Past exhibitions

"schön und gut" (all well and good) is the title of the new exhibition in the LAUDA FactoryGallery – and the first pictures take us to the heart of the big city. The pictures "Kreuzung", "Second Avenue" and "East Village" as well as the "Small Puddle" a few steps further on show the viewer an attractive side that is normally hardly ever noticed. The Norwegian/German husband-and-wife artists, Eva Nordal and Sven Wiebers, are showing works with a beauty of their own, as precise as photos but nevertheless strikingly profound in their intention and title.

The couple, Nordal and Wiebers, had brought a cosmopolitan ambiance to Lauda and to LAUDA, said Dr. Gunther Wobser in his welcome address, where he also looked back on the highly emotive Japanese-influenced Kato exhibition in the previous two months. And now there are two exhibitors from Berlin; Dr. Wobser welcomed the long-term commercial and artistic connection to this city in light of the newly designed presentation.

Norbert Gleich, Chairman of the Lauda-Königshofen Art Circle, attested to the long artistic path of the painter Eva Nordal, who was born in Bergen in Norway, in his portrait of the artist. She emigrated to West Berlin at the age of 19 and first of all turned to the fashion sector, after which she completed vocational training as a conservator and used her newly acquired skills in Schloss Charlottenburg. Several trips to Asia followed and after her return, a course of studies in wall restoration in Potsdam. However, it was above all the sculptural works of the artist, now freelance, that brought her great acclaim in a large number of galleries for a long period from 1994. Now it is her extraordinary painting that provokes her creativity and fascinates the viewer.

Sven Wiebers was born in Glauchau in Saxony; he moved to West Berlin in 1983, where he started a course of studies in visual communication at the Academy of Arts. He has worked as a freelance artist since 1986. His exhibitions, approximately 40 in number, have been seen in prominent galleries both in and outside Germany; visitors to fairs in Amsterdam, Florence, Berlin, Düsseldorf, Regensburg, Cologne and ART Karlsruhe have admired his atmospherically dense landscapes, in which light usually plays a key role. He has been involved in countless exhibitions at home and abroad together with his wife, Eva Nordal; both artists are showing a cross-section of works from the last five years in the current exhibition at the FactoryGallery.

The exhibition is open to visitors until 16 June after registration (email: or telephone +49 9343/503-0). Opening times: Monday to Thursday from 9 a.m. to 4 p.m. and Friday from 9 a.m. to 2 p.m.

Major event at the LAUDA FactoryGallery: Atsuko and Kunihiko Kato present their last exhibition before they return to their homeland of Japan after more than 40 years in Germany. Dr. Gunther Wobser called the current presentation of the pictures by Atsuko and the sculptures by Kunihiko Kato a top-class exhibition and a wonderful evening. He reminded the guests of the first exhibition in 1998 - with the absolute record number of visitors at the time. “In Gratitude” is the title above the current exhibition and Dr. Gunther Wobser also said “thank you” to the Kato couple for “40 years of Taubertal”. “A secret poetry and at the same time the primordial force that comes from the accord of man and nature turn paintings and sculptures by Atsuko and Kunihiko Kato into a piece of the history of creation”, as laudatory Norbert Gleich put it.

“‘You cannot move old trees’ is a saying in Germany and we understand it very well. However we will be taking ‘the leap into cold water’ this fall, returning to our old homeland in Japan”, says Atsuko Kato, and she stresses that Germany has been a second homeland with many dear friends. “We shall be taking many good memories and valuable experiences from our second homeland of Germany back to Japan.” Hope resonated in Atsuko’s words “Till we meet again – the phrase is lovely because it does not mean a final farewell” with these words and as a farewell she presented both Dr. Wobser and Norbert Gleich each with one of her beautiful pictures.

Premiere in the LAUDA FactoryGallery: When the entire building complex at LAUDA was expanded, which was celebrated during the "Open Day" commemorating the company’s 60th anniversary, the prestigious gallery also got a facelift – and it is in this newly designed environment that the 125th exhibition of the FactoryGallery opens with Mosbach artist Elke Vater. Here, the dedicated nurse for the elderly has conjured up an enchanting world with her works, drawing enthusiasm and a large audience at its opening. Dr. Gunther Wobser, President & CEO, is impressed and at the end of his welcome speech called on attendees, some of whom had traveled great distances to attend, to: “...fasten our seatbelts – the journey begins with the art of Elke Vater...”

