Ralph Lichtensteiger | Artist

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ART STREAM | info

Berlin, 28. Dezember 2015

Ellsworth Kelly, Dies at 92.

Berlin, 23. Dezember 2015

Remembrance | James Mulcro Drew [Composer, 1929-2010]

Berlin, 17. Dezember 2015

Paint ten thousand paintings and walk ten thousand miles or in art it is difficult to say something which is just as good as saying nothing at all. — Artist Statement [II] · download [56 KB]

Berlin, 14. Dezember 2015

In the beginning was the image · In the beginning was the word [...]

Berlin, 9. Dezember 2015

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[The Poetical Activity]

I need so much time to do nothing that I have none left for work. — Pierre Reverdy [1889-1960]

Berlin, 26. November 2015

Augustinus/Time | open

Berlin, 19. November 2015

Paul Glazier's 'Long Breath' just arrived in Berlin, Thank you Paul.

Long Breath by Paul Glazier [download card artwork] | vergrössern

Berlin, 12. November 2015

Die Lust am Text — Am 12. November 2015 wäre Roland Barthes 100 Jahre alt geworden.

Berlin, 9. November 2015

Das Bewußtsein lebt vor der Geburt. Es lebt irgendwo, wenn es auch nur für eine Stunde wäre. — Antonin Artaud, Apropos Baudelaire

Berlin, 12. Oktober 2015

Beginnings are exciting; middles are gratifying; but endings, boyoboy. — John Barth

Berlin, 25. September 2015

Photo Gallery | Finissage | The Faultless Painter · 'Less Is More' Group Exhibition at Asia Contemporary Art Platform NON Berlin | September 2015

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For the essence of great experience is penetration into the unknown, the unexperienced. — Alfred North Whitehead

Berlin, 24. September 2015

Finissage | Today 6pm | The Faultless Painter · 'Less Is More' Group Exhibition | NON Berlin | 'Less Is More' is an exhibition that concentrates on the lack of use within art work. For example, the limited use of colour in a painting or the lack of method within a sculpture. [A.H.]

Artists | Alaric Hobbs [England]; Johann Bisesti [France/Switzerland]; Ralph Lichtensteiger [Switzerland]; Kimbo Gruff [Britain/Iran]; Julian McKinnon [New Zealand]; Charlotte Orr [Britain]; Gabriel Centurion [Brazil]; Amadahy Waldwasser [Germany]

Starting from 6pm and ending at 10pm on Wednesday 23rd September and showing again from 6pm until 10pm on Thursday 24th September 2015.

Location/Gallery | Asia Contemporary Art Platform NON Berlin | nonberlin [dot] com | Chausseestr. 11 / Entrance Tieckstr. | 10115 Berlin-Mitte, Germany

A great chance to see a variety of work from Berlin and around the World. All money from bought artwork goes 100% to the artist.

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Berlin, 10. September 2015

Berlin, 9. September 2015

[...] if time never changed, it would not be time. — Augustinus [Saint Augustine] · Confessiones. R. Pine-Coffin [Translator] Penguin Classics (2003), p. 263

Berlin, 4. September 2015

Gully · Serie TWENTYTWENTY [one] — 20 x 20 cm (7.9 x 7.9 inches) — Bilderzyklus [2013/2014/2015] Gouache, Inkpen, Inkjet Prints und Papier (Collage) auf Leinwand | Galerie öffnen | Gully: a deep artificial channel serving as a gutter or drain [channel, conduit, trench, ditch, drain, culvert, cut, gutter].

Berlin, 3. September 2015

The aesthetic 'attitude' is restless, searching, testing - it is less attitude than action: creation and re-creation. — Nelson Goodman, Languages of Art (1968)

Berlin, 2. September 2015

Berlin, 1. September 2015

Berlin, 31. August 2015

Joachim Anton Ferdinand Fintelmann; Peter Joseph Lenné | Schloss und Landschaftsgarten Pfaueninsel. Etwa 75 ha große, zwischen Wannsee und Kladow gelegene Havelinsel im Südwesten Berlins. Die von König Friedrich Wilhelm II. auf der Insel ausgesetzten Pfauen gaben dem 'rätselvollen Eiland' ihren heutigen Namen.

