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Joerg Maxzin
LIVING SCULPTURE Joerg Maxzin has achieved recourse to Romanticism. The path there leads from digital photography to sculpture. Sculptor Maxzin creates plastic figures, arranges them in a space,… Read more
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Background Information about Joerg Maxzin
Introduction
LIVING SCULPTURE
Joerg Maxzin has achieved recourse to Romanticism. The path there leads from digital photography to sculpture. Sculptor Maxzin creates plastic figures, arranges them in a space, and reproduces them with in a conscious blur. He is fascinated by people in their “different aggregate states.” Simple, colorful attributes such as molded umbrellas and Chinese lanterns lend the figures a foothold in space. Maxzin abides by the modern artistic strategy of generating an event or artistic object – with the aim only to generate a picture – and then discarding it.
The only human figures in the image seem as though thrown about, in open-ended contexts in which, as Jean Paul Sartre wrote, one “exists, encounters himself, surges up in the world – and defines himself afterwards.” The figures are not purely schemata; they display enough pose and detail to invite us to reflect upon them. They call on us to go a ways with them, to sit with them, to strike up a conversation with them.
Maxzin’s clear image spaces are hopeful non-places that seem to be incongruous with the estrangement of a hard-edged and technological future. Here we find the longing for a harmonious, complete expression; here the soul can breathe.
Horst Klöver
THE SECRET LIFE OF SACRAL SHADOWS
Joerg Maxzin’s (*1965) training as a wood sculptor before his studies at the Munich Art Academy can absolutely be felt in his photographs. Earth-tone shadows, brought to life in his photographs, develop an almost bodily presence, the border between shadows and people often indefinable in his dense works. As if they were one, cause and effect melt, the rules of physics are overridden.
People turn into patterns, patterns into bodies and bodies into linear entities. Everything flows, floats and swings in a meditative elegance that is assigned another level of meaning through their titles. They are examples of “Erwachen (Awakening)” or “Rückkehr (Return)”, “Bindung (Bonds)” or “Formation” that can also reflect mythology or art history. Thus the “Himmelsboten (Heavenly Messenger)” is joined to the “Hain der Nymphen (The Grove of the Nymphs)”, and “Narziss (Narcissus)” to a new interpretation of Duchamp’s famous “Nude Descending the Stairs.” Joerg Maxzin makes clear in his unmistakable signature style that he will never let his imagination be confined, and that his art makes a lot of room for an inexhaustible abundance of metaphorical and metaphysical perceptions.
Dr. Boris von Brauchitsch
Joerg Maxzin has achieved recourse to Romanticism. The path there leads from digital photography to sculpture. Sculptor Maxzin creates plastic figures, arranges them in a space, and reproduces them with in a conscious blur. He is fascinated by people in their “different aggregate states.” Simple, colorful attributes such as molded umbrellas and Chinese lanterns lend the figures a foothold in space. Maxzin abides by the modern artistic strategy of generating an event or artistic object – with the aim only to generate a picture – and then discarding it.
The only human figures in the image seem as though thrown about, in open-ended contexts in which, as Jean Paul Sartre wrote, one “exists, encounters himself, surges up in the world – and defines himself afterwards.” The figures are not purely schemata; they display enough pose and detail to invite us to reflect upon them. They call on us to go a ways with them, to sit with them, to strike up a conversation with them.
Maxzin’s clear image spaces are hopeful non-places that seem to be incongruous with the estrangement of a hard-edged and technological future. Here we find the longing for a harmonious, complete expression; here the soul can breathe.
Horst Klöver
THE SECRET LIFE OF SACRAL SHADOWS
Joerg Maxzin’s (*1965) training as a wood sculptor before his studies at the Munich Art Academy can absolutely be felt in his photographs. Earth-tone shadows, brought to life in his photographs, develop an almost bodily presence, the border between shadows and people often indefinable in his dense works. As if they were one, cause and effect melt, the rules of physics are overridden.
People turn into patterns, patterns into bodies and bodies into linear entities. Everything flows, floats and swings in a meditative elegance that is assigned another level of meaning through their titles. They are examples of “Erwachen (Awakening)” or “Rückkehr (Return)”, “Bindung (Bonds)” or “Formation” that can also reflect mythology or art history. Thus the “Himmelsboten (Heavenly Messenger)” is joined to the “Hain der Nymphen (The Grove of the Nymphs)”, and “Narziss (Narcissus)” to a new interpretation of Duchamp’s famous “Nude Descending the Stairs.” Joerg Maxzin makes clear in his unmistakable signature style that he will never let his imagination be confined, and that his art makes a lot of room for an inexhaustible abundance of metaphorical and metaphysical perceptions.
