H A N S B E N D A
german, born 1960 in Berlin
lives and works in
Misaki Machi, Chiba Prefecture, Japan
Director of the independent exhibition space
Foto: Gerhard Cullmann
Genraart, Kanazawa, Japan
16,1 x 28,6 cm
"For The Grand Spiritual Rabbit"
Chrom VI Idar-Oberstein
works from the pandemy years
As a late follower of an infinite number of good painters over the centuries (however they have been praised or ignored or forgotten by art history fiction, they have been there !) I know anything has been done an expressed in painting. But beauty is still the same, pain is still the same.
Painting was never meant for really solving a problem.
If something feels tired and worn, just turn it upside down, name it in a different way and go on. Just do it again and something different you could not imagine will appear.
All the important serious artists seem to work in social media, in installation, even in genetic engineering. The artificial intelligence is breaking through in art with the sweet smile of bunnies glowing green in the dark.
We - the 'cultivated people' - agree and accept the algorithm as self-evident.
Probably exactly like 15th century christian 'cultivated people' felt about God. Given order feels so natural to us.
The disatrous loss of bio-diversity, the increasing reports of worldwide natural disasters are raging around the shelter of my studio. I don't sleep so well. I am a morning painter and I don't switch on the radio before noon.
Sometimes I think that painting is not relevant anymore. Probably art in general will not be relevant by any means in a very close future.
It's not that I don't care... but I trail away in a painting problem and suddenly I remember a Felix Valloton painting. This time it's me smiling and I think: "Felix, I know exactly what you felt 100 years ago." It feels like brotherhood.
Then suddenly I have a demon I did not actually call standing close to me asking: "Is this appropriate ..?!"
Painting in contemporary circumstances feels like non-stop leaning slightly against a closing door to keep it open.
Sometimes suddenly I am happy - even still very private the situation has an unexpected quality of subversion. Sometimes painting feels so superbly 'analog'.
Still now sometimes I am free and playful like a kitten chasing crumbled paper balls, and my spirit is still that of a young predator.
Well, a domesticated on - kick me or feed me...!
I can speak so trivial about my painting because my painting is trivial.
My subjects are banal and very well known.
O JUN told me the japanese term is 'sappukei' - 'sunday painting', and I think we share the same very positive appreciation of this word.
Hans Benda 2019, for the exhibition catalog of
"Can't be what it looks like - So mieru kedo arienaiyo ne" O JUN & Hans Benda, Galeria Finarte, Nagoya, Japan
oil / canvas
105 x 120 cm
oil / linnen
90 x 110 cm
Aktion des Kulturamtes Idar-Oberstein, die mit Werken einiger lokaler Künstler die Ankündigungsflächen des Theaters plakatierte.
Talking To The Nurse
oil / linnen
115 x 130 cm
"Regards To The Giant Rabbit"
Chrom VI Karlsruhe
A Collection of works on paper is available in the museumshop of
"Städtische Galerie Karlsruhe"