ARTISTS / Contemporary art
Jürgen Brodwolf


Available works
Jürgen Brodwolf
Photo: Gottfried Junker
1932born in Dübendorf near Zurich
1948-52Apprenticeship as draftsman/lithographer
1950-52School of Applied Arts Bern
1955-60Worked as a fresco restorer
1959Discovery of the tube figure
1968Scholarship of the Academy of Arts, Berlin
1975Art prize of the Böttcherstrasse, Bremen
1976-82Professorship for drawing at the University of Applied Sciences for Design, Pforzheim
1977Participation in documenta VI, Kassel
1981Hans Thoma Prize of the State of Baden-Württemberg
1982-94Professorship for sculpture at the State Academy of Fine Arts, Stuttgart
1982Participation in the Venice Biennale: Aperto 82
1986Art Prize of the City of Darmstadt
1989Art Prize of the City of Stuttgart
1991Theater installation for "Die Siamesischen Zwillinge" by Christoph Klimke, world premiere, Schauspielhaus Dortmund
1993Art Prize of the Artists, Düsseldorf
1995Relocation from Vogelbach to Kandern into the former municipal hospital, which becomes the new place for art, work and living
2005Establishment of the Jürgen Brodwolf Foundation Kandern
2008Artist in residence, Künstlerhaus Lukas, Ahrenshoop
2011Erichckel Prize, Circle of Friends of the Baden-Württemberg Artists' Association
 Lives and works in Kandern (Black Forest)
 
 
 Solo exhibitions (selection)
 
2008Arte Moderna Ammann, Locarno, Switzerland
Kunsthalle Will, Switzerland
2007Gallery Levy, Hamburg, Germany
2006Kunstmuseum in der alten Post, Mülheim an der Ruhr, Germany
Gallery Henze+Ketterer+Triebold, Riehen/Basel, Switzerland
Gallery Schlichtenmaier, Stuttgart, Germany
2005Kunsthalle Harry Graf Kessler, Weimar, Germany
Museum Schloss Moyland, Bedburg-Hau, Germany
2004Museum for Sepulcral Culture, Kassel, Germany
Museum for New Art, Freiburg, Germany
2003Art Museum Bayreuth, Germany
Micus Museum, Ibiza, Spain
2002Kunsthalle Villa Kobe, Halle an der Saale, Germany
Kunstverein Kirchzarten, Germany
2001University Museum of Fine Arts, Marburg, Germany
Municipal Collections, Schweinfurt, Germany
Municipal Art Museum Spendhaus, Reutlingen, Germany
1999Art Collection Neubrandenburg, Germany
PCC Art Space Weimar, Germany
Kunsthalle Mannheim, Germany
1998Kunstverein Würzburg, Germany
1997Kunstverein Jena, Germany
Museum Osnabrück, Germany
1996Kunstverein Pforzheim, Germany
1995Märkisches Museum, Witten, Germany
Lindenau Museum, Altenberg, Germany
1993Forum Rottweil, Germany
Gerhard Marcks House, Bremen, Germany
1992Institut Mathildenhöhe, Darmstadt, Germany
Gallery of the City of Stuttgart, Germany
 
 
 Group exhibitions (selection)
 
2007Egypt - Modernity, Badisches Landesmuseum Karlsruhe, Germany
2006Galerija sodobne umetnosti Celje, Slovenia
2005European art in the southwest curve, Badischer Kunstverein, Karlsruhe, Germany
Dreissigpluseiner, Great Art Exhibition North Rhine-Westphalia, special show of the art prize winners of the last 30 years, Germany
2004Hommage à Leos Janacek, Art House of the City of Brno, Czech Republic
2003Open 2003, Arte & Cinema. 6th Esposizione Internazionale di Sculture ed Installazioni, Venice, Lido, Italy
At the Crossroads: Christian Motifs in Contemporary Art, Kunsthalle Villa Kobe, Halle, Saale, Germany
2002Remembering, Kunstverein Nördlingen, Germany
2001From Rodin to Baselitz, The Torso in Modern Sculpture, Staatsgalerie Stuttgart, Germany
1998The First International Ink Painting Biennal of Shenzhen, Guan Shynyne Art Museum, Shenzhen, China
1997Magic of Number, State Gallery Stuttgart, Germany
1995Triple X Festival, Amsterdam, Netherlands
1992Works on paper 1945-1975, donation to the Busch-Reisinger Museum, Cambridge, USA
Kölnischer Kunstverein, Cologne, Germany
Homage to Angelika Kauffmann, Liechtenstein State Art Collection, Vaduz, Liechtenstein
1990Present-Eternity, Gropius -Bau, Berlin, Germany
 