Dr. Boris von Brauchitsch
Bio
| 1965 | born in Augsburg, Germany |
| 1989 | Apprenticeship as a woodsculptor in Munich, Germany |
| 1992 | Final examination |
| 1992-1999 | Studied at Munich Academy of Fine Arts, Germany |
| 1994-1995 | Various study travels, Los Angeles, USA |
| 1997 | Master student of Prof. Cristina Iglesias |
| 1998 | 1st state examination for grammar school teachers |
| 1999 | Diploma |
| 1999-2008 | Lecturer at Augsburg University, Germany |
| 2005 | Guest lecturer, University of Ulster, Derry, Northern Ireland |
| Lecturer, Munich Mediadesign Academy, Germany | |
| 2006 | Guest lecturer, Lippe and Höxteer University of Applied Sciences, Germany |
| 2006-2008 | Lecturer, Voralberg University of Applied Sciences, Austria |
| since 2008 | Professor for 3D-Animation, Deggendorf University of Applied Sciences, Germany |
| lives and works in Augsburg and Deggendorf, Germany |
Awards
| 2006 | Schwäbischer Kunstpreis (Swabian Art Prize) |
| 2005 | 1st Place at the "Animago Award 2005" |
| 1st Place "uDay Competition" Dornbirn, Austria | |
| 1998 | Nomination "Die 100 besten Plakate des Jahres 1997 (100 Best Posters of 1997)", Berlin |
| 1997 | 1st Prize at the "Jungen Kunstfrühling" Bad Wörishofen |
| 1996 | Laureate at the small plastics competition at ZDF Mainz |
| Art Prize of the city of Augsburg | |
| 1995 | Laureate at the small plastics competition at ZDF Mainz |
| 1992 | Laureate at the Danner-Stiftung competition in Munich |
Exhibitions
Solo Exhibitions
| 2008 | "Grenzenlos", Galeria Cervino, Augsburg, Germany (with Valention Oman and Michai Sârbulescu) |
| 2007 | "Half Way", Artothek, Gesellschaft für Gegenwartskunst, at H2 Augsburg, Germany |
| "Ahead", Sparkasse Schwabmünchen Gallery, Germany | |
| 2006 | "Archeus", Kunstraum Schwifting, Germany |
| "Freiraum" (Free Zone), St. Egidius Church, Nuremberg, Germany (with Prof. Hanns Herpich) | |
| "Fantastic Shade", Galeria Cervino, Augsburg, Germany | |
| 2005 | "Timeline", Haus für Kunst und Kultur, Kloster Roggenburg, Germany |
| "Screen Memories", Kunstverein Bobingen, Germany | |
| 2003 | "Closeup", Theater Augsburg, Germany |
| 2001 | "Pompeji", Sparkasse Schwabmünchen, Germany |
| "Digital Dancers", Theater Augsburg, Germany | |
| 2000 | "Offspring", Ecke Galerie, Augsburg, Germany |
| 1999 | "La Piazza", Stadtbibliothek Würzburg, Germany |
| 1996 | "Inner Reflection", Installation at the former State Council of the GDR, Berlin, Germany |
| "La Piazza", Installation, Augsburg, Germany | |
Group Exhibitions
| 2005 | "Der Himmel auf Erden?(Heaven on Earth?)", Brandenburg, Germany |
| 2004 | "Immaculata|Immaculata", Maximilianmuseum Augsburg, Germany |
| 2000 | "Quo Vadis - Neue Medien in der Kunst (Quo Vadis-New Media in Art)", Augsburg, Germany |
| 1998 | "Die 100 besten Plakate des Jahres 1997 (100 Best Poster of 1997)", Berlin, Germany |
| 1997 | "Stadtmenschen (City Folk)", Venlo, Netherlands |
| "Zeige Deinen Engel (Show Your Angel)", Altötting, Germany | |
| 1996 | "8th Leipzig Photo Fair", Leipzig, Germany |
| "Kunst und Bürgertum - Hommage á Thomas Mann (Art and Bourgeoisie-Hommage to Thomas Mann)", Augsburg, Germany |
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