Hank Schmidt in der Beek
In his extensive series of paintings, collages and poems, he quotes well-known motifs from modern art history, combines them freely and creates completely new connections. His bold approach to the works results in lightness, wit and a release from the burden of meaning.
Hank's artistic work has always been accompanied by sometimes thicker, sometimes thinner and mostly self-produced publications:
http://hankschmidtinderbeek.de/publications/
Solo exhibitions (selection):
2024
Große Happen in der 2. und 4. Dimension im Riesenhappen in der 3. Dimension, Fächer, Berlin
2023
Guten Aaabend! – Der Mainzelmännchen-Effekt bei Hannah Höch und Victor Vaserely, Gabriele Senn Galerie, Wien
2022
Wir sind alle sehr froh wenn die Schlümpfephase endet, Hank Schmidt in der Beek, Kanister, Hamburg
2021
Die Fürst Pückler-Bluse – Kunstverein Braunschweig
Die Enzyklopädie der Großen Geister – Valentin-Karlstadt-Musäum, München
2020
Große Happen in der 2. und 4. Dimension – Galerie Christine Mayer, München
2019
Unterm Otterfell – Bernsteinzimmer, Nürnberg
2017
Die Brennenden Giraffen – Kunstverein Augsburg
2016
Weißblaue Geschichten – Galerie Niklas Schechinger, Berlin
2015
Zungguzungguguzungguzeng – Galerie Christine Mayer, München
Neue Gebirgs, – Steinbruch- und Rindviechbilder – Kunsthaus Jesteburg
2014
Ein Akt, eine Treppe hinaufzumsteigen – Valentin-Karlstadt-Musäum, München
2013
Die Mannschaft braucht Dich, Yves Klein – Galerie Gabriele Senn, Wien
2010
Ein Akt, eine Treppe hinabzumsteigen – Kunstverein Hamburg
As he did for his last Edition Taube book (the red-checked painting classic „Und im Sommer tu ich malen“) this time Hank Schmidt in der Beek has put on again his most beautiful sweaters to paint. This time it is his Fürst Pückler sweater and he paints not outdoors, but indoors in his studio, where he pursued the following thought: Let’s assume that one would also put a beautiful strawberry-vanilla-chocolate Fürst-Pückler-Art blouse over Kazimir Malevich’s Black Square on a White Background. How would this small intervention at the much-invoked “zero point of art”, the nucleus between everything that has happened in the history of painting on this side and everything that has happened and will happen beyond it, affect the rest of art history? Hard to say. One has to try it out!
Hank has made a beginning in the closest environment of the “Black Square”—there in the eastern upper corner in 1915 where the constructi-vist painting set the main sails on its journey into the non-objective world: in the Malevich Room of the last Futurist exhibition of the Painting “0.10” in the Chudoschestwennoje bjuro in Petrograd.
Out of print in the 1st and 2nd editions / will be published in an expanded new edition this year.
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300 poems
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