Tobias Trutwin: ZEUGEN, 2010
geboren 1964 in Bonn, Deutschland, lebt und arbeitet in Berlin. Er studierte Kommunikationsdesign in Essen, Kunst an der Akademie für Grafik und Buchkunst in Leipzig und war Meisterstudent bei Astrid Klein. Trutwins künstlerische Praxis untersucht die Themen Wahrnehmung und Kommunikation. Kennzeichnend für sein Oeuvre sind computergenerierte Arbeiten auf Glas, mit denen er u.a. auch religiöse Fragestellungen mit zeitgenössischer Medienrealität verbindet. Seine Arbeiten wurden u.a. im Musée d’Art Moderne Paris, Museum Kunstpalast Düsseldorf, Kunstverein Leipzig und Kunstverein Kassel ausgestellt. Im KULTUM wurde Trutwin in den Ausstellungen „Lichtmesz“ (2009), „mutter. Neue Bilder in zeitgenössischer Kunst“ (2010), „RELIQTE“ (2010), „1+1+1=1 Trinität“ (2011), „reliqte, reloaded: Zum Erbe christlicher Bildwelten heute” (2015/16) und „VULGATA. 77 Zugriffe auf die Bibel“ (2017) gezeigt.
born in Bonn, Germany, in 1964; lives and works in Berlin. He studied Communication Design in Essen, Germany, Fine Arts at the Academy of Visual Arts Leipzig (Hochschule für Grafik und Buchkunst Leipzig), and attended Astrid Klein’s master class. Trutwin’s artistic practice investigates the subjects of perception and communication. Computer- generated works on glass are characteristic for his oeuvre, with the help of which he i.a. also combines religious questions with today’s reality of the media. His works have been exhibited i.a. in the Musée d’art moderne, Paris, the Museum Kunstpalast, Düsseldorf, at the Kunstverein Leipzig and at the Kunstverein Kassel. Trutwin’s works were shown in the KULTUM in the exhibitions “LICHTMESZ“ (2009), “mutter. Neue Bilder in zeitgenössischer Kunst“ (2010), “RELIQTE“ (2010) and “1+1+1=1 Trinität“ (2011).
Tobias Trutwin: ZEUGEN, 2010
Materialization, knowledge, action: This is the third step in Tobias Trutwin’s theory of the image, which he further elaborates on the basis of Christian imagery of all things. In his large-format glass triptych “ZEUGEN” the artist reflects the question of the relationship between the image and the viewer by challenging the image to the utmost: In the blackness of the upper third of the picture, which reflects him- or herself like a mirror, the viewer already surmises the serious nature of the abstractions preceding this pictorial solution. The dark upper third of the picture is followed by a twice as large blue-violet picture area which is much lighter than its heavy covering. For the artist, this structure has not least been derived from the “black night” of a triptych of crucifixion by Rogier van der Weyden (around 1460 or 1462, Philadelphia/USA, Escorial/Spain): There, the cross is positioned in front of a gray wall—which is almost similar to the Berlin Wall—, and it is underscored by a cloth hanging down vertically. The black night of the picture begins along the horizontal axis, which runs through the head of Jesus. In the first part of this diptych, Mary Magdalene and the Mother of Jesus are “Zeugen” (witnesses) of death in greatest pain one can imagine. Tobias Trutwin belongs to the very few contemporary artists for whom the Christian history of the image is a fundamentally rich source for what we mean with thinking about pictures today. Moreover, this work deals with imagining a pictorial concept derived from “God-likeness”. Thus the triptych takes the “ZEUGEN” center stage with regard to viewing: This is ambiguous in German, as we deal with “zeugen” in the sense of siring, i.e. the creation of new life and “Zeugen” in the sense of confession: “Even without biblical commandments the absolute mystery (Karl Rahner) eludes all categories of representation. Transcendence. Transgressing such exclusiveness transcendence bears witness and sires. This is likeness“ (T. T.).In his previous series of works, where Trutwin dealt with questions pertaining the pictorialism of the image, the artist was interested in a pictorialism borrowed from Christianity, where he considered “materialization” or “seeing” as matters of prime importance. A similarly constructed image titled “4 kleine Kings” suggests the further development of the artist’s thinking process towards “ZEUGEN”.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 322-325.