{"id":5846,"date":"2023-11-18T13:12:02","date_gmt":"2023-11-18T12:12:02","guid":{"rendered":"https:\/\/www.galerie-bender.de\/?p=5846"},"modified":"2024-08-02T15:02:08","modified_gmt":"2024-08-02T14:02:08","slug":"peter-weber-max-h-mahlmann-zwei-generationen-konkret","status":"publish","type":"post","link":"https:\/\/www.galerie-bender.de\/en\/peter-weber-max-h-mahlmann-zwei-generationen-konkret\/","title":{"rendered":"Two Generations of Concrete Art. Max H. Mahlmann and Peter Weber"},"content":{"rendered":"
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Max H. Mahlmann, Mit konstanten Netzen (integriert) 4 x II B \u2013 1978, acrylic on wood, 114,5 x 114,5 cm<\/div>
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Max H. Mahlmann, Verikal zu Horizontal A (Grundetz-XVIII.9.1991) \u2013 1991, acrylic on wood, 97 x 97 cm<\/div>
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Max H. Mahlmann, Verikal zu Horizontal B (Grundetz-XVIII.9.1991) \u2013 1991, acrylic on wood, 97 x 97 cm<\/div>
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Max H. Mahlmann, Konstant gegen Variabel D \u2013 1977, relief with cardboard, 64 x 64 cm<\/div>
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Max H. Mahlmann, Linearreduktion B 94 i. Quadratnetz XXIV \u2013 1994, acrylic on wood, 46 x 46 cm<\/div>
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Max H. Mahlmann, 4 x II A1 – Weiss auf Schwarz \u2013 1978, Zeichnung auf Papier, 70 x 70 cm<\/div>
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Max H. Mahlmann, 4 x II B1 – Weiss auf Schwarz \u2013 1978, Zeichnung auf Papier, 70 x 70 cm<\/div>
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Max H. Mahlmann, 4 x II C1 – Weiss auf Schwarz \u2013 1978, Zeichnung auf Papier, 70 x 70 cm<\/div>
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Max H. Mahlmann, 4 x II D1 – Weiss auf Schwarz \u2013 1978, Zeichnung auf Papier, 70 x 70 cm<\/div>
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Max H. Mahlmann, Farbkomplement\u00e4r gestuft C \u2013 1980, acrylic on wood, 40 x 40 cm<\/div>
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Max H. Mahlmann, Farbkomplement\u00e4r gestuft C 2 \u2013 1980, acrylic on wood, 40 x 40 cm<\/div>
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Max H. Mahlmann, Mit konstanten Netzen integriert – 4 x II A4 \u2013 1978, Zeichnung Schwaarz\/Rot, gerahmt, 50 x 50 cm<\/div>
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Max H. Mahlmann, Z-Minus 1-4 (B) \u2013 1966, tempera on cardboard, framed, 35,7 x 36,2 cm (sheet size)<\/div>
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Max H. Mahlmann, Ohne Titel \u2013 1972, screen printing, framed, edition X\/XXV, 64 x 64 cm<\/div>
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Max H. Mahlmann, Laser 1 \u2013 1974, Siebdruck – Weiss auf Schwarz, gerahmt, Auflage 48\/50, 50 x 50 cm<\/div>
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Max H. Mahlmann, Laser 2 \u2013 1974, Siebdruck – Weiss auf Schwarz, gerahmt, Auflage 48\/50, 50 x 50 cm<\/div>
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Max H. Mahlmann, Laser 3 \u2013 1974, Siebdruck – Weiss auf Schwarz, gerahmt, Auflage 48\/50, 50 x 50 cm<\/div>
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Peter Weber, 8 gro\u00dfe, 4 kleine Quadrate \u2013 2023, Nirosta mirrored, folded, edition of 5, 50 x 94 x 11 cm<\/div>
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Peter Weber, 16 Quadrate (rot) \u2013 2021, stainless steel, powder-coated, red, folded, edition 1\/3, 145 x 258 x 12 cm<\/div>
