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    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
Saatchi Art
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Current Exhibition

Eberhard Havekost EXHIBITED AT THE SAATCHI GALLERY

Bowling 2
Eberhard Havekost
Bowling 2

2000

Oil on Canvas

200 x 200cm
Based in Dresden, Eberhard Havekost often paints the city’s modernist-style buildings as a means to reference 20th century post-war politics and failed utopian vision. Havekost explores the parallels between these systemic ideas of perfection and the modes of ideal image construction. Working from his own collection of photos and video footage, Havekost alters the original images on a computer: hues are subtly altered, forms imperceptibly stretched and skewed. These complications are then further translated through the process of painting. What Havekost presents isn’t photographic precision, but rather transient moments of abstracted perception; the intentional ‘errors’ make the image appear more natural and visually pleasing. In Bowling 2, the tower block has been altered in its perspective and lighting. The attenuate distortion transforms an instance of banality into one of harmonious beauty.
CAR PARK 4
Eberhard Havekost
CAR PARK 4

2001

Oil on Canvas

90 x 180cm
Using the devices of photographic representation, Eberhard Havekost exposes the complex processes by which images are interpreted and inter-related. In Carpark 4, the picture is cropped to extreme close up; a scene read as momentary glimpse or ‘snap shot’. Through painting, Havekost transforms this plebeian view to create a disquieting experience from the overtly familiar. Editing the image down to its most functional elements, Havekost’s painting becomes almost pure abstraction: the windscreen is a field of fluctuating depth, framed by compositional blocks of colour. By selectively emphasising and omitting an image’s qualities, Havekost’s paintings operate like memory. Their associative form becomes subliminally dismantled for intimate contemplation and rumination.
Intro 1
Eberhard Havekost
Intro 1

2001

Oil on Canvas

80 x 180cm
In Intro I, Eberhard Havekost uses the representational as a point of departure into the abstract; the subject of the airplane becomes incidental to the compositional form it creates. Elongated bands of colour stretch across Havekost’s canvas advancing and receding in tonal perspective; the shapes and patterns of the plane act as elements of geometric design. Havekost uses thin layers of paint to emphasise the painting’s contradictory flatness. Intro I possesses a feeling of weightlessness reminiscent of film projection.
Kontakt
Eberhard Havekost
Kontakt

1998

Oil on Canvas

180 x 129cm
Radiating with the promise of newness, Eberhard Havekost’s Kontakt stresses the graphic qualities of high-rise buildings and the US flag to institute a logo-ised model of America. Devoid of any humanistic detail, Havekost’s scene is reduced to a grid of flat colour. By outlining the flag with heavy black line, Havekost draws reference to Pop Art. Here consumerism and uniformity combine to generate an astringently alien effect, awesome in its power and superficiality. Predating 9/11, Kontakt contains an almost ominous forbearance, emblematic of an unblemished innocence.
Mobile 1
Eberhard Havekost
Mobile 1

2002

Oil on Canvas

140 x 200cm
Eberhard Havekost re-invents painterly supremacy. Taken from personal photos and media sources, his imagery is rendered to highlight the limits of their own mechanically reproduced distortion: speed is represented with the blurry lines of film, colours are unnatural, and grim buildings and landscapes are given a clinical rebirth. Seeing painting as a method of improving on reality, Havekost portrays his subjects with a harsh artificial light, making intimately recognisable scenes seem stiffly manufactured and strange, resonating with the newness of expertly packaged products. In Mobile 1, Eberhard Havekost paints a train carriage: attending only to its formal elements his familiar image is twice removed from reality, becoming a casual mixture of lines and squares, a pure representation of modernity and momentum.
Untitled
Eberhard Havekost
Untitled

1997

Oil on Canvas

150 x 100 cm
“Because I always see the precise photographic basis while I paint, I sense how the image forever oscillates between two levels of meaning,” Eberhard Havekost explains. “What I see while I experience, I combine with the act of looking at an image produced by the media.” Through his layered process, Eberhard Havekost is acutely aware of how a painting inherently departs from its original subject to gain its own self-referential dynamic. In Untitled, his tower block becomes almost unrecognisable from its source. Translated through the organic intervention of his brush, Untitled invents its own values of interpretation: the meditative qualities of surface, composition and gesture.

