2017

Triest oder die Götter

Privatsammlung des Künstlers

This was a work in progress, starting in 2017. Inspired by a summer trip to Trieste, observing the bathers next to a stretch of road connecting the city to the castle of Miramare, I felt that the bathers were taking up postures reminiscent of antiquity. I was struck by their body language and an unconscious association with the Golden Age.

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2015

Weibliche Gesten

Privatsammlung des Künstlers

This series "Female Gestures" was inspired by by immediate observation of communicative gestures. The printing blocks were carved on both sides to suggest plasticity in the printing process.

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2012

Potsdamer-Straße

Kupferstichkabinett, Staatliche Museen zu Berlin

“Things have to become so familiar to me that they become insigni cant. It is only then that I can work with them.” This also applies to the view from his studio, an old factory façade. Countless circular grooves let an image emerge from the wooden surface. Or as Mansen puts it,

“I don’t cut lines, I cut light.”

(Henni …

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2006

Berlin-Tiergarten

Böhringer Ingelheim

"Spring appears to the beholder in the form of a beech wood in bright green and yellow, which (...) signal the new life in nature like a clarion call." (Eckhart Gillen, from: Matthias Mansen - Land und See, catalogue Mannheim/Hamburg/Chemnitz 2007)

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2005

Birken

Hamburger Kunsthalle,Kupferstichkabinett

"In the series 'Birken', 2005, (...) Mansen takes up the idea of continual cutting. (...) In 'Birken', the trees trees remain where they are, but the spectator is moving towards them. (...) Basically, Mansen is exploring the degree to which a combination of white line cutting and black line cutting can be combined to achieve new effets. The …

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2001

Segelreise

Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden

The experience of crossing the Atlantic in a yacht in 1997 initially led to a series of small woodcuts in the shape of an imaginary sketch book after the trip. It was an attempt to capture the ephemeral observations in the medium of the woodcut: spray, clouds, rain, water swirling, waves. Over a period of four years, larger and smaller works …

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1999

Badende

Privatsammlung des Künstlers

Step by step, I got closer to the subject of the 'Badende'. In this parallel situation - the currently running exhibition, the observation of Munch's work, his solutions for the situation of the 'Badenden' and the bathers themselves, as I saw them every day, in this field of tension, the work was created.

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1994

Gehen

Cabinet d'arts graphiques, Genf

"Mansen does not use the medium of the woodcut as a reproductive tool. On the contrary: Prints like 'Gehen' de facto illustrate the path towards the picture as a unique progression of impressions." Angelika Stepken in BERLIN, in; catalogue of the eponymous exhibition at Galleri F 15 , Moss, Norway, 1996

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1992

Das Haus

Kupferstichkabinett, Staatliche Museen zu Berlin

"The primary needs of life are not played out against the secondary, but put on par. Art and life are understood as two elements of the same stream of life. The play with forms and things of this trivial, commonplace world thus abandons non-commitment and gains importance as an aesthetic phenomenon." (Ferdinand Ullrich, aus: Matthias Mansen, …

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2003

Studio

Ashmolean Museum, Oxford

"Mansen depicts the artist creating an image of his double, the viewer, observed by the third figure which embodies both simultaneously as three-dimensional presence and two-dimensional abstraction." Dorothea Dietrich, in Matthias Mansen Editionen, Folkwang Museum Essen 2001.

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1990

Badezimmer

Privatsammlung des Künstlers

"'Badezimmer, Daily Duties' offers an apparently complete inventory of the typical activities that take place in that part of the house (washing, shaving, urinating, etc.). These kinds of categorized observations insist on clearly defined boundaries, and in their evocations of order and control proclaim the belief that inventories can …

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1988

Mann, aufstehend von einem Stuhl

Museum of Modern Art, New York

"I find myself responding more to visual experiences of everyday life. In London, when I was working on the first prints of movements, I saw a dancer whose name was Gaby Agis, and I was very taken by her way of dancing, or what I saw in it. I saw her define everyday movement - a gesture of the hand, trying to get up from the floor, dance, …

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1988

Paris

National Gallery of Art, Washington

The series ' Ile St Louis/Ile de la Cité ' was created in Paris and comprises circa 80 works, successively exploring city space, beginning with the Cité des Arts studio in the Marais. Further examples are in the Kunsthalle Recklinghausen.

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1987

Studio, Kopf und Füße

National Gallery of Art, Washington

Selection of nine works from the series

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1987

Frau im Männerwald

Privatsammlung des Künstlers

"In 'Frau im Männerwald' (Woman in the men's forest), 1987, boards are formed and transformed through recutting from trees into people and then back into trees. As each mobile part can be printed in different colours, turned upside-down, or printed in reverse, the possible permutations are staggering." Dorothea Dietrich, in: Matthias Mansen. …

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1985

Köpfe

Privatsammlung des Künstlers

"The black and white heads are not the actual subject of these woodcuts but only the grounds for a violent examination of the brittle and yet hard wooden material. (...) He is more concerned with exploration than presentation." Andreas Franzke, in: Matthias Mansen. Holzschnitte, Reutlingen 1988.

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1985

Stehender

Städtisches Kunstmuseum Spendhaus, Reutlingen

"In the 'Stehende' (Standing Figures) (1985), a cutout figure of a person is the result of a power of imagination bordering on hallucination. The wide figure (...) conjures the vision of a rudimentary human in a dark landscape out of Genesis" (Annie Bardon, in: Print Quarterly Vol. XVII, No. 5, November-December 1986)

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1985

Essen

Städel Museum, Frankfurt am Main

"In the first Essen prints one is initially disconcerted by the ever-changing perspective in which the objects are presented. (...) Mansen succeeded in evoking a whole host of forms by using the same plate over and over again with new colourings and by layered printing (Annie Bardon, Matthias Mansen's Inventories, in: Matthias Mansen, …

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1983

Zimmer

Privatsammlung des Künstlers

One of the artist's first woodcuts, made in Karlsruhe while at the academy. "I reacted against that and took up a medium that didn't allow everything, that had a strong, recalcitrant character of its own, where one has to create well-defined structures and strokes, especially when one tries to depict simple everyday subjects, as I do." …

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