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Peter Weber, Interferenzstufung 10 (blau) \u2013 1976\/77, acrylic on wood, 77 x 77 cm<\/div>
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Peter Weber, Interferenzstufung S Nr.13 \u2013 1977, acrylic on canvas, 45 x 45 cm<\/div>
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Peter Weber, Dezentrales Raster \u2013 1969\/70, acrylic on wood, rippled glass, framed, 55 x 55 x 5 cm<\/div>
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Peter Weber, Quadrate I (Kinetikobjekt) \u2013 1970, letterpress on cardboard, rippled glass, framed, 55 x 55 x 2,5 cm<\/div>
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Peter Weber, Glasobjekt Nr. 3 \u2013 1971, letterpress on cardboard, rippled glass, framed, 55 x 55 x 2,5 cm<\/div>
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Peter Weber, Streifendurchdringung FCAD6 \u2013 2024, cadet felt, folded, 100 x 100 cm<\/div>
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Peter Weber, 2 x M6 + 6 x M3 FORh6 \u2013 2024, light orange felt, folded, 54,5 x 53,5 cm<\/div>
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Peter Weber, Unterbrochene Parallelstreifen FGB6 \u2013 2022, grey beige feld, folded, 51 x 58 cm<\/div>
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Peter Weber, 2 Dreiecke in Wandlung V FOR6 \u2013 2021, orange felt, folded, 68 x 67 cm<\/div>
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Peter Weber, M6 \u2013 2024, HDPE folded, framed, 60 x 60 cm<\/div>
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Peter Weber, 4 x M6 \u2013 2024, HDPE folded, framed, 60 x 60 cm<\/div>
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Peter Weber, 35 gro\u00dfe Quadrate und 75 Rhomboide \u2013 2023, Fabriano hand-made paper, folded, acrylic box, 55 x 94 x 8 cm<\/div>
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Peter Weber, Isometrie I \u2013 2023, Fabriano hand-made paper folded, acrylic glass cover, 67 x 67 x 8 cm<\/div>
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Peter Weber, Isometrie II \u2013 2023, Fabriano hand-made paper folded, acrylic glass cover, 67 x 67 x 8 cm<\/div>
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Peter Weber, Isometrie III \u2013 2023, Fabriano hand-made paper folded, acrylic glass cover, 67 x 67 x 8 cm<\/div>
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Peter Weber, Isometrie IV \u2013 2023, Fabriano hand-made paper folded, acrylic glass cover, 67 x 67 x 8 cm<\/div>
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Peter Weber, Streifen aufsteigend \u2013 2020, Canson watercolor paper, folded, framed, 30 x 30 cm<\/div>
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Peter Weber, Streifendurchdringung 2 \u2013 2020, Canson watercolor paper, folded, framed, 30 x 30 cm<\/div>
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Peter Weber, 10 Quadrate verbunden \u2013 2017, Canson watercolor paper, folded, framed, 30 x 30 cm<\/div>
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Peter Weber,Treppen \u2013 2020, Canson watercolor paper, folded, framed, 30 x 30 cm<\/div>
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Peter Weber, Hommage \u00e0 Fontana II \u2013 2004, hand-made paper, folded, framed, edition 17\/30, 30 x 30 cm<\/div>
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Peter Weber, Hommage \u00e0 Fontana III \u2013 2004, hand-made paper, folded, framed, edition 6\/30, 30 x 40 cm<\/div>
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Two Generations of Concrete Art <\/strong>
Max H. Mahlmann and Peter Weber<\/strong><\/h2>\n\n\n\n