The exhibition, entitled “Metamorphosis” (the Greek for “transformation”), illustrates this with pictures and sculptures, drawing parallels with the ever-changing nature of life. Norbert Gleich, Chairman of the Lauda art circle, clearly illustrates these parallels in his presentation, while also seeing examples in the fairytale world such as with the enchanted prince in the “Frog Prince”, who is transformed by a kiss from the princess. But even as early as with Ovid, known as a poet of antiquity, the topic of transformation has been dealt with in numerous texts going back to the creation of the world. The foreword of a paperback edition with a selection of these stories calls the complete edition “an extensive collection of fairy tales encompassing many thousands of verses...” – early proof of the great attraction held by transformations packed into stories (or, in the case of Elke Vater, pictures). The "Trilogy” and “Aurum de Anima” – Gold of the Soul – in gold and black start off the exhibition as a whole and take a mysterious approach to preparing the visitors for the topic at hand; colorful creations accompany visitors as they ascend the stairs and “Springtime” dominates the room at the end of the stairway with its explosive colorfulness. Right next to it is a small picture, “Transitoriness” – is this exactly the spot where the “transformation” begins? In any case, Elke Vater is glad that the exhibition is enjoying such popularity and excited to have her dream of exhibiting in the LAUDA FactoryGallery fulfilled.

The entry area to LAUDA Dr. R. Wobser will have a new look for the next two months. To celebrate the company's impending anniversary, it was decided that the 124th exhibition of the FabrikGalerie LAUDA since its opening should be something out of the ordinary. And that is exactly what the works of artist H. D. Tylle have to offer – unusual and unconventional themes in the art world. Tylle was born in Bayreuth and studied fine arts for five years at the College of Fine Arts in Kassel, under Professor Manfred Bluth. His numerous exhibitions, industrial art projects with different companies, and the fact that his work is exhibited in many German museums are a testament to a broad palette of artistic creativity. The artist with strong "Franconian roots", as Dr. Gunther Wobser described him in his welcome speech to guests, is a popular industrial painter who has even painted a portrait of one of LAUDA's production rooms. Alongside this painted portrait of LAUDA, the entry way to the gallery will also feature a painting on loan from the pharmaceutical and chemical company Merck in Darmstadt; in the painting's background you can clearly see the LAUDA logo.

“An artistic direction that we have never before seen in our gallery, these are the works of one of the most successful German painters of our time,” explained speaker Norbert Gleich, calling him “with the emphasis of his work, one of the most significant painters in Germany of this genre, that of industrial painting, an artistic niche that he has occupied successfully for many years.” Yet it is not only industrial- and cityscapes that define his body of work. Here, for example, from the company Knauf in Iphofen, a steep mountain of gypsum is fashioned into the “Matterhorn.” Another painting showcases evening house facades with cozy corners, somber cranes against a cloudy sky convey a certain romanticism and even Venice is shown in its many facets. A vineyard in Iphofen forms a beautiful contrast to images of the mining and processing of gypsum, a highly sought-after natural material; and the portrait of two "buddies" in the mine tells a whole story. After touring this exhibition, you come away with an entirely new understanding of the industrial world.

Norbert Gleich concludes with one final thought: “Tylle is a painter and artist who as a witness to our time – our so-called “eyes of the 21st century” – is recording all that is important to us, we will probably not be able to measure its true quality for another fifty to one hundred years. Because by then we will no longer simply see industrial portraits, but rather the truth of our own history.”

The exhibition is open until October 9 and can be visited during regular business hours from Monday - Thursday from 9:00 a.m. to 4:00 p.m. and Friday from 9:00 a.m. to 2:00 p.m. Please call ahead.

"In Motion": In the new "Art after Work" exhibition, Dr. Gunther Wobser addressed the topic of the current exhibit by Arno Benninger and compared it to the constant changes, expansions, and versatility of the company, its products, and even its employees all over the world. Dr. Wobser took advantage of this occasion to extend a special welcome to foreign guests; in his words: "Eleven business partners from nine countries", for whom he expressly had Norbert Gleich's laudation translated into English.

Dr. Wobser described the artist as a genuine "Lauda native", with Art Group Chairman Gleich having followed in his footsteps. Born and raised in Lauda, Benninger resided in Boxberg from 1967 on, where he also went to school. He discovered his artistic skills in Osterburken, where he graduated from high school and where his art teacher recognized and encouraged the talent of his pupil, whose fascination with painting began as a child. His college degree in education led him to work in youth welfare services, looking after young people between the ages of 14 and 20 at the St. Kilian children's and youth home in Walldürn.