Quotes taken from ‘Interview with Florian Illies’ Intervista Con La Pittura Gianni Romano, Postmedia Books 2003.
Shelf
Eberhard Havekost
Shelf

2002

Oil on Canvas

94 x 180cm
Eberhard Havekost’s Shelf does the opposite of what a still-life should. Unlike traditional still-life painting where consumables are rendered as symbols of wealth and death, Havekost conveys these ideas through the presentation of an empty display unit. Set against a dense black backdrop, Havekost paints his shelves with the harsh dead light of department store showcases; glamour without product becomes a discomforting void. The lighting effect of the horizontal shelves carries the optical illusion of movement, as if this exhibition of nothingness is speeding past in continuum.
Zelte II
Eberhard Havekost
Zelte II

1998

Oil on Canvas

183 x 140cm
Eberhard Havekost often paints series of repetitive images to replicate the serial change of visual effect in nature. In Zelte II, Havekost captures an idyllic view of an apartment block bathed in sunshine; it’s a transitory moment, a fragile instance of sublimity in the constant movement of light. Monumentalised in scale and enhanced through intensity of colour, Havekost fixes this phenomenon in space and time. Like finding the perfect film still in 24 hours of footage, Havekost isolates the defining climax. Through capturing the instantaneous his paintings resonate with an intense anticipation, frozen on the periphery of expectant flux.

Eberhard Havekost's BIOGRAPHY

Born in 1967, Dresen, Germany
Lives and works in Dresen and Berlin, Germany



SOLO EXHIBITIONS


2011
Take Care, Roberts & Tilton, Culver City, CA
Eberhard Havekost, Kunsthalle im Lipsiusbau, BrĂŒhlsche Terrasse, Dresden
Farbenspiel, Galerie Gebr. Lehmann, Berlin

2010
Retina, Schirn Kunsthalle, Frankfurt a. M., Germany
Eberhard Havekost: Guest, White Cube: Hoxton Square, London
Anton Kern Galery, New York
Kunsthalle im Lipsiusbau, Staatliche Kunstsammlungen Dresden, Dresden, Germnay

2009
Style and Still, Anton Kern Gallery, New York
Galerie Hussenot, France

2008
Zensur 2, Galerie Gerb, Lehmann, Berlin and Dresen, Germnay
FRAC Auvergne, Clermont-Ferrand, France

2007
Zensur 2, Anton Kern Gallery, New York
Eberhard havekost:1996-2006, Paintings from the Rubell Family Collection, The Art Gallery at Florida Gulf CoastUniversity, Fort Myers, FL and Tampa Museum of Art, Tampa FL
Background, White Cube

2006
Harmony 2: Schilderijen 1997 – 2005 Stedelijk Museum CS, Amsterdam
Backstage, Galerie Gebr Lehmann, Dresden
Eberhard Havekost: 1996-2006 Paintings from the Rubell Family Collection
American University Museum, Katzen Arts Center, Washington, DC

2005
Sonnenschutz, Roberts & Tilton, Los Angeles
Hramonie-Panintings 1998-2005, Kunstmuseum, Wolfsburg, Wolfsburg

2004
Circaware, Galerie Ghislaine Hussenot, paris
Marvel, Anton kern Galllery, New York
Brandung/Surf, Galerie Gebr Lehmann, Dresen
Graphik 1999-2004, Kupferstich-Kabinett, Dresden

2003
Dynamic UND, Inside the Whit Cube, London
Beauty Walks A Razors Edge, Galerie Gebr Lehmann, Dresden
Lieu d’ Art Contemporain, Sigean
Centre ‘Art Contemporain, Cajarc
McTREK CAMP 4, Galerie Johnen+Schöttle, Köln

2002
Square, Anton Kern Gallery, New York

2001
Dimmer, Galerie Gebr Lehmann, Dresden
Driver, Museu Serralves, Porto, Portugal
Driver, (with Martin Honert), Galerie Johnen+Schöttle, Köln
JFB, Hobby Industries (with F Nitsche), Galerie Onrust, Amsterdam

2000
Premio Michetti, Museo Michetti, Francavilla al Mare, Switzerland
Mobile, Galerie Gebr Lehmann, Dresden
Pressure, Anton Kern Gallery, New York
University at Buffalo Art Gallery, Buffalo, NY

1999
Kontakt, Galerie Gebruder Lehmann, Dresden
Statements, Art Basel
Flugplatz Reinsdorf, California (with F Nitche), Kunsthalle Luckenwalde
Druck, Galerie fĂŒr Zeitgenossische Kunst Leipzig
Geiz, Luxus (with F Nitsche), Kulturwissenschaftliches Institut, Essen

1998
Offene Gegend (with Th Scheibitz), Galerie Klaus-Peter Boebel, Stuttgart
Fenster-Fenster, Kunstmuseum Luzern (curated by Ulrich Loock)
Leinwandhaus, Frankfurt/Main
Zoom, Anton Kern Gallery, New York
SeestĂŒcke 2, Kunsthandlung Höhne, Cuxhaven
Lagerraum, Frankfurt am Main
Geiz, Luxus (with FNitsche), Kulturwissenschaftliches Institut, Essen

