Image 1 of Hans-Jürgen Breuste - Sacral Symbol - Brutalist wandsculptuur

Hans-Jürgen Breuste - Sacral Symbol - Brutalist wandsculptuur

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Den Haag, Netherlands
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Brutalist wall sculpture "Sakralis Symbol" Period 1963. Dimensions: 146x81x11cm. Signed and dated on the back. Weight is 37kg. Signs of age in the form of wear and bald spots (see photos) Breuste has made many great monuments in Germany, among others. a large Verladerampe monument at the entrance of camp Bergen Belsen. Some of his photos of monuments are attached. Hans-Jürgen Breuste trained as a bricklayer in 1949 and initially worked in this profession. From 1956 he started to work artistically. During his "Wood and Iron Age" in Hanover-Linden, the acquaintance with Jorge La Guardia from 1970 had a mutual influence on each other. Breuste was taught from 1976 to 1978 at the University of Fine Arts in Münster and in 1980 at the Hanover University of Applied Sciences. In 1991 he taught together with Almut Breuste at the International Summer Academy of Fine Arts in Salzburg. Breuste lived and worked in Hanover. Bogside '69 (1981). Hanover In the early 1960s, figurative works were made for the first time, including bronze. Breuste later became known for his work on the everyday being thrown away, thrown away, the seemingly worthless. He let it speak in assemblages. The origin and history of each piece became part of the artwork's message. In this way Breuste created places against oblivion. “He compensates for the disintegration of the worldly by the opposition of the mind, which allows no end, nothing. But he leaves things with the sadness of decay.” (Professor Otto Mauer, Vienna Breus' work often has a political or socially critical message. Breuste's works seem to be a constant confrontation with haunting thoughts about violence, threats, aggression and imprisonment. Grids, cages, enclosures, chains and ropes, or chains with balls, resembling instruments of torture, repeatedly indicate captivity, oppression, gestures of protection. This is particularly illustrated by the two works Bogside 69 (1981) and Overkill 1982 - The Forces of Stones and the Forces That Make Stones Crack (1982). The first, drawn up on the occasion of Amnesty International's 20th anniversary, commemorates the civil rights violations against Catholic nationalists in the Northern Ireland conflict that escalated in 1969. The other, an assembly of weapon parts and a boulder, he placed in 1982 - at a time of global nuclear armament - on the street of sculptures, St. Wendel , which belongs to the street of peace . Breuste chose the time Ronald Reagan visited Bonn as the time of the list. "Resignation makes you unwilling. Breuste's goal is to protect the people who stand in front of his work. He provokes to wake up. He is less bothered by the well-founded opposing opinion than by the dull passivity and inactive indifference that he repeatedly shows. encountered during the preparation of his exhibitions. Many of his works are reminiscent of the terror and murder during the National Socialist dictatorship. Monument ramp Bergen-Belsen For example, the Bergen-Belsen ramp monument (together with Almut Breuste) is located at the railway loading bridge where the freight trains of the Reichsbahn with POWs and concentration camp prisoners for the Bergen-Belsen concentration camp arrived. From here they had to march to the camp 6 km away (or were transported to Auschwitz or Theresienstadt). The 90-ton giant behemoth pulls in to get closer. The funnel shape evokes associations with the finality of a forge. By exposing the viewer to the hardness and rawness of the rusting, springing steel, the oppressive monument makes his knowledge of the violence and mercilessness towards the violated people tangible. Rosebusch legacy One of Breuste's most important works is the RosebuschVerlassenschaften project, on which he has been working together with his wife Almut Breuste since 1997. [11] [12] In the turbine hall of the former PreussenElektra station in Hanover-Ahlem, they brought together countless objects, many of which came from the Contiwerk Limmer Hannover. Given the spread out objects - discarded iron, rubber, wood or textiles - the viewer recognizes their story or projects it into it. The heart of the space installation is the Litzmannstadt property, which is owned by the state of Lower Saxony. During World War II, the National Socialists renamed the city of Łódź in Poland “Litzmannstadt”. Established there in 1940, the Litzmannstadt Ghetto was the starting point for the destruction of the second largest Jewish community in Poland and far beyond. On the site of Litzmannstadt, the Breustees are bringing together more than 2,500 hospital stretchers in rows of meters long, opposite photos of forced labourers, letters and lists of names of deportees. What has been collected and preserved is condensed into a place that creates a world of thought that, in the plasticity and presence of the memory made possible, goes far beyond the specific location and function of the objects. “If the memory, and indeed each of these beds, screws, straps, mats, ropes, buckles, metal plates, grids, plates, shoes, etc., may have its own destiny, then the longing for the past and the impermanence is not the artistic one Topic, but rather the elimination of transience through new assignments, surprising compilations and serial extensions."

ConditionGoodColorsBrown, RedMaterialWoodNumber of items1StyleAbstractSubjectAbstractOrientationLandscapeHeight81 cmWidth146 cmDepth11 cmSigns of usageStains, Scratches, Discoloring

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