Visitors to the exhibit will encounter pictures featuring a great variety of motifs and techniques. Exotic birds with colorful plumage surprise you in the lobby, followed by unconventional landscapes and the first spiral paintings. Enchanting dancing scenes, delicate girls in a round dance will captivate you - motion is already dominant here. It is ultimately also motion which shapes Benniger's new style of painting; there are limits to design freedom when using a rotational technique. "The various color consistencies and the rotation speed culminate in the desired motif" - as described by Norbert Gleich. And yet - what is created here almost explosively are works open to diverse interpretations. Whether the observer recognizes a face, a partially hidden mask, or entire stories within the picture; their viewpoint determines the painting's content. Here an angel seems to be floating through the room; a tiny step to the side can completely transform the picture: Your own imagination creates something new.

Visitors can register (Email:, telephone 09343/503-0) to view the exhibit following preregistration until July 22, 2016. The opening times are Monday to Thursday from 9 a.m. to 4 p.m. and Fridays from 9 a.m. to 2 p.m.

Dr. Gunther Wobser was excited about “great resonance for great art” at the opening of “Pictures of Landscapes” by Franziska Kunath, who is from the Saxon home town of the Wobser entrepreneurial family, in the LAUDA FabrikGalerie. Emphasizing the “Saxon Axis” as a living connection, he discussed the birthday of the company founded by his grandfather, which celebrated its 60th anniversary on March 1, 2016, and also announced an open house on October 9, 2016 to celebrate the anniversary. His previous opening addresses include appearances for the very active LAUDA Seniors Club as well as for personal acquaintances.

From mechanical engineering draftsman to artist - this was the path taken by Franziska Kunath from 1992 to 1997 with her studies at the Academy of Fine Arts Dresden. When he presented a brief biography of the artist, Chairman of the arts circle Norbert Gleich drew a parallel with the eponym of a scholarship that the student received as one of her awards. His name: Otto Niemeyer-Holstein; Christa and Norbert Gleich have visited his studio and museum in Lüttenort/Usedom on a number of different stays on Usedom. Gleich sees “certain content-related parallels to the creations of the Usedom artist ...” in the “powerful landscape pictures by Franziska Kunath”.

The creations of Franziska Kunath are shaped by “dream and soul landscapes”; just an indication of the gate is given in her picture “Entry” and “Journeying” allows the eye to sense a human figure amongst the swans. The observer is challenged to comprehend the dream and soul landscapes, to deliver oneself up to the dreams. The artist creates a fictitious, artificial world, says Gleich, from fragments, from fractured parts of the real world. Although they are very different from her other works, her eight exhibited ink drawings are not sketches as one might assume, since “colors play a very important role in her creations”, we see them “repeated seemingly as a reflection in the soul landscapes”, the chairman of the arts circle asserts.

Visitors can register (Email:, Telephone: +49 (0)9343 503-0) to experience this collection of impressive landscape pictures until May 30. The opening times are Monday to Thursday from 9 a.m. to 4 p.m. and Fridays from 9 a.m. to 2 p.m.

“A bright color palette” was the title of this, the latest exhibition in the company's own LAUDA FactoryGallery. This is a two-woman exhibition with works by Anastasia Lang and Viktoriya Schelhorn from Bad Mergentheim. Norbert Gleich sang its praises, describing it as “Something very special indeed”. A student and her teacher exhibit side-by-side.

The many visitors attending the opening ceremony clearly delighted Dr. Gunther Wobser. This, the 121st exhibition at the FactoryGallery features works by the youngest artist to date, Anastasia Lang, and her art teacher Viktoriya Schelhorn. This is therefore a great way to launch the New Year, one in which LAUDA will be celebrating its 60th anniversary. The exhibition also contained an additional delight for Dr. Gunther Wobser and Norbert Gleich: flowers, this time presented to the men by the women.

Anastasia Lang is 20 years of age. Last September, visitors to the “das Auge” art circuit gallery in Lauda were able to admire a selection of her pictures, and a big community of fans enthused about her drawings and paintings. Every one of her works demonstrates the presence of great talent. She is still attending high school, the Deutschorden-Gymnasium in Bad Mergentheim, where Creative Arts is one of her favorite subjects. She has her sights set firmly on a course of study in Media Communication once she completes her high-school leaving certificate, the German “Abitur”. However, her great passion, that of painting, is something Anastasia Lang took up about four years ago. After school, she attends painting classes on a regular basis. It was here, through the teachings of Viktoriya Schelhorn, that she acquired a firm background as an artist in the various techniques of drawing and painting. You really need to have seen her magical pictures.