Berlin, 30. August 2015

We must collect our thoughts, for the unexpected is always upon us, in our rooms, in the street, at the door, on a stage. — Luciano Berio, Sinfonia [1968]

Berlin, 26. August 2015

Berlin, 12. August 2015

The fabric of existence weaves itself whole. You cannot set art off in a corner and hope for it to have vitality, reality, and substance. There can be nothing exclusive about substantial art. It comes directly out of the heart of the experience of life and thinking about life and living life. — Charles Ives, A Life with Music. By Jan Swafford [Norton, 1996]

Berlin, 10. August 2015

One very important aspect of art is that it makes people aware of what they know and what they don’t know that they know. This applies to all creative thinking. — William S. Burroughs

Berlin, 3. August 2015

29,5 x 21 x 4,5 cm; cardboard, plastic film, photographs, eggshells, dried flowers and leaves

If something's not worth saying, say it... | Sculptures/Boxes

Berlin, 2. August 2015

Water on pavement; public piece [not permanent; lasting for only a limited period of time]

Audrey Yoshiko Seo, Art of Twentieth-Century Zen: Paintings and Calligraphy by Japanese Masters, Shambhala (1998)

Berlin, 31. Juli 2015

Mobile II [nest]; 105 x 70 x 90 cm; branches and twine; free-moving sculpture

nest = a structure or place made or chosen by a bird for laying eggs and sheltering its young.
- a place where an animal or insect breeds or shelters : an ants' nest.
- a person's snug or secluded retreat or shelter.
- a bowl-shaped object likened to a bird's nest : arrange in nests of lettuce leaves.
- a place filled with or frequented by undesirable people or things : a nest of spies.

Berlin, 20. Juli 2015

If today there is no longer any particular set of skills that must be learned in order for one to make art, how does one become an artist?

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Berlin, 17. Juli 2015

Jeder von uns hat etwas beizutragen. Doch das hängt vom selbständigen Denken Jedes Einzelnen ab, und nicht davon, irgendwelchen Regeln zu folgen, oder gar meinem Kommando. Wir sind alle Pioniere, wir alle sind Teil dieses großen unglaublichen Geheimnisses, und ganz gleich was ein Mensch auch tut, stets trägt er dazu bei, wie sich alles entwickelt und später ergibt auf der Welt, immer und überall. — R. Buckminster Fuller

Berlin, 15. Juli 2015

Jacques Derrida | * 15. Juli 1930; † 8. Oktober 2004.

Berlin, 13. Juli 2015

speed = rapidity of movement or action; the rate at which someone or something is able to move or operate.

[...] Speed is creating a new world that transforms what we do, what we value, and, more important, who we are. As acceleration accelerates, our very sense of reality morphs. The unquestioned faith in this New Age is that faster is always better and that the quick inherit the earth. [...] — Mark C. Taylor

Berlin, 1. Juli 2015

[...] As long as one does not follow the standards set up by the mainstream (the center’s other name), one’s work is in vain, no matter how brilliant or original it is. Indeed, the more original, the more problematic. [...] — Costica Bradatan

Berlin, 29. Juni 2015

Paul Klee | * 18. Dezember 1879; † 29. Juni 1940.

Berlin, 18. Juni 2015

Berlin, 16. Juni 2015

Bloomsday | James Joyce | Ulysses

Berlin, 15. Juni 2015

[...] The dynamic is clearest in the case of painting and allied visual arts. Markets tend to prize fashionable novelty over continuity. The shocking and sensational get more attention than subtle variations on traditional conventions and themes. Capitalism, applied to the fine arts, created the arms race that led to increasingly drastic departures from premodern artistic tradition, until finally, by the late 20th century, 'art' could be everything and therefore nothing. [...]

The process of escalating sensationalism ultimately reaches its reductio ab absurdum in any fashion-based industry. In the case of painting and sculpture the point of exhaustion was reached by the 1970s with Pop Art and minimalist art and earth art and conceptual art. Can a row of cars be art? Sure. Can an empty canvas be art? Sure. Does anybody care? No. [...] — Michael Lind

Berlin, 12. Juni 2015

Ornette Coleman [1930-2015]

Berlin, 4. Juni 2015

The profoundly atomic character of the universe is visible in everyday experience, in raindrops and grains of sand, in the hosts of the living, and the multitude of stars; even in the ashes of the dead. Man has needed neither microscope nor electronic analysis in order to suspect that he lives surrounded by and resting on dust. — Pierre Teilhard de Chardin, The Phenomenon of Man (1955)

