Jahn und Jahn Baaderstraße 56 B und C 80469 München
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JahnundJahn
Baader
staße56BundC
r
80469München
Ar
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Di
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8.1
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Gallery Cube
In einer Zeit, in der physische Begegnungen kaum stattfinden können, Netzwerke erweitert werden
müssen und Kollaboration als auch Wettbewerb zusammengehören, möchte die Galerie Jahn und
Jahn ein innovatives, digitales Konzept umsetzen. Dieses soll in Zusammenarbeit mit weiteren
Galerien den Zugang zu einer breiteren Öffentlichkeit ermöglichen und den Bekanntheitsgrad aller
beteiligten Galerien vergrößern.
Das Konzept der Galerie Jahn und Jahn basiert auf einem digitalen Würfel (Cube): Darin kommen
sowohl die Eigenschaften eines sechsseitigen Würfels als auch dessen virtuelle Handhabe
(Wischvorgang, um den Würfel zu drehen) zum Tragen. Grundsätzlich ist geplant, jeweils sechs
Galerien aus dem Bereich Kunsthandel und Programmgalerie in regelmäßigen Abständen
einzuladen, um einem gemeinsamen Publikum ausgewählte Arbeiten zu präsentieren.
Pro Galerie soll ein Kunstwerk bzw. eine Werkgruppe in einem Würfel gezeigt werden. Die Auswahl
der Arbeiten ist jeder Galerie selbst überlassen. Neben dem Werk an sich soll ein besonderer Fokus
auf den Hintergrundinformationen, wie Pressemitteilung, Texte über die Werke, Lebensläufe der
Künstler*innen, liegen. So soll das Werk in vollem Umfang beleuchtet werden können. Die sechs
Seiten des Würfels bieten umfangreiche Darstellungsflächen und stellen darüber hinaus einen Bezug
zu einem Ausstellungsraum dar. Insgesamt können alle Partner*innen gleichwertig abgebildet
werden.
Das Konzept beruht auf der Idee, dass die virtuelle Präsentation von Kunst dann einen Mehrwert
bedeutet, wenn nicht nur versucht wird, den Realraum zu imitieren, sondern auch ein verdichtetes
und umfangreiches Spektrum an Informationen zu den jeweiligen künstlerischen Arbeiten und
Galer
ieJahnundJahnGmbH Baader staße56C 80469München
r
www.jahnundj
ahn.com i nfo@jahnundjahn.
com T+49( 0)894141
8280 F+49( 0)89414182888
USt-I
dNr.DE311270360 St Nr.
143/ 1
39/31243 BICDEUTDEMMXXX I BANDE097007001 00017852500
Geschäft
sführ
er:FredJahn,
MatthiasJahn,Tim Gei
ssl
er Si
tzder
Gesel
l
schaft
:München Regi
ster
geri
chtMünchenHRB232057
Sei
te2/3
Positionen bereitgestellt wird.
Zur Teilnahme an einer Ausstellung werden von Jahn und Jahn Galerien eingeladen, die über einen
Link den Zugang zur Gestaltung der Webseite erhalten. Mit dem personalisierten Zugang kann jede
Galerie im CMS Abbildungen, Werkdaten sowie Hintergrundinformationen hochladen. Die Inhalte
sollen alle hochwertig aufbereitet sein. Fotos der Arbeiten, Installationsansichten, eventuell 3D-
Renderings, Werkangaben, Preise, Texte zu Werk und Künstler*innen sind vorgesehen. Die
Webseite wird auf Englisch angezeigt, um ein internationales Publikum zu bedienen. Schließlich
erfolgt zeitgleich ein Mailversand aller Galerien. So kann ein erweitertes und internationales Publikum
erreicht werden. Die digitale Ausstellung kann zudem gut von allen teilnehmenden Galerien auf ihren
Social-Media-Kanälen wie Instagram und Facebook beworben werden. Die Teilnahme ist für die
partizipierenden Galerien gratis. Konkrete Anfragen der Nutzer*innen werden direkt an die jeweiligen
Galerien weitergeleitet. Die mit den Werken verknüpften Kontaktdaten können zu diesem Zweck
angeklickt werden. Der Cube wird auch als mobile App für Handy und Tablet verfügbar sein, wo mit
Hilfe der Wischfunktion das Prinzip des Würfels besser erfahrbar wird.