Viktoriya Schelhorn was born and raised in the Ukraine. She graduated in Law from the Juristische Akademie in Odessa but ultimately turned to her true passion in life, that of painting. In 2003, after moving to the Baden-Württemberg town of Bad Mergentheim, she dedicated herself professionally to the air of painting and, in so doing, was following in the footsteps of her father and her grandfather. Today, she is a versatile artist, one who not only enchants through her wonderful pictures and illustrated books for children, but who also imparts her knowledge and enthusiasm for art. Herself a self-taught artist, she also encourages children to paint and draw. Back in 2010, she launched a Painting Campaign for children from the region. The reward for these young 6-year old artists was an exhibition of their work in the Bad Mergentheim Dominican monastery, which was very well received indeed. In the FabrikGalerie, Viktoriya Schelhorn is exhibiting pictures in striking colors, including “The Siren”, an image taken from Greek mythology, and a romantic self-portrait set among colorful spheres - or perhaps they are soap bubbles, symbolizing her dreams? Happiness and wealth - at least that is how a wise saying from Asia would have it - are brought into the building by the artist with an image of colorful fish.

The exhibition can be visited up until 30 March by prior arrangement (e-mail:, or tel. +49 (0)9343/503-0) Monday thru Thursday from 9 a.m. until 4 p.m., and from 9 a.m. until 2 p.m. on Fridays.

Picture: Peter D. Wagner

“Iktus” is the title of an extraordinary and fascinating exhibition of the sculptor Rainer Englert, which is currently being presented in the FactoryGallery of LAUDA DR. R. WOBSER GMBH & CO in Lauda-Königshofen.

This current exhibition focuses on the broad artistic spectrum of the sculptor Rainer Englert with life-size wooden sculptures, small sculptures made of stone and marble, and very large format images with bold, expressive colors. In addition to this, Englert's works in the FactoryGallery at LAUDA include extremely thin wooden sculptures about five meters high (“Father with Son”, “The Caller”, “The Dancer” and “Family”) which await the visitors in front of the building on the factory premises and arouse their curiosity about the exhibitor and his works.

The artist, who was born in Heidelberg and now lives in Neusass near Walldürn (Germany), took up woodcarving at a relatively early age. After learning the craft of a wax sculptor, he trained as a woodcarver under the famous artist Alfred Hrdlicka at the Stuttgart State Academy of Art and Design. Englert has built up a considerable reputation as a freelance sculptor and painter and has exhibited his works in Germany and abroad since 1985.

“All power in art comes from flesh” is a view which Rainer Englert has implemented and realized in his own way, said Norbert Gleich about the artist and his work in his introductory laudatory speech. As a result, the human form dominates his work. Long study trips had taken Englert through four continents, as well as study visits to Canada, USA, Africa and India. “With an alert eye, he absorbed ideas and forms of expression of other cultures and applied them to his work in the subsequent period”, the art group chairman continued. The title of the exhibition, “Iktus” (blow or strike in Latin), was a reference to Englert’s artistic technique. “The artist conjures up the inner life of humanity from a raw block of wood or stone, blow by blow, and confronts the viewer in his own quite unique style.”

With his works and his individual style, Englert wanted to inform, admonish, arouse and convey “his art” and “his message” unostentatiously, without embellishment but nevertheless effectively. “The fascinating thing about his current exhibition in the FactoryGallery is this combination of unobtrusiveness and effectiveness”, Gleich pointed out. “The artistic profile we encounter in Englert's sculpture work also enables us to access his work, to understand it through the personal interpretation of one sculpture or another.”

The FactoryGallery could also celebrate several special anniversaries at the end of the year with the ceremonial opening: Precisely 20 years after the first art exhibition and the initiation of the series of exhibitions, it was now both the 120th exhibition and the 20th of the large private viewings which have been presented by the FactoryGallery once a year in December since its inaugural year, reported Dr. Gerhard Wobser, advisor and initiator of the FactoryGallery and senior executive of LAUDA, at the opening of the exhibition.

“This is the third time an exhibition opening has taken place in the middle of our production shop, thereby underlining the unique character of the FactoryGallery”, said Dr. Gunther Wobser, CEO and President of LAUDA DR. R. WOBSER GMBH & CO. KG, at the private viewing. The exhibitions in the factory enable the company to offer art for people who work here, as well as for guests and visitors. “The human form also fascinates me, because it is an important credo of our company,” said Wobser, referring to Englert's human sculptures.

