Dieter Hacker: The Early Hacker 1960-70. Hommage to Lucio Amelio (DIEHL CUBE)

Dieter Hacker: The Early Hacker 1960-70. Hommage to Lucio Amelio (DIEHL CUBE)

instabilie ordnung by dieter hacker

Dieter Hacker

Instabilie Ordnung, 1967

Price on Request

serielles objekt by dieter hacker

Dieter Hacker

Serielles Objekt, 1966–1967

Price on Request

zufällige ordnung by dieter hacker

Dieter Hacker

Zufällige Ordnung, 1968

Price on Request

instabile ordnung by dieter hacker

Dieter Hacker

Instabile Ordnung, 1961

Price on Request

bodenskulptur by dieter hacker

Dieter Hacker

Bodenskulptur, 1960–1961

Price on Request

zufällige ordnung by dieter hacker

Dieter Hacker

Zufällige Ordnung, 1960

Price on Request

Friday, March 21, 2014Saturday, April 26, 2014

Galerie Volker Diehl
Niebuhrstrasse 2

Berlin, Germany

DIETER HACKER

THE EARLY HACKER 1960-70.
HOMMAGE TO LUCIO AMELIO

OPENING: March 21st 2014, 6–8 pm, Emser Strasse 43, 10719 Berlin
On View: March 22nd – April 26th 2014

The Right Angle as a Socio-Political Art Concept
The work of Dieter Hacker is characterized by an extraordinary versatility. As a student of the Geitlinger class at the Munich Academy in the 1960s, he begins with analytical and kinetic work. At this time, Hacker’s art is greatly influenced by the discourse of the artist movement NEUE TENDENZEN. His first gallerist Lucio Amelio has shown his work 1967 in Naples, nearly 50 years later DIEHL CUBE presents objects from this series. In the late 1960s and the 1970s, Hacker is one of the leading representatives of political art in Germany. Then again, in the 1980s Hacker becomes famous as a painter in the context of the Jungen Wilden. In the face of this wealth of apparently very different artistic approaches, the question of connecting elements arises, of a golden thread that runs through Hacker‘s work. The exhibition title‚“Der rechte Winkel in mir‘‘ offers a first hint, used on the occasion of a speech that Dieter Hacker held in 2006 at the symposium for the exhibition “Die Neuen Tendenzen‘‘. So what constitutes the right angle in Dieter Hacker and how does it manifest itself in his work and his understanding of art? In his first work phase, Dieter Hacker works with geometric bodies aimed at triggering simple yet fundamental processes of perception and experience in the viewers. The vocabulary of geometric forms in concrete art is de-hierarchized and in fact is passed on directly to the viewer. Hacker develops objects that are set up like laboratory experiments, aimed at gathering objective knowledge about sensual perception together with the viewer. So it is no longer the artist alone who determines what the proper proportions between two geometrical objects can be. In 1965, Hacker founded the EFFEKT group together with his fellow students Helge Sommerrock, Karl Reinhartz and Walter Zehringer. In their manifesto, the EFFEKT group calls for a new kind of exhibition and a new understanding of art. The artist’s individual artwork is now of secondary importance and is replaced by spatial installations that are based on a variety of kinetic effects and usually are devised collectively by the artist group. The role of the art market is generally seen critically by NEUEN TENDENZEN artists. NEUEN TENDENZEN art had great socio-political aspirations. Especially by involving viewers and inviting them to play, the artists wanted to change and democratize society with their works, and break up fossilized thinking.

The exhibition will be accompanied by a booklet.