Folgende Angaben sind vorgesehen:
- Abbildungen des Werks, der Werkgruppe
- Ausstellungsansichten, Einblicke ins Atelier
- Portraitfotos der Künstler*innen
- Lebensläufe der Künstler*innen
- Pressemitteilungen und Texte über das Werk
- Publikationen
Die Konzept der Galerie Jahn und Jahn ist technisch leicht umsetzbar, kostengünstig in der
Durchführung, verkaufsfördernd, kollaborativ, vertraut auf die Vervielfältigung der bestehenden
Netzwerke und vertritt die profunde Arbeitsweise der Galerie.
Anbei finden Sie den graphischen Entwurf, der am Beispiel von Heinz Butz visualisiert, wie der Cube
aussehen soll.
Galer
ieJahnundJahnGmbH Baader staße56C 80469München
r
www.jahnundj
ahn.com i nfo@jahnundjahn.
com T+49( 0)
8941 41
8280 F+49( 0)89414182888
USt-I
dNr.DE311270360 St Nr.
143/ 1
39/31243 BICDEUTDEMMXXX I BANDE097007001 00017852500
Geschäft
sführ
er:FredJahn,
MatthiasJahn Sitzder
Gesel
l
schaf
t:München Regi
sterger
ichtMünchenHRB232057
Sei
te3/3
Kostenvoranschlag:
Programmierung ca. 5.000 €
Grafik /Gestaltung ca. 5.000 €
3D-Animation ca. 3.000 €
App für mobile Anwendung ca. 1.000 €
Domain / Online Werbung ca. 1.000 €
Inhaber der Webseite: Galerie Jahn und Jahn GmbH
Programmierung / Grafik / Copyright: JMMP Julian Mader Max Prediger GbR
Galer
ieJahnundJahnGmbH Baader str
aße56C 80469München
www.jahnundj
ahn.com i nfo@jahnundjahn.
com T+49( 0)
8941 41
8280 F+49( 0)89414182888
USt-I
dNr.DE311270360 St Nr.
143/ 1
39/31243 BICDEUTDEMMXXX I BANDE097007001 00017852500
Geschäft
sführ
er:FredJahn,
MatthiasJahn Sitzder
Gesel
l
schaf
t:München Regi
sterger
ichtMünchenHRB232057
Transition
on-display.net
on-display.net
Transition
on-display.net
on-display.net
Heinz Butz ◄ Heinz Butz
◄
When the first exhibition took place at Galerie Fred
Jahn in 1984, Heinz Butz was no longer a young artist.
Born in 1925 in Dillingen on the Danube, he had already
taught at the Academy of Visual Arts in Munich since
1967 at the time of the show, and had quietly created a
comprehensive oeuvre in his studio. He never sought
public recognition or used any strategies of self-
promotion.
The start of Heinz Butz’s unique artistic career is
based on his reaction to the profound experiences he
endured as a young man during he war. Afterwards he
was haunted by a deep need for beauty, the “beauty of
things”, to be in touch with nature, and was determined to
become an artist. In 1947, he joined the Naturforschende
Gesellschaft (Association of Natural Science) in
Augsburg, which dealt with the sociology and systems
of plants. He subsequently attended the art school in
Augsburg, and from 1950, the Academy of Fine Arts in
Munich. As a result, his interest in drawing from nature
expanded to include life drawing, building the double
foundation on which his work is essentially based. In
Scroll down
on-display.net
on-display.net
Heinz Butz ◄ Heinz Butz
When the first exhibition took place at Galerie Fred
Jahn in 1984, Heinz Butz was no longer a young artist.
Born in 1925 in Dillingen on the Danube, he had already
taught at the Academy of Visual Arts in Munich since
1967 at the time of the show, and had quietly created a
comprehensive oeuvre in his studio. He never sought
public recognition or used any strategies of self-
promotion.
