"Everyone carries a room inside them"
One of the main themes of Matthias Weischer's work is the interior.
Almost all his paintings are views of interiors. They show closed interior spaces with neither windows nor doors, sparsely furnished and decorated, and without a person to be seen in any of them. In the art of the past decades the subject of the interior was mainly of importance for installation art, for example, the works of Ilya Kabakov, Gergor Schneider and Christoph Bï¿½chel. By linking into the classical painting tradition, Weischer has rediscovered the interior as a theme for painting.
The interior shows a private, intimate space clearly closed off from the outside world, from public life in bars and parks. We are all familiar with the desire to look into other people's rooms, to take part in the private lives of others, to look through the walls of houses. Depictions of Saint Hieronymus' cell, presentations of the scene of the Annunciation or 17th to 19th century paintings of interiors bear witness to the unbroken force of this curiosity and the wish to participate in other people's intimate lives, a need which is producing some strange new phenomena in the form of the reality TV show Big Brother, for example.
As staged depictions of private home life, interiors provide insight into the specific construction of the private sphere and of private life worlds at various points in history. Furthermore, the interior painting was always a genre for artistic experiment, in which artists tested the limits and possibilities of their painterly means. At a third level, interiors have always been seen as an extension of the inner, spiritual life into exterior space, as a mirror of the inner world and as a psychogram of the individual or of a social group.Read the entire PDF documentSource:
Figuring the new Germany:Close on the heels of Leipzig native Neo Rauch, younger artists from the eastern German city are garnering critical attention. Two private collections on view in the U.S. spotlight this school representational painting.By Gregory Volk, Art in America, June-July, 2005
A first glance at press releases and public relations materials for two recent overlapping exhibitions at the Massachusetts Museum of Contemporary Art (MASS MoCA) and the Cleveland Museum of Art revealed them to be remarkably synchronous and also a bit suspect. Both featured representational paintings by the same group of Leipzig painters who studied at the city's Hochschule fur Grafik und Buchkunst (Academy of Visual Arts) and remained in Leipzig after graduating, as opposed to moving to a more renowned art center like Berlin. Along with a few friends and colleagues, they have become known as the New Leipzig School, and have already received substantial critical attention and commercial success. Six of them--Tilo Baumgartel, Martin Kobe, Tim Eitel, Christoph Ruckhaberle, David Schnell and Matthias Weischer--were born in the early 1970s; they were teenagers in 1989 when the Berlin Wall came down, and they have come of age in a reunified Germany. Baumgartel and Kobe grew up in the former East Germany, the other four in West Germany. For them, choosing to study and then to continue living in Leipzig, responding in their work to the city and its environs, reverses the decades-old, pre-Wall tendency of many artists to go West for freedom, inspiration and unfettered careers.Read the enire articleSource: