Menu toggle
Navigation

Marek Radke

RauBild, 2006, Centrum Rzeźby Polskiej - Galeria Kaplica Orońsko / Polen

Mediathek Sorted

Media library
  • RauBild - 2006, Centrum Rzeźby Polskiej, Galeria Kaplica Orońsko / Poland
  • The Waypoint 200/1 - 2008, Galeria Caesar, Olomouc / Czechia
  • Die Große Kunstausstellung NRW Düsseldorf - 2012, Museum Kunstpalast, Düsseldorf
  • International Exhibition Sculpture and Object XIV - 2009, Galeria Z, Bratislava
  • Gold, Silber und... - 2017, Kunstverein Oerlinghausen
  • Złoto, srebro, oraz... - 2019, Museum of Contemporary Art (Muzeum Sztuki Współczesnej), Szczecin National Museum / Poland
  • The Art Space - 2013, Galeria OKNO, Słubice / Poland
  • The Lift - 2006, Ceweco Haus, Oerlinghausen
  • The Game - 2008, Centrum Sztuki PATIO, Łódź / Polen
  • ArtSpace - 2008, Miejsce sztuki Oficyna, Szczecin / Poland
  • The Waypoint N 51°57,55’ E 008°39,57’ - 2007, Kunstverein Oerlinghausen
  • International Exhibition Sculpture and Object XIV - 2012, Instytut Polski, Bratislava
  • Tu i Tam - 2014, Galeria Biała, Lublin / Polen
  • Black - 2014, Mark Rothko Art Centre, Daugavpils / Latvia
  • Infinity - 2015, LICHTUNGEN light art biennial, St Andreas Church, Hildesheim
  • INTERFERENCE - 2018, International Light Art Project Tunis / Tunisia
  • LICHTROUTEN - 2018, Light Art Project, Lüdenscheid
  • Droga życia - 2019, SEE DJERBA International Media Art Project, Houmt Souk / Tunisia
  • Tu - 2011, steel/plexiglas, 150 x 54 x 54 cm, Kunst im Park 3 / Kunstverein Oerlinghausen
  • Zwielicht - 2019, Schloßbergstollen, Graz / Austria
  • //RESPONSIVE - 2019, International Light Art Project, Halifax / Canada
  • Retrospektive PB - 2012, Kunstpreis des Kunstvereins Paderborn und der Sparkasse Paderborn-Detmold
  • The Game - 2009, Kunstverein Frankenthal
  • ASSOZIATIONEN – Bilder, Objekte, Installation - 2016, Gesellschaft für Bildende Kunst Trier e.V.
  • ArtSpace - 2007, Center for Interdisciplinary Research, Bielefeld
  • Radke’s studio in Bad Driburg - 2019
  • A-Alienation - 1988, 122 x 166 cm, European Prize for Painting 1988, Stedelijk Museum Ostend / Belgium
  • 26/05 - 2005, acrylic, oil on wood, 25 x 34.5 x 4 cm
  • 11/02/08 - 2008, acrylic, oil on wood, 110 x 150 cm
  • Spotkanie z Rudolfem - 1990, oil on canvas, 50 x 70 cm
  • Lawa - 1992, oil on canvas, 40 x 40 cm
  • Kwadrat 1/02/92 - 1992, oil on canvas, 50 x 50 cm
  • blau auf gelb - 1991, oil on canvas, 38.5 x 41 cm
  • Cisza - 1996, oil on canvas, 19 x 27 cm
  • 10/11/12 - 2012, acrylic on canvas, 110 x 150 cm
  • Lebensweg III - 2014, acrylic on wood, 80 x 120 cm
  • 20-26/08/12 - 2012, acrylic on canvas, 110 x 200 cm
  • 07/09/16 - 2017, acrylic on canvas, 50 x 70 cm
  • 23/04/17 - 2017, acrylic on cardboard, 30 x 40 cm
  • 19/11/15 - 2015, acrylic on canvas, 50 x 70 cm
  • 12/10/16 - 2016, acrylic on canvas, 18 x 24 cm
  • 26/01/17 - 2017, acrylic on cardboard, 19.3 x 48.2 cm
  • 17/09/16 - 2016, acrylic on wood, 18.8 x 29.7 cm
  • 15/09/16 - 2016, acrylic on canvas, 40 x 60 cm
  • 16/09/16 - 2016, acrylic on canvas, 40 x 60 cm
  • 11/02/20 - 2016, acrylic on canvas, 18 x 24 cm
  • 21/09/20 - 2020, acrylic on canvas, 14.7 x 21.5 cm
  • 23/09/20 - 2020, acrylic on canvas, 17.7 x 24.5 cm
  • Marek Radke - 2016, 60plus – MICA (Michigan Institute for Contemporary Art), Lansing / USA
RauBild, 2006, Centrum Rzeźby Polskiej - Galeria Kaplica Orońsko / Polen
RauBild, 2006, Centrum Rzeźby Polskiej - Galeria Kaplica Orońsko / Polen

Images becoming objects while remaining images; shades of colour lining up to form a complex, multi-part sequence of tones; geometric elements succeeding in breaking even the severity of structural predictability and being transformed into a playful show of changing sensual effects: these are just some of the direct visual experiences that Marek Radke’s art is able to communicate. They are the result of consistency and creativity, which is anchored in the great tradition of Constructivism. With Strzemiński and Stażewski – to name just two – the movement is represented by key figures in Polish art and, despite all the prophecies of doom, remains alive and well today. In turn, Radke succeeds in articulating his own arsenal of forms in his artworks, with an individual image language that has grown over the years.

To illustrate this point and make it comprehensible, a brief reminder of Radke’s first years as a painter in Poland during the early 1980s is in order. Why? From Malevich before his black square to Mondrian before the red, black and yellow linear squares against a white background, or Kandinsky before the first abstract composition following his depiction of figures from Russian fairytales, the path of development has always led away from a representationalist style towards a treatment of colour and form that is emptied of any dependence on reality and based on the absolute freedom of area and space. The same is also true of Marek Radke.

There was, and still is, talk of the new autonomy of image elements, whatever it was that I was doing, but of course, that is only partly true. The will of the artist remains the dominant factor; it is the decisive institution which invents a new image structure and formulates its own rules. These can have their roots in mysticism, as with Malevich; in a neo-platonic mindset, as with Mondrian; or in the spiritual, as with Kandinsky – or in a sensitive yet specific narrative art, from which Marek Radke once emerged.

The free, informal abstraction and the strictly bound Constructivism develop from different roots, each retaining its own characteristics without having settled as such. Then there is the difference in creation between the genesis that has developed and the practical availability of finished forms and methods, such as in the field of crafts and design. Radke’s early years are surely a case in point here. His works from that time show an artist who has learned his traditional craft and who is already consciously playful in his abstractive handling of the content – a deliberate paradox. These images are, after all, a politically critical, satirical reckoning with the times and were, incidentally, certainly not without risk. He was accused by the authorities of betraying his country. It was with a sense of pride when the same paintings were again shown in Gdańsk 20 years later.