◄ The start of Heinz Butz’s unique artistic career is
When the first exhibition took place at Galerie Fred Jahn in 1984, Heinz Butz was no longer a young based on his reaction to the profound experiences he
endured as a young man during he war. Afterwards he
artist. Born in 1925 in Dillingen on the Danube, he had already taught at the Academy of Visual Arts
was haunted by a deep need for beauty, the “beauty of
in Munich since 1967 at the time of the show, and had quietly created a comprehensive oeuvre in his
things”, to be in touch with nature, and was determined to
studio. He never sought public recognition or used any strategies of self-promotion. become an artist. In 1947, he joined the Naturforschende
The start of Heinz Butz’s unique artistic career is based on his reaction to the profound Gesellschaft (Association of Natural Science) in
experiences he endured as a young man during he war. Afterwards he was haunted by a deep need Augsburg, which dealt with the sociology and systems
for beauty, the “beauty of things”, to be in touch with nature, and was determined to become an artist. of plants. He subsequently attended the art school in
In 1947, he joined the Naturforschende Gesellschaft (Association of Natural Science) in Augsburg, Augsburg, and from 1950, the Academy of Fine Arts in
which dealt with the sociology and systems of plants. He subsequently attended the art school in Munich. As a result, his interest in drawing from nature
Augsburg, and from 1950, the Academy of Fine Arts in Munich. As a result, his interest in drawing expanded to include life drawing, building the double
from nature expanded to include life drawing, building the double foundation on which his work is foundation on which his work is essentially based. In
1983, he became a professor at the academy in Munich,
essentially based. In 1983, he became a professor at the academy in Munich, and in 1995, he became
and in 1995, he became a member of the Bavarian
a member of the Bavarian Academy of Fine Arts. He lives and works in Munich. Academy of Fine Arts. He lives and works in Munich.
In an interview, Heinz Butz explained that he saw his journey as part of the understanding of In an interview, Heinz Butz explained that he saw
his own being and had been guided by an insight from Aristotle’s metaphysics not to look beyond his journey as part of the understanding of his own
a particular phenomenon, since the phenomenon itself is the lesson. Moreover, he quoted Thomas being and had been guided by an insight from
Aquinas who posited that real and truthful order lies in things, and that the order of knowledge is Aristotle’s metaphysics not to look beyond a particular
derived from them. [1] “Mimicry, perception, and utilisation” form a harmony for Heinz Butz, which he phenomenon, since the phenomenon itself is the lesson.
traces in all his work. He refers to philosophical and theological texts often, and makes it clear that he Moreover, he quoted Thomas Aquinas who posited that
positions his role as an artist within this “ordering process”.
Scroll down
on-display.net
on-display.net
Heinz Butz ◄ Heinz Butz
When the first exhibition took place at Galerie Fred
Jahn in 1984, Heinz Butz was no longer a young artist.
Born in 1925 in Dillingen on the Danube, he had already
taught at the Academy of Visual Arts in Munich since
When the first exhibition took place at Galerie Fred Jahn in 1984, Heinz Butz was no longer a young When the1967 atexhibition
first the time of the show, and had quietly created a
artist. Born in 1925 in Dillingen on the Danube, he had already taught at the Academy of Visual Arts was nocomprehensive
longer a yo oeuvre in his studio. He never sought
in Munich since 1967 at the time of the show, and had quietly created a comprehensive oeuvre in his had already
public taught
recognition or used any strategies of self-
the time of the sho
promotion.
studio. He never sought public recognition or used any strategies of self-promotion. studio. He never s
The start of Heinz Butz’s unique artistic career is based on his reaction to the profound The start of Heinz Butz’s unique artistic career is
promotion.
based on his reaction to the profound experiences he
experiences he endured as a young man during he war. Afterwards he was haunted by a deep need The start of Heinz Butz’
enduredex
to the profound as a young man during he war. Afterwards he
for beauty, the “beauty of things”, to be in touch with nature, and was determined to become an artist.
◄ In 1947, he joined the Naturforschende Gesellschaft (Association of Natural Science) in Augsburg,
was he
Afterwards
things”,things”,
haunted
to be in to
was by a deep need for beauty, the “beauty of
toube in touch with nature, and was determined to
which dealt with the sociology and systems of plants. He subsequently attended the art school in In 1947,become
he joinedan theartist.
Na In 1947, he joined the Naturforschende
Augsburg, and from 1950, the Academy of Fine Arts in Munich. As a result, his interest in drawing Science) in Augsb (Association of Natural Science) in
Gesellschaft
from nature expanded to include life drawing, building the double foundation on which his work is He subsequently
Augsburg,a which dealt with the sociology and systems
Academy of Fine A
essentially based. In 1983, he became a professor at the academy in Munich, and in 1995, he became of plants. He subsequently attended the art school in
nature expanded t
a member of the Bavarian Academy of Fine Arts. He lives and works in Munich. Augsburg, and from 1950, the Academy of Fine Arts in
on which his work
In an interview, Heinz Butz explained that he saw his journey as part of the understanding of Munich.