1997
Abstecher I, Galerie Gebr Lehmann, Berlin
Frieren, Galerie Gebr Lehmann, Dresden
Förderkoje, Art Cologne, Köln

1995
WĂ€rme, with Thomas Scheibitz, Galerie Gebr Lehmann, Dresden


GROUP EXHIBITIONS


2010
Wild thing, Roberts and Tilton, Culver City, CA

2008
Family and Friends, Anton Kern Gallery, New York
The Unseen, with Gehard Richter, Kunstparterre, Munich
Von Bill Viola bis Aernaut Mik, Hamburger Bahnhof, Museum fĂŒr Gegenwart, Berlin

2007
The Painting Of Modern Life, Hayward Gallery, London
I Can Only See things when I Move, Staatliche Kunstsammlungen Dresden
Von Bill Viola bis Aernout Mik, Hamburger Bahnhof. Berlin
News on Paper, Galerie Burkhard Eikelmann, DĂŒsseldorf
Six feet Under, Deutsches Hygiene-Museum, Dresden
The Evil, Part I and part II, Galerie Gebr Lehmann, Dresen
Imagination Becomes Reality, ZKM | Museum fĂŒr Neue Kunst & Medienmuseum,
Karlsruhe, Germany
Painting Now, Kunsthal Rotterdam, Netherlands
Gesellschaftsbilder, Zeitgenössische Malerei, Kunstverein in Hamburg,
Hamburg, Germany
Very Abstract and hyper Figurative, Thomas Dane Gallery, London

2006
Constructing New Berlin, Phoenix Art Museum, Phoenix, AZ
The Other Side, Tony Shafrazi Gallery, New York
Imagens em Pintura, Museu Serralves, Porto
Sammlung Marx in Hamburger Bahnhof, Hamburger Bahnhof, Museum fĂŒr
Gegenwart, Berlin
The Triumph Of Painting, from the Saatchi Collection, Leeds City Art Gallery, Leeds

2005
Trials and Errors, Museum of Contemporaray Art, Chicacgo
New German painting, CarrĂ© d’Art – MusĂ©e d’Art Contemporain, NĂźmes
Imagination becomes Reality, part II painting Surface Space, Sammlung Goetz, Munich
The Triumph Of Painting, Part 3, the Saatchi Gallery, London

2004
ReailyREAL, Galerie gebr Lehmann, Dresen
Eye of the Needle, Roberts and Tilton, Los Angeles
Sammlung Friede Burda und Staatliche Kunsthalle, Baden-Baden
Neus Museum der Bildenden KĂŒnste, Leipzig
Direct Painting, Kunsthalle Mannheim
Treasure island, Kunstmuseum Wolfsburg
Nouvelles Collections, Centre PasquArd, Biel
Landschafts-Paraphrasen, StÀdtische Galerie Gladberck
Pixels, Stellan Holm Gallery, New York
Die Falle Wirklichkeit, Malkasten, DĂŒsseldorf
94-04, Galerie Neue Meister, Staatliche Kunstsammlungen Dresden
Happy Birthday: Werke der Sammlung, Kunstmuseum Wolfsburg
Heisskalt – Sammlung Scharpff, Staatsgalerie Stuttgart
Fehlfarben, Residenzschloss und GlÀserne Manufaktur, Dresden
Sammlung Plum, Museum Kurhaus Kleve

2003
Paintings Pictures, Kunstmuseum, Wolfsburg
Interview with Painting, Fondazione Bevilacqua La Masa, Venice
Deutschemalereizweitausenddrei, Frankfurter Kunstverein, Frankfurt/Main
In Your Face, Frahm Ltd, London
Prague Biennale 1, national Gallery, Prague
Support The Neue Galerie as a Collection, Neue Galerie Graz am Landesmuseum Joanneum, Graz
Berlin-Moskau 1950-2000, Martin-Gropius-Bau, Berlin
Special Edition, Galerie Suzanne Tarasieve, Paris
Heisskalt – Sammlung Scharpff, Hamburger Kunsthalle, Hamburg
Karl Schmidt-Rottluff Stipendium, Kunsthalle DĂŒsseldorf
Hands Up Baby Hands Up! , Oldenburger Kunstverein, Oldenburg