 
 Public Collections (Selection)
 
 Lindenau Museum, Altenburg
 Museum Aschaffenburg
 Basel Museum of Art (Kupferstichkabinett)
 Museum of Prints and Drawings of the Berlin State Collections
 Hans-Thoma-Museum, Bernau
 Collection of the Federal Republic of Germany, Bonn
 Bremen Art Gallery
 Busch-Reisinger Museum, Cambridge, USA
 Bündner Museum of Art, Chur
 Wilhelm Lehmbruck Museum, Duisburg
 Museum of Modern Art, Frankfurt am Main
 Museum of Contemporary Art, Freiburg
 Karl Ernst Osthaus Museum, Hagen
 Kunsthalle, Hamburg; Sprengel Museum, Hanover
 Municipal Museums, Heilbronn
 Municipal Art Collections, Karlsruhe
 Kiel Art Gallery
 Wilhelm Hack Museum, Ludwigshafen
 Art Gallery, Mannheim
 Museum of Art, Schaffhausen
 Art Museum, Singen
 Fond Régional d'Art Contemporain, Strasbourg
 Staatsgalerie Stuttgart (graphic collection)
 Gallery of the City of Stuttgart
 Ministry of Science and Art, Stuttgart
 Power Gallery of Contemporary Art, Sydney
 Art Museum Winterthur
 Märkisches Museum, Witten
 Kunsthaus Zurich
Jürgen Brodwolf's sculptural principle of the so-called "tube figure," developed since the late 1950s, is located beyond traditional material and form. Jürgen Brodwolf, who initially worked as an informal painter and restorer, devoted himself mainly to the plastic design language from the end of the 1950s and is one of the most important representatives of figurative art. His independently formed sculptural principle develops beyond traditional material and form inventions. By applying this sculptural principle in the most imaginative variations, modulations and combinations, he succeeds in formulating his central concern in a multi-layered way. Brodwolf had already found his binding sculptural figure type in 1959, which took its starting point in the "Tubenfigur" (tube figure) and from then on ran through his entire oeuvre. All of his works are imbued with the core artistic idea of constant change and constant transformation. The recurring use of torso-like figures, based on a formerly inspirational input during the creative handling of squeezed tubes of paint, demonstrates Brodwolf's highly empathetic approach, as he recognized in their formations a certain degree of abstraction of the human body. The cosmos of unlimited form-creative possibilities opened up by this novel approach soon led to further cycles of works.

In the course of the 1960s, he first discovered new materials and enriched his "tube figures" with collected found objects, which he often embedded in stage-like contexts or developed into communicating figure scenes. At the same time, he executed his sculptural formations in increasing dimensions through the use of the relatively soft metals pewter and thinly rolled lead sheet. Brodwolf's unbroken love of experimentation throughout his life encouraged him to form his figures with paper and papier-mâché as well, before he began to use textile fabric, which was still little used in sculpture at the time, in favor of an increase in material expression at the beginning of the 1970s. Initially, he uses old canvases to cut out his figures using the silhouette method, which he then arranges on sometimes unconventional picture supports. The resulting relief paintings express the fragile character of these linen silhouettes. The need for protection of all living things is articulated in a memorable way through the material, in the sense of an envelope that provides security. By beginning to make his figures from cardboard templates, then wrapping them in gauze and molding them while they are still softened, he continually approaches fully sculptural solutions. The flowing structures and haptic radiance, as well as the tactile presence of his wrapped figures, have become individual recognizable features of Brodwolf's sculptural formal language.
 
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