the academy As a result, his interest in drawing from nature
in Mu
Academy expanded
of Fine Ato include life drawing, building the double
his own being and had been guided by an insight from Aristotle’s metaphysics not to look beyond
foundation
In an interview, He on which his work is essentially based. In
a particular phenomenon, since the phenomenon itself is the lesson. Moreover, he quoted Thomas
1983, heofbecame
understanding h a professor at the academy in Munich,
Aquinas who posited that real and truthful order lies in things, and that the order of knowledge is Aristotle’s
andmetaph
in 1995, he became a member of the Bavarian
derived from them. [1] “Mimicry, perception, and utilisation” form a harmony for Heinz Butz, which he the phenomenon
Academy iof Fine Arts. He lives and works in Munich.
traces in all his work. He refers to philosophical and theological texts often, and makes it clear that he who posited that r
In an interview, Heinz Butz explained that he saw
knowledge is deriv
positions his role as an artist within this “ordering process”. his journey as part of the understanding of his own
form a harmony fo
Through the constant, detailed observation of plants and bodies Heinz Butz garnered extensive being and had been guided by an insight from
philosophical and
visual experience. The line materialized as a pictorial method that defined his work. Initially still tied his roleAristotle’s
as an artis metaphysics not to look beyond a particular
to the object, by the beginning of the sixties, he had moved away from copying nature, and his work phenomenon, since the phenomenon itself is the
became non-representational. Within this process, he removed the line from its familiar environment, lesson. Moreover, he quoted Thomas Aquinas who
posited that real and truthful order lies in things, and
set it free, and allowed an autonomous form to emerge. Like Kandinsky, he added dots, surfaces,
that the order of knowledge is derived from them. [1]
bodies, and movements and developed a vocabulary of forms with which he could – in the same way
“Mimicry, perception, and utilisation” form a harmony
as a musical composition – express and represent everything. for Heinz Butz, which he traces in all his work. He refers
In the sixties, Heinz Butz produced not only drawings but also objects, the latter of which
Scroll down
Through the constant, detailed observation of plants and bodies Heinz Butz garnered extensive
visual experience. The line materialized as a pictorial method that defined his work. Initially still tied significance changed with a large-scale presentation
to the object, by the beginning of the sixties, he had moved away from copying nature, and his work of his work in the Städtische Galerie im Lenbachhaus
became non-representational. Within this process, he removed the line from its familiar environment, in 2015. The objects, which are shown alongside early
set it free, and allowed an autonomous form to emerge. Like Kandinsky, he added dots, surfaces, canvases in the current exhibition at Galerie Jahn und
bodies, and movements and developed a vocabulary of forms with which he could – in the same way Jahn, are characterized by a meditative sense of calm.
on-display.net
as a musical composition – express and represent everything. Underlying each of these pieces is a radical reduction
on-display.net
In the sixties, Heinz Butz produced not only drawings but also objects, the latter of which of the composition to elementary phenomena of
perception. In his objects, as in his drawings, Heinz Butz
received almost no recognition at that time. However, their art historical significance changed with a
large-scale presentation of his work in the Städtische Galerie im Lenbachhaus in 2015. The objects, ◄
works with qualitative categories of universal perception,
Heinz Butz
such as up/down, right/left, straight/bent, stretched/
which are shown alongside early canvases in the current exhibition at Galerie Jahn und Jahn, are contracted, dot/line, surface/space. Starting from a
characterized by a meditative sense of calm. Underlying each of these pieces is a radical reduction specific problem, he usually works on a small scale with
of the composition to elementary phenomena of perception. In his objects, as in his drawings, simple materials and geometric-concrete forms, creating
Heinz Butz works with qualitative categories of universal perception, such as up/down, right/left, perfect proportions and compositional harmony through
straight/bent, stretched/contracted, dot/line, surface/space. Starting from a specific problem, precise artistic interventions. Their coloring, sometimes
he usually works on a small scale with simple materials and geometric-concrete forms, creating muted, sometimes powerful, is closely attuned to their
perfect proportions and compositional harmony through precise artistic interventions. Their coloring, subject matter. They are confusing objects, to some
extent ambiguous and erotic, with a fetishistic aura
sometimes muted, sometimes powerful, is closely attuned to their subject matter. They are confusing
that produces a remarkably strong sensuality. In their
objects, to some extent ambiguous and erotic, with a fetishistic aura that produces a remarkably
simplicity and silence they nevertheless withdraw
strong sensuality. In their simplicity and silence they nevertheless withdraw from everyday life and from everyday life and assert themselves as pure
assert themselves as pure phenomenon. phenomenon.