The FactoryGallery has cooperated with the Lauda-Königshofen art circle since the very beginning, two decades ago, added Dr. Gunther Wobser, who also thanked the two chairmen, Norbert Gleich and Hanni Schifferdecker, for this continuous cooperation. Six private viewings a year were only possible for the company as a result of a dependable cooperation and support team, which also included additional initiatives such as the local heritage and cultural association and the Tauberbischofsheim Art Society.

The musical framework at the ceremonial opening was provided by the singer, musician, actress and entertainer Tina Speidel, accompanied by the sculptor Rainer Englert on guitar.

The “Iktus” exhibition of the sculptor Rainer Englert can be viewed in the LAUDA FactoryGallery by appointment until January 29 2016 (e-mail:, Tel. +49 (0) 9343 503-0). The opening times are Monday to Thursday from 9 a.m. to 4 p.m. and Fridays from 9 a.m. to 2 p.m.

Author: Peter D. Wagner

Lots of memories were in evidence at the opening of the 10th. exhibition in the "Art After Work" series in the LAUDA FactoryGallery with works by Carola Mast. For the 109th. time, an exhibition was held in the prestigious entrance to LAUDA DR. R. Wobser GMBH & CO KG; Dr Gunther Wobser was even able to welcome the “inventor” of this successful series in the FactoryGallery, his father Dr Gerhard Wobser, along with many other guests. He also invoked the memory of the great artist Gertrude Reum, who passed away just last August, whose metal relief adorns the FactoryGallery.

“Under (high) pressure” - this is the evocative title of the exhibition with woodcuts by Carola Mast. The Berlin-born artist has lived in Tauberbischofsheim since 2003, as explained by Norbert Gleich, Chairman of the Lauda art circle, in his presentation about the artist. She propelled this form of art from the Middle Ages – with Gutenberg's invention of movable type and Albrecht Dürer's woodcuts – into the present day, named as the greatest German woodcutter in recent memory. But HAP Grieshaber should not be overlooked as the “initial spark” for the artist's own path to woodcutting. Gleich traced the exhibitor's artistic journey from a young person interested in art, visiting numerous art exhibitions and galleries at home and abroad, from her first photo exhibition to painting and finally wood cutting. She was able to refine her technique and find her own style in workshops and invest her talent and craftsmanship in the particularly risky ‘reductive’ technique. “In this technique,” explained Norbert Gleich, “after each color change on the printing block, more and more of the design is cut away, so that in the end, and in extreme cases, nothing is left of the plate. This printing method has consequences, namely that an imprint of the previous sheets can no longer be reproduced.”

Carola Mast connected the dual meaning of the term ‘high pressure’ in her concluding remarks - indeed, she worked under high pressure for the exhibition and created not just the promised 25 works, but a total of 42 pieces. For her first major exhibition she feared “not doing enough” and in line with the expression “The goalkeeper's anxiety before the penalty kick” she called it “The artist's anxiety before opening day”. Of course, this was entirely unfounded in light of her success.

Carola Mast had a surprise up her sleeve for Dr Gunther Wobser: the company boss received a gift from the artist - a picture of the newly designed entrance area in front of the factory building. In return, he presented a bouquet of flowers before the artist and guests mingled in a relaxed atmosphere.

The exhibition is open to visitors, by advanced reservation only, until 21 November. Opening times are Monday to Thursday between 9 a.m. and 4 p.m. and Fridays from 9 a.m. to 2 p.m.

Dr. Gunther Wobser had the opportunity to welcome the guests of the LAUDA FactoryGallery to "Art After Work" and reminisce about the beginnings of the FactoryGallery, which was brought to life 20 years ago by "initiator and innovative thinker" Dr. Gerhard Wobser. Two years later in 1997, paintings by Anneliese Sack-Meixner went on display in the FactoryGallery. Now the same artist is exhibiting a completely new variant of her paintings under the title "Complete Freedom". In her honorific speech Barbara Kerschkowsky, who has spent decades familiarizing herself with Anneliese Sack-Meixner and her work, looks back on important events in the artist's life, expressing how she was "thoroughly surprise to see the extent and diversity of your artistic work and its themes...". She remembers activities and events in the artist's house and garden and "encounters there with art and artists from Germany and Europe."