Exhibition at Galerie Renate Bender, Munich
April 19 to June 15, 2024<\/p>\n\n\n\n

Opening: Friday, April 19, 2024, 6 to 8 pm
Matinee: Saturday, April 20, 2024, 12 to 4 pm<\/strong><\/p>\n\n\n

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\"Titelbild_M1507002_Mahlmann_Weber_594x840_M1507002_F39_X3\"<\/figure>\n<\/div>\n\n\n
exhibition brochure \"Two Generations of Concrete Art. Max H. Mahlmann\", 2024<\/a><\/div>\n\n\n\n
exhibition brochure \"Two Generations of Concrete Art. Peter Weber\", 2024<\/a><\/div>\n\n\n\n
Save the date - invitation card<\/a><\/div>\n\n\n\n
Save the Date – Invitation card<\/a><\/div>\n\n\n\n

\u201cIf you continue like this, you\u2019ll have to go to Mahlmann!\u201d That was the recommendation of the instructor at the design department of the academy in Hamburg that Peter Weber had been attending since 1969. Without doubt this laid out the path for the young artist, who was warmly accepted into Max H. Mahlmann\u2019s circle. Here students were not simply \u201clisteners;\u201d rather they belonged to an \u201cinner circle\u201d that surrounded the talented painter and mentor. Mahlmann did not lecture; he gave his students the freedom to develop on their own, offering tactful suggestions for their artistic development. The friendship between the \u201cyoung\u201d student and the \u201cold\u201d artist was to last to the end of Mahlmann\u2019s life. And thus it seemed logical that for our first project on the theme \u201cZwei Generationen konkret\u201d (Two Generations of Concrete Art\u201d) the work of Max H. Mahlmann and Peter Weber would open the gallery\u2019s exhibition with this new focus. <\/p>\n\n\n\n

Peter Weber\u2019s uninterrupted contact to Mahlmann\u2019s family, especially to his daughter Maria Mahlmann, enabled us to draw on a wonderful collection of works by the Hamburg Concrete Artist and to present a small but excellent exhibition, for which we extend our appreciative thanks to Maria Mahlmann.<\/p>\n\n\n\n

Renate Bender<\/p>\n\n\n\n

February 2024<\/p>\n\n\n\n

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Peter Weber, Max H. Mahlmann and Gudrun Piper, March 10th, 1976
<\/p>\n\n\n\n

\u201cThe conceptual goal of geometric design is commensurate with our technological age. With this experience, mankind envisions a new humanity.\u201d
Max. H. Mahlmann
\u201cThe idea of various folding \u201cstates\u201d gained more and more importance in all of my folding experiments and my discovery of the most diverse materials. In the working process, architectonic constructions arise\u2026these \u201cstates\u201d that appear in the middle of the folding process were not shown to the public before 2017.\u201d  
Peter Weber<\/p>\n\n\n\n

<\/p>\n\n\n\n

Max H. Mahlmann was born in 1912 in Hamburg, Germany. He died in 2000 in Wedel, Germany.   <\/strong><\/p>\n\n\n\n

In his works Max Hermann Mahlmann, who studied at the Akademie der bildenden K\u00fcnste in Dresden (Dresden Academy of Fine Arts), strove for clarity and transparency. In 1949 he initially focused on Constructivism and, ten years later, created his first white reliefs.  <\/p>\n\n\n\n

In the 1960s he developed a methodological basis for his geometrical designs, which culminated in so-called \u201csuper structures\u201d emerging from underlying grids. <\/p>\n\n\n\n

In 1968 he developed ideas for what he called \u201cprogrammed designs\u201d, which he understood as a further development of Constructivism. As of 1970, his work featured grid structures that were continuously expanded and developed. In these images, the starting point is a basic grid that is controlled by a centralized or decentralized network of coordinates. Lines, surfaces and three-dimensional forms arise, and \u201ccolor is assigned according to theoretical principles\u201d (MHM). Aesthetic freedom is achieved through variation, dissolution and contraction that is always recognizable, not least by the title, which can provide, for example, the distance between the lines in the underlying grid. In their formal reduction they are poetic images. The grid drawings vibrate in those places where the configuration is dense, and they shift into zones of quiet harmony where the lines are further apart. Max H. Mahlmann developed a clear system with identifiable rules that has nevertheless produced unpredictable results and led to even more reduction in his late works.<\/p>\n\n\n\n

Max H. Mahlmann was a skilled step dancer, mastered an overtone flute without instruction and was a charming and captivating conversationalist. He impressed and inspired his students not only those attending the Werkkunstschule Hamburg (now the University of Applied Science, Hamburg), where he taught for almost 20 years, but also numerous other artists who, in many cases, maintained a life-long friendship with him. Max H. Mahlmann received numerous awards, including, in 1995 the Bundesverdienstkreuz am Bande (Order of Merit of the Federal Republic of Germany). <\/p>\n\n\n\n

<\/p>\n\n\n\n

Peter Weber, born 1944 in Kollmar\/Elbe, Germany. He lives and works near Munich, Germany.<\/strong><\/p>\n\n\n\n

The artist\u2019s path from painting in the early 1970s to his present-day foldings is characterized by a relentless investigation and struggle with mathematical-geometrical specifications, by the resulting strict formality of his work and by his ability to implement these conceptual parameters in complex groups of works using his \u201cmanual understanding\u201d as Eugen Gomringer once referred to it.<\/p>\n\n\n\n

