Eremit

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Günther Haese
Eremit
1966

About the Item

The clockwork can serve as a prototype for the formative qualities of Haese’s sculptures: it gains its energy and thus enables its continuation through movement—of the wrist or a pendulum, for example—and requires an external impulse. The disturbance triggered by this comes to a standstill in the starting position of the mechanism when no further impulse occurs. Haese’s sculptures obey a similar system of rules, based on a perfect balancing, on a parallel or antagonistic sequence of movements of the individual parts, whose goal is always to return to rest. This is precisely the difference to a clockwork or so-called kinetic artworks. They are not machines but a kind of organism whose highest maxim is self-preservation in the cycle of forces and forms. The external forms can take on an organic appearance and recall plant cell structures. In both cases—whether emphatically geometric or the irregular organic formal structure—Haese makes use of the seriality of the elements. Overall, the result is objects with an aesthetic of purposelessness. Yet the fineness of the structure, the static delicateness that they exude, is in perfect balance, so that the result is a stability that is very close to fragility. This is precisely what interests Haese about the constructive side of his sculptures: the discovery and making visible of this maximum point of delicateness, which is simultaneously the minimal point of the stable. Some of the titles with terms such as “Principe” and “Sinus” refer to theorems of cybernetics. According to Haese,his titles are “descriptive associations” and “refer to the atmosphere that flows in the mind while working”. But it is an interesting parallel to some of the intellectual and scientific schools of thought from the time when Haese created his sculptures, which dealt intensively with the theory and controllability of order and chaos (and continue to do so today). Haese’s artistic contribution lies in giving this idea an aesthetic form—and not only that: his objects exude a poetry and purposelessness that lend them an enigmatic quality that elevates them far beyond the temporally bound nature of the referenced ideas. This is a nice addition to the term “spatial graphics,” which Haese himself coined. Moreover, the poetic element in his objects could perhaps make them a kind of “dream machines.”

Creator:
Günther Haese (German)
Creation Year:
1966
Dimensions:
Height: 20.87 in (53 cm)Width: 16.15 in (41 cm)Depth: 2.96 in (7.5 cm)
Medium:
Brass,Steel
Period:
1960-1969
Condition:
Gallery Location:
München, DE
Reference Number:
1stDibs: LU1867210004202