Barbara Kerschkowsky describes the artist's works as "exquisitely colorful and lively", with the artist herself describing them as: "The artistic direction is as limitless as metamorphoses in nature. It constantly flouts the average in feeling and thinking, and ignores the laws made by men because it emanates from the primordial." And she grants the viewer a certain amount of insight into the production process of many images: "Only when you start painting," Anneliese Sack-Meixner describes, "does it start to take shape as it should. I don't always have a finished picture in my head that I want to bring to the canvas, rather I decide what I want to emphasize or discard, what to correct or paint over as I paint." Barbara Kerschkowsky calls directly upon the viewer to "take time when looking at the pictures, allow their colors and brilliance to sink in, savor it, let your imagination run wild...".

The exhibition is open to visitors by advanced reservation only until 25 September. Opening times are Monday to Thursday between 9 a.m. and 4 p.m. and Fridays from 9 a.m. to 2 p.m. Reservations can be made via tel. +49 (0) 9343/503-0 or at the email address

A new exhibit changes the face of FactoryGallery LAUDA - and in his opening speech Dr. Gunther Wobser made reference to Dresden, his family's home. Interaction with artists from the Taubertal area, means that, in Dresden, there are always artists to be found who will expand the exhibition range. He is pleased and surprised by the innovative technique used in the pictures by Doreen Wolff, that's how he expressed his admiration of the work. Among those present, Dr. Wobser also extended a special greeting to Gertrude Reum, who created the commanding metal image in the imposing stairway of the LAUDA company.

"Harmonious Inspiration" is the title of Doreen Wolff's presented pieces. Naumburg is her home and she commenced her studies at the Bauhaus University in Weimar. After two years she gave up her studies in civil engineering, favored by her father, to pursue a completely different profession; at the Friedrich Schiller University in Jena she studied art history, archeology, and psychology. Doreen Wolff derived considerable inspiration for her art from numerous study trips. It is absolutely fascinating to listen in on her lively descriptions of the thought processes that gave rise to her work, and the logic behind the titles she chose, to look over the artist's shoulder, so to say, and into her thoughts while a picture emerges dot by dot.

"For traditional painting", as chairman of the art circle Norbert Gleich says in his artist introduction, "paint brushes or palette knives remain unchallenged as the primary 'tools' of the trade. With her it's a totally different story.  She paints - there's really no other name for it - with wooden sticks - point by point on the picture's surface, accurately organized in patterns and ornamentation that come together to form symbolic emblems with their own unique poetry to them, bringing her visual concepts to life". Fascination turns to astonishment as the observer stands before her pictures - dynamic images in which pearls seem to have merged into patterns while at the same time maintaining a mystical form and color.

But these amazing pictures are only part of her body of work; the consummate form language of these sculptural works adds an extra dimension of surprise. In this regard, the "Wächter der Zufriedenheit" (Guardians of Contentment) is clearly superior to all the rest: it exudes calm and harmony. Little figurines, one of them a miniature likeness of classic beauty "Uta von Naumburg", are further evidence of an intensive devotion to art. Take time to fully experience the magic of the works presented. They can be seen during business hours, after prior registration, until July 21.

Two artists and two worlds in perfect harmony. Visitors stand mesmerized by the new “Abstract painting meets metal and stone” exhibition in the FabrikGalerie LAUDA, including works by Prof. Dr. Volkmar Goymann and Gert Schwartz. After a total of 116 exhibitions and a further five exhibitions in the "Art after work" series, Dr. Gunther Wobser described the presentation arranged by two artists as a first. The spontaneous result of a chance meeting between Prof. Dr. Volkmar Goymann from Essen, Gert Schwartz from Berlin and the Koschker couple from Lauda, the exhibition was regarded as a genuine stroke of luck. At the opening event, Dr. Wobser pointed out that the collaboration with the Lauda-Königshofen art circle, whose chairman Norbert Gleich assumed responsibility for presenting the two fundamentally different artists, was one of the pillars of the success.

The first sculptures by Prof. Dr. Goymann from Essen immediately catch the eye on entering the company building; fragile shapes that appear to float in the air, causing the viewer to overlook the harshness of the materials used. Three ink drawings by Gert Schwartz accompanied by other Goymann sculptures catch the eye at the foot of the prestigious staircase, while a series of abstract works that use a mixing technique on cotton draw visitors up the stairs. Gert Schwartz has not named the works, he simply leaves the viewer to interpret the meaning of the artwork in their own way. According to Norbert Gleich, Gert Schwartz describes his work as "reductive art". In the processing and composition of the image, Gleich "on the one hand sees a certain rigor and on the other, a rhythmic structure in the arrangement of the image with strong expression". After graduating, Gert Schwartz taught mathematics and art at the Higher Pedagogical Institute of Erfurt, but in 1984 decided to dedicate all his efforts to a career in art. As he himself explains, art-theory and philosophical interests drive creative processes that define the form and content of his works. He is one of the joint founders of Galerie ICON in Berlin.

