A red tiger, in a cage, large with black bars, speak of a divided Berlin, a prisoner. Yet, the animal seems to be on the run, as if you could expand or fold those bars one by one. It is 1989, the year the Berlin Wall fell, when a young German created this signature work. Karl Horst Hodiche
(Nuremberg, 1938), one of the first artists who entrusted their restlessness, their withdrawal, a high-toned language, a neo-expressionist art form with many aspects. They are the New Rebels
, the artists who will deal with the reality of the Wall, who will work in places the wall, breathing the mood of a society torn apart, but not defeated.
There is a white wolf, Rainer Fetting
(Wilhelmshaven, 1949), tall, threatening but with its strength seemingly hampered by a splintered wooden bar, which is superimposed on the body and the legs around, energetic strokes of red and blue, generating unrest. Black, gray and shadowy, is another of his works titled Before Entering, where the figure of a naked male, not without a bit of uncertainty, is about to enter into a dark space, the sea, with its light, behind his back. Anxiety is also present in the work Van Gogh in the Subway
, the city here is threatening. Or, the city as seen by Helmut Middendorf
(Dinklage, 1953), in his Green Night
, punctuated by stretches blacks, the silhouette of a man who seems on the run. The lights, like shadows of light, to tell the desire to go away, to leave the past behind.
Elsewhere, the town is painted red, in an embrace of energy. The 70 works on display in Catanzaro, whose authors include Bernd Koberling
, are productions of the eighties, born from the path to the new metaphor of a freedom denied, impetuous paintings, as the subtitle of the exhibition states. An art, which reflects the anxiety, the discomfort of soceity, an art which (re)appropriates shapes and colors, to tell its story. “A pictorial expression
," says Wanda Ferro, president of the province of Catanzaro, “which is a journey through art and yearning for freedom, art, as an emblem of social achievements, a journey into the past to rebuild the future.
” The exhibition, which also includes video and photographic evidence, satisfies and testifies to all of the aspects of that period, in a story, in which the authors look at themselves and look at society. “A sort of Copernican Revolution,
” says Alberto Fiz, the curator of the exhibition, where the art takes on a cathartic Dionysian value to reappear, in part, abandoned. Man, city, nature, are all responsible for the feelings of a tearing in the New Rebels. So, for Bernd Zimmer
, carried down the rapids of a blue Water Way, something refers to a new Sturm und Drung
, the rush of a Running Stream
, the Olive Grove
, Red Mountain
, The Fir
, become interpreters embrace the soul of the world participating in the pain and cries out his rebellion. Because of the nature we are, Zimmer himself says. It is then that the Swimmers
of Salome float in a giant canvas, among white water lilies that bring to mind those of Monet