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Jens Hausmann
Jens Hausmann sets his sights on global modernity The painter Jens Hausmann grew up in Meiningen, Germany and studied under Professor Ralf Kerbach, a renowned objective realist artist, at the University of Dresden. His latest, energy-charged works combine his approach to modern architecture with an artistic fascination for space,… Read more
Intro Bio Exhibitions
Modern house with pool 2
House keeping
from CA$ 949 to CA$ 3,190
Modern house with pool
House keeping
CA$ 949
Modern house interior
House keeping
Psychology in the jungle
House keeping
from CA$ 949 to CA$ 1,799
Modern house terrace
House keeping
from CA$ 799 to CA$ 1,699
Brasilian House
House keeping
from CA$ 899 to CA$ 2,190
Modern house with bassin
House keeping
from CA$ 949 to CA$ 2,390
Modern house 3
House keeping
from CA$ 949 to CA$ 2,790
Avantgarde house
House keeping
from CA$ 949 to CA$ 1,799
Screening Room
Screening Room
The Garden
The Garden
CA$ 1,299
The Garden
The Garden
from CA$ 2,990 to CA$ 4,990
Modern house with pool
Minis
CA$ 319
Modern house interior
Minis
CA$ 319
Screening Room
Minis
CA$ 319
Background Information about Jens Hausmann
Introduction
Jens Hausmann sets his sights on global modernity
The painter Jens Hausmann grew up in Meiningen, Germany and studied under Professor Ralf Kerbach, a renowned objective realist artist, at the University of Dresden. His latest, energy-charged works combine his approach to modern architecture with an artistic fascination for space, landscape, and perspective. Surrounded by fantastically colored landscapes, the modern houses he “constructs”, are like dream homes. The images combine a colorful, intense aesthetic with popular magazine and advertising images. Together with a soft, almost hot sunlight, this gives the scenes a southern air.
Screening Room & House Keeping
Hausmann is particularly interested in the elaborate reproduction of distant worlds, such as the continent of South America, and especially the modernist buildings of Brazil. They are scenarios of artistically idealistic projects for future metropolises, formed in part on the drawing boards of architects like Oscar Niemeyer.
Here, painting meets the lucid observation of architectural rationalism. It distinguishes itself through the realistic depiction of materials such as concrete and the broad, reflective glass surfaces with their views in from, and out to, the surrounding landscape. The carefully measured “architectural quadrature” is preserved in freely floating terraces, parking areas, and driveways, and also in the gardens with their generous swimming pools, and the surrounding vegetation. The metal window frames are clearly marked, serving to frame our vision and celebrating the view out and the reflections within, both from near and far. The scenery in front of the building is replicated and reproduced: not only in the suspended windows and doors that reach to the floor, but also in the large water surfaces in the garden.
The inhabitants are rarely visible. Though they are missing from these dream homes of modern architectural heritage, they leave behind status symbols and traces of an exalted existence. Objects such as reclining chairs or cars, designed to the last detail, seem to have a character between décor and tested certainty. The comfort of the home is clearly missing, however. Though we feel invited, as if we are visitors, we also feel voyeuristic. Jens Hausmann opens to the viewer what is usually hidden from view by tall boundaries. He lets us live out our curiosity for the unknown, or simply revel in memories, experiences, and mini adventures. Above all, the excessive colours produce a kaleidoscope of nature that conquers and takes possession of parts of the architecture just as it does to the viewer’s gaze. The reality and authenticity of these images is striking: They let us feel the warm light and smell the garden air, yet also allow us to travel to a new world. We are visiting a scene of post-modernism that lets us become witnesses to a multi-layered globalisation. Continually changing and adapting, the house is on the one hand static, on the other it is marked by the clash of new perspectives and image spaces. The relationship between presence and absence alone ensures a visit full of longing and the emergence of new visions.
The Garden
In Hausmann’s series The Garden, there are no architectural forms in sight. Here, lushly growing nature has taken the upper hand. In a symphony of luminous green, blue, orange, and violet, one wild plant is layered atop another until the individual subsystems unite as one cohesive work of art. Hausmann whisks the viewer away to enchanted mental destinations located somewhere between fiction and reality. His painterly signature style is clear to see; his oil paintings are lively and inviting, drawing us in. The idyllic garden grows and thrives in its own rhythm. This LUMAS artwork consists of three sections of slightly different width.
Christina Wendenburg
The painter Jens Hausmann grew up in Meiningen, Germany and studied under Professor Ralf Kerbach, a renowned objective realist artist, at the University of Dresden. His latest, energy-charged works combine his approach to modern architecture with an artistic fascination for space, landscape, and perspective. Surrounded by fantastically colored landscapes, the modern houses he “constructs”, are like dream homes. The images combine a colorful, intense aesthetic with popular magazine and advertising images. Together with a soft, almost hot sunlight, this gives the scenes a southern air.
Screening Room & House Keeping
Hausmann is particularly interested in the elaborate reproduction of distant worlds, such as the continent of South America, and especially the modernist buildings of Brazil. They are scenarios of artistically idealistic projects for future metropolises, formed in part on the drawing boards of architects like Oscar Niemeyer.