Prof. Dr. Volkmar Goymann from Essen, who was Head Surgeon and Medical Director at St. Josefs Center for Orthopaedics and Rheumatology in Wuppertal but who has since retired, was "captivated" by an unexpectedly discovered piece of strip steel that his hands accidentally molded into the shape of a heart. Instead of maintaining an active interest in surgical instruments and clinic management, he developed a passion for the artistic side of a material that would normally only be used in a technical capacity. He was delighted to discover that 896 m of strip steel could be purchased for a moderate price and has already used around 300 m. The designations of his artwork, such as the "endlessness of alpha and omega", "Narcissus dances alone", "Smilers" or titles such as "Random affection" and "Welcoming the new day" reveal the intentions of his work. More than 50 sculptures expose the visitor to a wealth of ideas, intuition and artistic diversity in its most perfect form.

“Ever since I have been able to hold a crayon, I have been painting” – said Viola Schöpe during the opening of her exhibition in the series “Art after Work at the LAUDA FactoryGallery” which can be seen until March 31. Dr. Gunther Wobser was able to welcome numerous guests again, among which there were also exhibitors from former events and friends from the Rotary Club as well as business friends. He presented the widely traveled artist from the German town of Dresden as an “established artist”, whose very own style he emphasized. During this occasion, Dr. Wobser introduced to those present Mr. José-Antonio Morata, the person in charge of future exhibitions.

Viola Schöpe was introduced by Norbert Gleich, chairman of the Lauda-Königshofen Art Circle, with which the responsible persons of the FactoryGallery have been co-operating right from the beginning. In his laudation, Norbert Gleich attributes the artist firmly to the art scene of Dresden with its cultural and educational institutions, and notes that she has a fixed place in art not only there, but also in many places in Europe. Her artistic development from her studies at the University of Fine Arts in Dresden to her activities as stage and costume designer as well as mural and façade creator on and in renowned buildings and institutions, finally resulted in demanding tasks outside Germany, i.e. in Africa and France, among other locations. For more than twenty years she has been an independent artist. At indigenous peoples in Brazil, North America and the African desert tribes of the Tuareg, Viola Schöpe seeks and finds roots of art. Her “travels to unknown worlds” finally became the topic of her exhibition titled “Unknown Worlds”. With unrestrained enthusiasm the artist herself tells of her encounters, of her experiences she made during the “peace festival” in the middle of Gobi desert, of the inspiration she got by these travels to foreign peoples and cultures, and she also takes along the visitors to the exhibition on her fascinating travels. The pictures of the exhibition have names, such as “Blaues Tier" (“Blue Animal”), “Feuertrommel" (“Fire Drum”) or also “Grüner Elefant" (“Green Elephant”). The artist recommends viewing the picture mentioned last upside down in order to discover a completely new variant. A small share of the rich creative work of the artist Viola Schöpe can be discovered at the FactoryGallery.

Colourful, flowing and multi-layered as life itself

Their art needs space and opens space. Especially when the sculptures and woodcuts of the artist Giorgio, the music by Peter Stannecker, and the dances of Giorgio with his wife Stephanie get together for a synthesis of the arts. Around 170 guests were able to enjoy this experience during the preview on 20th December at the FabrikGalery of Lauda Company, who let themselves be captivated by this extraordinary artistic constellation.

The special appeal of this preview lives also from the contrasts the FabrikGalerie has to offer: the high-tech working environment on the one hand and the presentation of visual artists on the other hand; production halls, in which a few hours previously work was carried out on highly complicated machines, and where shortly after an expectant company in a festive mood is welcome. Here Dr Gunther Wobser welcomed the visitors, among which there were many artists who have presented their works in the gallery already. He thanked especially Norbert Gleich of Lauda-Königshofen art circle for his many years of reliable cooperation as curator of the exhibition and for the composition of the popular gallery calendar, which is sold for the benefit of the German association of “Hilfe für Kinder in Not” (Help for Destitute Children) again.