Berlin, 1. Juni 2015

Monteverdi · Serie TWENTYTWENTY [one] — 20 x 20 cm (7.9 x 7.9 inches) — Bilderzyklus [2013/2014/2015] Gouache, Inkpen, Inkjet Prints und Papier (Collage) auf Leinwand | Galerie öffnen

Berlin, 25. Mai 2015

A widening of concepts is necessary
Another look at the future is required...
Look and see the twin road vision light:
It is darker than the night;
It is the twin road heraldry...
Vibrations of a different kind.
These kind vibrations kind are just the kind we need.
The distance narrows,
We are approaching the twin roads of the future.
One day planet eart must choose to change;
And you must choose
There is no other way.
Don’t forget the alter hints I give to you...
One day soon, you must choose to change
Be sure your intuition’s voice is not defied
Or perhaps neglectfully denied.
No other voice will speak to you
No other voice knows what to say.

— Sun Ra · You Must Choose

Berlin, 20. Mai 2015

Berlin, 12. Mai 2015

Ich empfinde Haß auf die Dummheit meiner Epoche, ganze Fluten von Haß, die mich ersticken. Scheiße steigt mir hoch wie bei einem eingeklemmten Bruch, bis in den Mund. — Gustave Flaubert, Brief an Louis Bouilhet, 1855

Berlin, 28. April 2015

Once upon a time trees were the temples of the deities, and in conformity with primitive ritual simple country places even now dedicate a tree of exceptional height to a god; nor do we pay greater worship to images shining with gold and ivory than to the forests and to the very silences that they contain. — Pliny the Elder [Gaius Plinius Secundus], Natural History, XII [II]

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Berlin, 14. April 2015

Harry Partch [1901-1974]

Berlin, 7. April 2015

Every government is run by liars and nothing they say should be believed. — I. F. Stone [Best of I. F. Stone]

Berlin, 30. März 2015

When it is said that / ‘Tomorrow never comes’, / Thus when we speak of the future, / We speak of a lie, / Because the future is tomorrow / And tomorrow never comes. — Sun Ra [1972]

Berlin, 27. März 2015

Machen wir uns nichts vor: Kunst ist unbequem, ganz besonders für den Künstler selbst. — Edgar Wind, Kunst und Anarchie, Frankfurt/M. 1994, S. 9

Berlin, 24. März 2015

Whitney · Serie TWENTYTWENTY [four] — 20 x 20 cm (7.9 x 7.9 inches) — Bilderzyklus [2013/2014/2015] Gouache, Inkpen, Inkjet Prints und Papier (Collage) auf Leinwand | Galerie öffnen

Berlin, 20. März 2015

That government is best which governs not at all; and when men are prepared for it, that will be the kind of government which they will have. — Henry David Thoreau, Essay on Civil Disobedience (1849) | Originally published as Resistance to Civil Government

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Monteverdi · Serie TWENTYTWENTY [one] — 20 x 20 cm (7.9 x 7.9 inches) — Bilderzyklus [2013/2014/2015] Gouache, Inkpen, Inkjet Prints und Papier (Collage) auf Leinwand | Galerie öffnen

Berlin, 9. März 2015

[ONLINE EXHIBITION] — Lost in contemplation — [in Anschauung versunken] — Exterritorial Art Project [2015] · Projekt öffnen

Berlin, 6. März 2015

Let us define two things and clearly distinguish them from one another: first the hard, and second the soft. By the first I mean on the one hand solid residues, liquids, and gases, emitted throughout the atmosphere by big industrial companies or gigantic garbage dumps, the shameful signature of big cities. By the second, tsunamis of writing, signs, images, and logos flooding rural, civic, public, and natural spaces as well as landscapes with their advertising. Even though different in terms of energy, garbage and marks nevertheless result from the same soiling gesture, from the same intention to appropriate, and are of animal origin. To be sure, the pestilential invasion of space by soft signs does not enter into the physical and chemical calculations mentioned above, for instance those concerning climate. But in combination with hard pollution, soft pollution proceeds from the same drive. Here is the result: of course, pollution comes from measurable residues of the work and transformations related to energy, but fundamentally it emanates from our will to appropriate, our desire to conquer and expand the space of our properties. He who creates viscous and poisoned lakes or garish posters is making sure no one will take away the spaces he has occupied, now or after he is gone. [...} — Michel Serres, Malfeasance