◄ Text: Vorname Nachname
Text: Vorname Nachname
Untitled, 1968
Untitled, 1968
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on-display.net
on-display.net
Untitled, 1968 ◄ Heinz Butz
Untitled, 1968
◄
Hein Butz, Untitled, 1968
graph paper on chipboard laminated, polyester resin
Heinz Butz, Untitled, 1968
19 × 21.5 cm
graph paper on chipboard laminated, polyester resin, 19 × 21.5 cm
Heinz Butz is a minimalist among the shaped canvas
Heinz Butz is a minimalist among the shaped canvas artists with small-format, irregularly formed, artists with small-format, irregularly formed, wall-based
wall-based works, which he himself refers to as pictorial-objects. Ellsworth Kelly, Frank Stella and works, which he himself refers to as pictorial-objects.
Barnett Newman are considered to be pioneers of shaped canvases and, in the 1960s in New York, Ellsworth Kelly, Frank Stella and Barnett Newman are
these artists developed their large-scale, primarily monochrome canvases. Even other German considered to be pioneers of shaped canvases and, in
artists such as Blinky Palermo or Imi Knoebel dealt with large-scale works. Heinz Butz’s works are, in the 1960s in New York, these artists developed their
contrast, intimate, intent, meditative. large-scale, primarily monochrome canvases. Even other
German artists such as Blinky Palermo or Imi Knoebel
7000,00 € incl. VAT dealt with large-scale works. Heinz Butz’s works are, in
Weitere Navigationsmöglichkeit
on-display.net
on-display.net
Hein Butz, Untitled, 1968
graph paper on chipboard laminated, polyester resin
◄ Heinz Butz
19 × 21.5 cm
Untitled, 1968
Heinz Butz is a minimalist among the shaped canvas
artists with small-format, irregularly formed, wall-based
works, which he himself refers to as pictorial-objects.
Heinz Butz, Untitled, 1968
Ellsworth Kelly, Frank Stella and Barnett Newman are
graph paper on chipboard laminated, polyester resin, 19 × 21.5 cm
considered to be pioneers of shaped canvases and, in
the 1960s in New York, these artists developed their
Heinz Butz is a minimalist among the shaped canvas artists with small-format, irregularly formed, large-scale, primarily monochrome canvases. Even other
wall-based works, which he himself refers to as pictorial-objects. Ellsworth Kelly, Frank Stella and German artists such as Blinky Palermo or Imi Knoebel
Barnett Newman are considered to be pioneers of shaped canvases and, in the 1960s in New York, dealt with large-scale works. Heinz Butz’s works are, in
these artists developed their large-scale, primarily monochrome canvases. Even other German contrast, intimate, intent, meditative.
artists such as Blinky Palermo or Imi Knoebel dealt with large-scale works. Heinz Butz’s works are, in
7000,00 € incl. VAT
◄ contrast, intimate, intent, meditative.
7000,00 € incl. VAT Jahn und Jahn
Baaderstraße 56 B und C
Jahn und Jahn 80469 München, Germany
Baaderstraße 56 B und C +49 (0)89 41418280
80469 München, Germany info@jahnundjahn.com
+49 (0)89 41418280
info@jahnundjahn.com
Fabrice Gygi
▼
Fabrice Gygi
▼Zoom in
on-display.net
Untitled, 1968
◄
Heinz Butz, Untitled, 1968
graph paper on chipboard laminated, polyester resin, 19 × 21.5 cm
Heinz Butz is a minimalist among the shaped canvas artists with small-format, irregularly formed,
wall-based works, which he himself refers to as pictorial-objects. Ellsworth Kelly, Frank Stella and
Barnett Newman are considered to be pioneers of shaped canvases and, in the 1960s in New York,
these artists developed their large-scale, primarily monochrome canvases. Even other German
artists such as Blinky Palermo or Imi Knoebel dealt with large-scale works. Heinz Butz’s works are, in
contrast, intimate, intent, meditative.
7000,00 € incl. VATZoom out
on-display.netJMMP Julian Mader Max Prediger Gbr Brandshofer Deich 45, 20539 Hamburg jmmp@jmmp.eu JM +49 177 5303432 MP +49 163 6310121
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