Here, painting meets the lucid observation of architectural rationalism. It distinguishes itself through the realistic depiction of materials such as concrete and the broad, reflective glass surfaces with their views in from, and out to, the surrounding landscape. The carefully measured “architectural quadrature” is preserved in freely floating terraces, parking areas, and driveways, and also in the gardens with their generous swimming pools, and the surrounding vegetation. The metal window frames are clearly marked, serving to frame our vision and celebrating the view out and the reflections within, both from near and far. The scenery in front of the building is replicated and reproduced: not only in the suspended windows and doors that reach to the floor, but also in the large water surfaces in the garden.
The inhabitants are rarely visible. Though they are missing from these dream homes of modern architectural heritage, they leave behind status symbols and traces of an exalted existence. Objects such as reclining chairs or cars, designed to the last detail, seem to have a character between décor and tested certainty. The comfort of the home is clearly missing, however. Though we feel invited, as if we are visitors, we also feel voyeuristic. Jens Hausmann opens to the viewer what is usually hidden from view by tall boundaries. He lets us live out our curiosity for the unknown, or simply revel in memories, experiences, and mini adventures. Above all, the excessive colours produce a kaleidoscope of nature that conquers and takes possession of parts of the architecture just as it does to the viewer’s gaze. The reality and authenticity of these images is striking: They let us feel the warm light and smell the garden air, yet also allow us to travel to a new world. We are visiting a scene of post-modernism that lets us become witnesses to a multi-layered globalisation. Continually changing and adapting, the house is on the one hand static, on the other it is marked by the clash of new perspectives and image spaces. The relationship between presence and absence alone ensures a visit full of longing and the emergence of new visions.
The Garden
In Hausmann’s series The Garden, there are no architectural forms in sight. Here, lushly growing nature has taken the upper hand. In a symphony of luminous green, blue, orange, and violet, one wild plant is layered atop another until the individual subsystems unite as one cohesive work of art. Hausmann whisks the viewer away to enchanted mental destinations located somewhere between fiction and reality. His painterly signature style is clear to see; his oil paintings are lively and inviting, drawing us in. The idyllic garden grows and thrives in its own rhythm. This LUMAS artwork consists of three sections of slightly different width.
Christina Wendenburg
Bio
| 1994-2000 | Studies of sculpting and painting at HFBK Dresden |
| 2001 | Diploma Painting |
| Lives in Berlin |
Exhibitions
Solo Exhibitions
| 2012 | minimal, Galerie Schuster, Potsdam Blind Windows, Von Frauenberg Art Gallery, Düsseldorf |
| Fluchtlinien, Kunstverein Barsinghausen | |
| 2011 | Diktatur, DSV Kunstkontor, Stuttgart |
| Der Unsagbare Raum, Kunstverein/ Kunsthaus Meiningen | |
| 2010 | 35 Fragments, Galerie Schuster, Berlin |
| 2009 | Fragile, Galerie Schuster, Miami, USA |
| 2008 | Kalt, Kalt – Heiss, Heiss, Galerie Schuster, Frankfurt |
| 2007 | Traum von Haus, Frederik Foert Galerie, Berlin |
| 2006 | Himmel, Wssser, Baum, Haus, Mensch – Ein Spiel, Krings-Ernst Galerie, Cologne |
| Heimkino, Kunsthalle Vierseithof Luckenwalde | |
| 2005 | Deutsche Welle, Galerie Foert Garanin, Berlin |
| 2003 | Zwischenraum, Galerie Foert Garanin, Berlin |
| 2002 | Psychonews, Spielhaus Morrison Galerie, Berlin |
| 2001 | Narkose, Galerie Jette Rudolph, Berlin |
| 2000 | Spirit and Borders, Galerie Jette Rudolph |
Group Exhibitions
| 2012 | Der Unsagbare Raum/ Part II, ARD Hauptstadtstudio, Berlin |
| Konstellationen, Haus am Kleistpark, Berlin | |
| Mixed Signals/ Part I, Galerie Z, Stuttgart | |
| 2011 | Ich bin ein Berliner, Dezer Schauhalle, Miami, USA |
| In Between Days/ Von Frauenberg Art Gallery, Düsseldorf | |
| Kernfragen, Haus am Kleistpark, Berlin | |
| ABC of Painting, Galerie Schuster, Berlin | |
| 2010 | Malerei, Galerie Dr. messner, Trossingen |
| Berliner Salon, Europäischer Kunsthof Ficht, Aachen | |
| Art Fair 21 Köln, Galerie Schuster, Köln | |
| 2009 | Scope New York, Galerie Schuster, New York, USA |
| 2008 | Scope Miami, Galerie Schusten, Miami, USA |
| 2007 | Arcadia, Tactile Bosch, Cardiff, UK |
| Salty Tears, Frederik Foert Galerie, Berlin | |
| Scope Miami, Galerie Schuster, Miami, USA | |
| 2006 | The fine art of separating people from their money, Frederik Foert Galerie, Berlin |
| Art Peking – Frederik Foert Galerie | |
| Art Fair Köln, Art Karlsruhe, Galerie Kreuzer + Roy, Heimbach | |
| 2005 | Time Zones, Krings Ernst Galerie, Cologne |
| Cars and Races, Frederik Foert Galerie, Berlin | |
| 2004 | Pintura, Galeria Fabio Penacall, Salvador, Brasil |
| Art Frankfurt, Galerie Foert | |
| 2003 | Raum 3, Galerie Garanin, Essen |
| 2001 | Art Frankfurt, Galerie Jette Rudolph |
| Diplomausstellung, Ocotogon HFBK Dresden |
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