Berlin, 2. März 2015

Serie TWENTYTWENTY [three] — 20 x 20 cm (7.9 x 7.9 inches) — Bilderzyklus [2013/2014/2015] Gouache, Inkpen, Inkjet Prints und Papier (Collage) auf Leinwand | Galerie öffnen

Berlin, 25. Februar 2015

re—mastered & re—issued | Lichtensteiger | Koehler [Beginnings Part I, re—issue, 2015] and [The Beauty of Found Music, re—issue, 2015]

Berlin, 14. Februar 2015

Everything, I'm afraid, is significant, and nothing is finally important. — John Barth, The Floating Opera (1957)

Nothing is intrinsically valuable; the value of everything is attributed to it, assigned to it from outside the thing itself, by people. — John Barth

Berlin, 11. Februar 2015

Blessed be the day . . . | Berlin—Detroit [2012/2015] · Galerie öffnen

Berlin, 4. Februar 2015

Serie TWENTYTWENTY [two] — 20 x 20 cm (7.9 x 7.9 inches) — Bilderzyklus [2013/2014/2015] Gouache, Inkpen, Inkjet Prints und Papier (Collage) auf Leinwand | Galerie öffnen

[Memories of the air and the light of Berlin, Paris, London, Philadelphia, New York and Detroit. Against monumentality. Montage. Maps. Meaning. No Meaning. Feuille blanche. Sled [a vehicle on runners for traveling over snow or ice]. Shoes [sauntering, walking, to stroll]. Simply another rag. Infinité. Standardized thinking leads to a standardized world. Die Welt und der ganze Kosmos liegen in den Buchstaben. Méditation/zéro.]

Berlin, 3. Februar 2015

Serie TWENTYTWENTY [one] — 20 x 20 cm (7.9 x 7.9 inches) — Bilderzyklus [2013/2014/2015] Gouache, Inkpen, Inkjet Prints und Papier (Collage) auf Leinwand | Galerie öffnen

Berlin, 29. Januar 2015

PDF · 4x52 · Piece for four voices (partition) · download [92 KB]

Berlin, 21. Januar 2015

Nevelson, Louise [1899-1988]

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Berlin, 19. Januar 2015

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R. Rauschenberg: Ich erkläre grundsätzlich nicht gerne, warum ich etwas tue, denn das macht die Einzigartigkeit der Erfahrung zunichte und erschwert oder verhindert die unabhängige Reaktion auf das Werk. [...] Verstehen ist eine Art Blindheit. Gute Kunst kann man, glaube ich, nicht verstehen. — Robert Rauschenberg and Donald Saff, A conversation about art and ROCI (1991)

Berlin, 17. Januar 2015

Berlin, 13. Januar 2015

Amid the bacchanal of disruption, let us pause to honor the disrupted. The streets of American cities are haunted by the ghosts of bookstores and record stores, which have been destroyed by the greatest thugs in the history of the culture industry. Writers hover between a decent poverty and an indecent one; they are expected to render the fruits of their labors for little and even for nothing, and all the miracles of electronic dissemination somehow do not suffice for compensation, either of the fiscal or the spiritual kind. [...] — Leon Wieseltier

Berlin, 9. Januar 2015

This world system, somewhat further developed, lasted down to the time of Homer, who always speaks of the gods as settled on Mt. Olympus. We have noted that he has Thetis, the mother of Achilles, tell him that the gods had gone from Olympus to feast on [Mt.] Atlas. So that in Homer's time the highest mountains on the earth were evidently regarded as pillars sustaining the heavens, even as Abyla and Calpe on the straits of Gibraltar continued to be called the Pillars of Hercules because the hero had taken up the burden of Adas, who had grown tired of supporting the heavens on his shoulders. — Giambattista Vico, The New Science [Scienza Nuova, 1725], Sectio IX, Chapter I, POETIC ASTRONOMY [726]

Berlin, 1. Januar 2015

All the best for 2015

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Photography | Prints

All photographs are available as Giclée prints/high-quality inkjet prints, signed by the artist and presented un-matted. Please send a note to receive detailed information about other available printing techniques. | lichtconlon [ at ] googlemail [ dot ] com

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