is largely silent, concert attention is limited to essential . It creates a compulsion and has begun as a game, but attempts were always a serious thing that demand all the guy. [...] The objects have in my ratio, cautiously and unnoticed, claim their place, have taken him, are part of my own. It's a difficult thing with the art, with a view of the predecessors you try to find the way, the time spirit and aesthetics influence the direction, you know if the dissatisfaction in which you move. Now, in the middle of the 'poetry of things' a sense of Freisin, nevertheless closely associated with much something before, there is no program, only a title of every work of freedom allowed. But despite the role models in mind, Hans succeeds from the beginning with his object cycle to find very independent formulation options. What connects him with Max Ernst, Brancusi, Duchamp is only the starting material: Funds. There are very banal things of everyday life - formerly needed, useful and practical such as tools, utensils, devices - which are relieved of their function and now serve the artist as a door to the imagination. In this case, Hans undresses the things of their previous, traditional function or archaic determination and transports them into another, new reality to brave them back. He does not want to deny the found figure without being aestheticizing. Her, innate 'structure, signs of wear and color only slightly changing, he seeks to highlight their sense and purpose as a form and redefine their inherent broadcast. Things are being edited, in combat with the artist to uncover their peculiarity and to make new statements in connection with other objects. Thus, Hans without any artificiality presents the abstract symmetries of the wood and metal objects and placed them entirely the artistic tradition on a pedestal. In addition, he integrates this into the work. Because as the bottom component, the socket is not only preparing for the sculpture, but relaxes, triggers or strengthens its earth's connection. With this erection, he gives the sculptures a further own life, so to speak a second existence, and gives them a new identity with a new name. They show their personality, one more, another less, as so is in life, or in art. What is meant to them all, their work is from the past in this here and now. They reveal their original beauty and the mystical that inspires our imagination. Through which ambivalent ways the sculptures and objects of Rolf Hans also meet us, they never do this loud or exalted. In their balanced and simple appearance they step quietly and quietly, but determining with us in contact. Alienating urgent urgently ask us to ask questions: Who am I? Where do I come from? Where am I going? They offer us no hints that could help us in answering. To do this, give us a greater scope for associations and imaginations. They appeal to our subconscious. They invite us to linger and for meditation: it is the general start and the unconscious break to the secrets of creation. Exhibitions (Selection) 2021 Gallery Michael Blaszczyk, Bad Homburg Language of the Colors-the Basel Cabinet 2020 Malte Ueckermann art trade, Berlin, Kanalidarte, Brescia Che Cosa Avrebbe Detto Hegel_rolf Hans ... E La poesia della Cose, Italy, art trade Draheim Art Karlsruhe, Poetry of Things 2019 Gallery Jörg Schuhmacher, Frankfurt, Gallery Blaszczyk, Bad Homberg 2018 Art Karlsruhe, art trade Draheim, Wiesbaden, color fields Gallery Dekker, Baden-Baden, Retrospective Gallery Blaszczyk, Bad Homburg 2017 Gallery Eklectik, Monte Carlo, Monaco Gallery Schuhmacher, Frankfurt am Main 2016 Gallery Cerny & Partner, Wiesbaden (Language of colors) Art Karlsruhe, art trade Draheim, Wiesbaden (Tachistic painting + iron sculptures) Gallery Rainer Klimczak, Viersen Gallery Shoe makers, Frankfurt AM ( Black on white) 2015 Gallery Blaszczyk, Bad Homburg Art Karlsruhe, One Artist Show (Gallery Cerny and Partner) Gallery Eklectik, Monte Carlo, Monaco 2014 Gallery Jörg Schuhmacher, Frankfurt am Main (a retrospective-1) Gallery Tristan Lorenz., Frankfurt am Main (a retrospective-2) Hellhof Gallery, Kronberg im Taunus (Works of 1960 - 1980) Art Fair, Cologne, Monochrome painting (Gallery & Trading Draheim, Wiesbaden) 2013 art trade Thole Rotermund, Hamburg (in the power field of color) + Catalog Gallery & Trading Draheim, Wiesbaden (Painting & Sculpture 1970 - 1990) 2012 Art Karlsruhe, One Artist Show (Gallery & Trading Draheim, Wiesbaden) 2011 Gallery & Trading Draheim, Wiesbaden (in the intoxication of the colors - Works of the 60s) 2009 Ketterer Kunst, Berlin (Rolf Hans - painting and sculpture) Art trade Michael Draheim, Wiesbaden (Rolf Hans - Poetry of Things) 2008 Gallery Art Mayence, Mainz (Rolf Hans - Color Language) Gallery Jörg Schuhmacher, Frankfurt a. M. (Rolf Hans) Galerie Winterberg, Munich (Rolf Hans - The Language of Colors) Gallery Jörg Schuhmacher, Frankfurt A.M., Art Karlsruhe (Rolf Hans - One Artist Show) 2007 Gallery Jörg Schuhmacher, Frankfurt a. M. (Rolf Hans in the field of tension of the 'Quadriga') 2001 Kunstraum Aare, Olten (Rolf Hans - Pictures, Sculptures, Photographs ) 1999, Art in Liebfrüti ', Kaiseraugst ( Martin Frigg and Rolf Hans ) 1992 Municipal Gallery, Snake Bath (Gabriele Schmolk Hieber, Pictures - Rolf Hans, Objects) 1991 Museum Castle Salt, Salzgitter (Poetry of Things) 1990 Gallery Brechbühl, Grenchen (Poetry of Things) 1985 1985 Gallery Toni Brechbühl, Grenchen (Two Friends, Ho Kan, Milan - Rolf Hans, Basel) Gallery Toni Brechbühl, Grenchen (Rolf Hans - Oil Pictures 1983-1985) 1981 1981 Gallery Toni Brechbühl, Grenchen (Rolf Hans - Rolf Brunner - Michelle Hänggi) SWB Forum, Bern (Frans Webering, acrylic glass Objects - Rolf Hans, Watercolors) 1978 1978 Gallery Toni Brechbühl, Grenchen (30 years Gallery Toni Brechbühl) 1977 Gallery Toni Brechbühl, Grenchen Art 8/77, Basel (Gallery Toni Brechbühl, Grenchen) 1975 Art Basel 6/75, Basel (Gallery Toni Brechbühl, Grenchen) Gallery Chutz in Solthurn (oil paintings, Gouachen) 1966 Gallery Toni Brechbühl, Grenchen (Watercolors) 1964 Gallery Toni Brechbühl, Grenchen (drawings, Gouachen, oil paintings)

Period	1990 to 1999
Year	1992
Production Period	1990 to 1999
Country of Manufacture	Switzerland
Identifying Marks	This piece has an attribution mark
Style	Abstraction
Detailed Condition	Very Good — This vintage/antique item has no defects, but it may show slight traces of use.
Restoration and Damage Details	Light wear consistent with age and use
Product Code	QFT-985271
Materials	Wood
Color	Puce
Width	21 cm 20.5 cm
Depth	17 cm 17 cm
Height	193 cm 193 cm