2002
Five Years–Rue Louise Weiss, Galerie Jennifer Flay, Paris
Die Sammlung als Labor (kuratiert von Jan Winkelmann), Galerie fĂŒr Zeitgenössische Kunst, Leipzig
Galerie Michael Neff featuring Galerie GebrLehmann, Frankfurt/Main
Sub-Urban, loop-raum fĂŒr aktuelle kunst, Berlin
Wunschbilder, Museum der bildenden KĂŒnste, Leipzig
Whisper, Galerie Aurel Scheibler, Cologne
1000 und 86, Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden

2001
I Love NY, Benefit Show, Anton kern Gallery, New York
Painting at the Edge of the World, Walker Art Centre, Minneapolis
The Way I See It, Galerie Jennifer Flay, Paris
Schock Sensor, AR/GE Galleria Museo, Bolzano
Erworben, Kunstfonds des Freistaates Sachsen, Dresder Schloss, Georgenbau
Musterkarte, Modelos de Pintura, Centro Cultural Conde Duque, Madrid
Das Gute Leben, Galerie Gebr Lehmann, Dresden
Freunde schenken Kunst, Museis Saxonicis Usui Albertinum, Dresden
Frisch Gerahmt, Bonner Kunstverein, Bonn
Dresdner Schloss, Georgenbaau
Centro Cultural Conde Duque, Madrid
Shock Sensor 2, StÀdtische Galerie Gladbeck

2000
Extra Ordinary, James Cohan Gallery, NY
Kunst
 Zurich, Switzerland
Mixing Memory and Desire, Kunstmuseum, Luzern
Der abgelenkte Blick, Helmhaus
Gut aufgelegt, Kunsthaus, Hamburg
Goldener, Der Springer, Das kalte Herz, White Cube 2, London
Urbane Situatione, Galerie in Taxispalais, Innsbruck
Europa differenti prospettive nella pittura, Museu Michetti, Francavilla al Mare Chieti
Die andauernden StÀdte, Urbane Situationen
Sausages and Frankfurters, Ophiuchus Collection, Hydra, Greece
Herbstsalon 2000, Neuer Sachsischer Kunstverein, Dresden
25 Jahre Karl Schmidt-Rottluff Stipendium, Oktogon der HFBK, Dresden
Wahre Wunder, Sammler and Sammlungen im Rheinland
Josef-Haubrich-Kunsthalle, Köln
Die KĂŒnstlerstiftung, Kusthalle DĂŒsseldorf

1999
Persuasion: Tales of Comerce and the Avant Garde, University at Buffalo Art Gallery, Buffalo, NY
Zauber* haft, Am Brauhaus 5, Dresden
Mietfrei, Galerie Gebr Lehmann, Dresden
Wege der Deutschen 1949-1999, Martin-Gropius-Bau, Berlin
In Augenhöhe, Neuer Berliner Kunstverein, Berlin
Malerei, INIT Kunst-Halle, Berlin
Pictures of Pictures, Norwich School of Art and Design, Bristol
Bilder aus StÀdten, Dresdner Bank, Frankfurt, Main
Umzug, Galerie Gebr Lehmann, Dresden
Arnolfini Gallery, Bristol

1998
Geiz, Luxus, Kulturwissenschaftlichen Institut, Essen
Dorothea von Stetten-Kunstpreis, Kunstmuseum Bonn
Centro cultural del Conde Duque, Madrid
Galerie Klaus-Peter Goebel, Stuttgart
Gegenstand, Galerie Sfeir-Semler, Kiel
Gallery by night, StĂșdiĂł GalĂ©ria, Budapest
Zwei Stufen, KĂŒnstlerhaus Schloss Wiepersdorf
ACHSE 3zu01, HfBK Dresden
Go East, Wollongong City Gallery, Australia
Sydney College of the Arts Gallery, Sydney
SichtverhÀltnisse Madrid-Berlin
KĂŒnstlerhaus Bethanien, Berlin
Dorothea von Stetten-Kunstpreis, Kunstmuseum Bonn
Persuasion: Tales of Commerce and the Avant Garde
University at Buffalo Art Gallery, Buffalo, NY

1997
Fotogelb, Galerie Gebr Lehmann, Dresden
Artist in Residence, Neue Galerie am Landesmuseum Joanneum, Graz
Vier/VI, Leonhardi-Museum, Dresden
Anton Kern Gallery, New York

1996
Neu im Kabinett, Kupferstich-Kabinett, Staatliche Kunstsammlungen, Dresden
FIN, KurfĂŒrstenpassage, Dresden

1995
Fantastic-Elastic, Kunst-Konsum, Dresden
Heimfrost, HfBK, Dresden

1992
FrĂŒhlingssalon, HfBK, Dresden