Pictures from the group \u201cInterferenzstufungen\u201d (\u201cInterference Gradations\u201d) of 1976\/77 reveal in exemplary manner how Peter Weber remembers Mahlmann\u2019s ingeniously employed grid structures. From the start, however, Peter Weber expanded and developed them into a completely different geometrical system. <\/p>\n\n\n\n

The complex foldings and different folding states that the artist has discovered and developed since then arose, as is so often the case in artistic endeavors, by chance. As an instructor at the academy in Hamburg, Peter Weber designed together with his students an invitation to a group exhibition in the form of a folded card. It was received with such enthusiasm that it encouraged him to explore folding systems. Created in canvas, his first folded works were shown by the artist in two different states of both the front and reverse sides: folded and opened. Folding became his medium of choice and in the end led to Peter Weber\u2019s devoting himself entirely to folding. Initially, paper and canvas were his main material, followed by translucent HDPE, a highly dense polyethylene. <\/p>\n\n\n\n

Paper has always been one of his most important materials. For his particular purpose Weber soon discovered that a 640-gram water color paper would remain stable throughout the folding process, enabling him to retain the folding states in their position, quasi as reliefs. The resulting objects, seemingly architectonic in character, combine precision and elegance in one artistic design.<\/p>\n\n\n\n

And if that were not enough, Peter Weber has returned to steel, or rather stainless steel, which he had used in the early 1990s for some outside sculptures. However, because the material is unfoldable, it had to be cut with a laser and welded back together again. <\/p>\n\n\n\n

The idea of a \u201cfolding state\u201d has enabled him now to have the steel plates lasered by a specialized workshop according to drawings detailing the folds. Little bars that remain in the metal between the cuts and a simultaneously occurring folding technique that requires considerable strength and skill, actually enabled him to fold or bend the flat plates by himself. <\/p>\n\n\n\n

A concrete idea carefully thought through, refined, expanded and executed over 50 years.<\/p>\n\n\n\n

Max H. Mahlmann would have loved it!<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Zwei Generationen konkret. Max H. Mahlmann und Peter Weber Ausstellung in der Galerie Renate Bender, M\u00fcnchen19. April bis 15. Juni 2024 Vernissage: Freitag, 19. April 2024, 18 bis 20 UhrMatinee: Samstag, 20. April 2014, 12 bis 16 Uhr \u201eWenn Sie so weitermachen wollen, dann m\u00fcssen Sie zu Mahlmann gehen!\u201c Das war die Empfehlung der Dozentin […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","_uag_custom_page_level_css":"","footnotes":""},"categories":[39],"tags":[],"class_list":["post-5846","post","type-post","status-publish","format-standard","hentry","category-ausstellungsarchiv"],"acf":[],"uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false,"trp-custom-language-flag":false,"square":false,"post-thumbnail":false,"twentytwenty-fullscreen":false},"uagb_author_info":{"display_name":"Renate Bender","author_link":"https:\/\/www.galerie-bender.de\/en\/author\/bender\/"},"uagb_comment_info":0,"uagb_excerpt":"Zwei Generationen konkret. Max H. Mahlmann und Peter Weber Ausstellung in der Galerie Renate Bender, M\u00fcnchen19. April bis 15. Juni 2024 Vernissage: Freitag, 19. April 2024, 18 bis 20 UhrMatinee: Samstag, 20. April 2014, 12 bis 16 Uhr \u201eWenn Sie so weitermachen wollen, dann m\u00fcssen Sie zu Mahlmann gehen!\u201c Das war die Empfehlung der Dozentin…","_links":{"self":[{"href":"https:\/\/www.galerie-bender.de\/en\/wp-json\/wp\/v2\/posts\/5846","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.galerie-bender.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.galerie-bender.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.galerie-bender.de\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.galerie-bender.de\/en\/wp-json\/wp\/v2\/comments?post=5846"}],"version-history":[{"count":1,"href":"https:\/\/www.galerie-bender.de\/en\/wp-json\/wp\/v2\/posts\/5846\/revisions"}],"predecessor-version":[{"id":7960,"href":"https:\/\/www.galerie-bender.de\/en\/wp-json\/wp\/v2\/posts\/5846\/revisions\/7960"}],"wp:attachment":[{"href":"https:\/\/www.galerie-bender.de\/en\/wp-json\/wp\/v2\/media?parent=5846"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.galerie-bender.de\/en\/wp-json\/wp\/v2\/categories?post=5846"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.galerie-bender.de\/en\/wp-json\/wp\/v2\/tags?post=5846"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}