With 420 employees, a turnover of EUR 60 m, and eleven foreign subsidiaries the company is “the world-wide leading manufacturer of innovative tempering devices and plants for research, application technology and production as well as of high-quality measuring devices,” said Dr Wobser about the company.

Wood as an important base material

“Giorgio multi-layered” is the subject of the 114th exhibition, and refers not only to the technique of the artist, but to his extensive work in particular. For the artist Giorgio (whose real name is Jürgen Moos - his professional name is a declaration of love to Italy, where he lives most of the year) coming from the German Allgäu mountainous region, wood is the most important base material for his work. This is demonstrated by the modern application of the old technique of wood carving as well as by his angel sculptures which are made from olive, chestnut or cherry wood. “All my woodcuts are unique pieces. I use the printing blocks as modules, reorganize them and work on them,” says Giorgio explaining his way of working. After having studied art, he educated himself further intentionally “in order to find his very own way as uninfluenced as possible.” Since 1981 already he has been presenting his works in various galleries in Germany and abroad.

“In you must burn, what you want to ignite in others,” said Peter Stannecker quoting the church father Augustinus. And with this inner passion he talked about his artist friend Giorgio - with simple, warm-hearted, almost heart-felt words. Like Giorgio he also comes from the German Allgäu mountainous region, and refers to his music and what else he does as “Fuimera” in his Bavarian dialect which translates into English as “much more”.

He describes how Giorgio creates his angels in the Italian region of Liguria when he uses a power chainsaw to cut them out from a rough wood block. Although the hard cuts and furrows can be seen, they appear delicate and light as if they were floating through space. This work is preceded frequently by a long meditative phase during which “the angels approach the artist”, as he outlines this state of his friend.

“Colourful, flowing and multi-layered as life itself” describes Peter Stannecker the woodcuts by Giorgio who copies the wooden block on several sheets of silk paper and transfers these layer-by-layer on to planks of wooden boxes.

Giorgio’s dance with his wife Stephanie arises from improvisation, requires attention and mutual mindfulness which gives them joy and vitality. Their movements are fleet-footed and svelte; the man is courting the woman; catches her with gentle and tender gestures which she trustfully returns. You feel the physical and spiritual harmony of the two, and are touched by this intimacy in dance. As the third party in this group, Peter Stannecker also being a master of improvisation and closer to jazz than to folklore plays his tenor saxophone to accompany the dance of his friends, and wins the hearts of the guests by storm with his cheerfulness and his charm. Everything these artists do is filled with passion and empathy, and its interaction is based on the unison which they have found in their art.

After the exhibition having been opened by Dr Gerhard Wobser it was only a few steps for the visitors from the production hall to the foyer of the gallery where they were captivated by the exploding brightness and colourfulness of the first picture by Giorgio already. And this continued from picture to picture which impress by colour, movement, by delicate intensity and unusual composition. In-between there are angels made of wood and bronze - archaic, down-to-earth, dancing beings which you want to touch and not only look at, perhaps to understand another word of Augustinus which Peter Stannecker quoted during his laudatory speech: “O man, learn to dance, or else the angels in heaven will not know what to do with you.” There is definitely no way getting around seeing this exhibition. Ky

Andrea Huber is the name of the artist whose works could be marveled at in the “Lauda FactoryGallery” in October and November. She was born in the German federal state of North Rhine Westphalia; her interest in art, thus her artistic development started after passing her A-level examination, her studies and family phase. With the freelance artist Gisela Finger located in the Baden-Württemberg town of Nürtingen she found inspiration and artistic education. In 1998, she became a lecturer for watercolor painting in adult education at the Adult Education Center of Nürtingen, and as from this point in time she devoted herself to these tasks at other institutions as well. Since 2011, she has been a member in the Syrlin Art Society. On an international level she has presented herself in numerous exhibitions, exhibition participations and projects since 2007. The freelance artist has been working in her own studio with gallery since 2003.

"Lightness – The Swinging Power" was Andrea Huber’s title of her exhibition, and during his welcoming speech Dr. Gunther Wobser expressed his delight about the great reception by the art-loving visitors. Instead of the laudatory speech of the chairman of the art circle Norbert Gleich, who turned ill, Stefanie Dörflinger conducted a lively and informative artistic conversation with the exhibitor about the motivation for her subjects of “Urmutter" (“Mother of All”), "Venus" or "Madonna", her vibrancy in the pictures "Sommertag" (“Summer’s Day”) or the lightness of the birds. The artist loves the female figures in "Das Göttlich-Weibliche" (“The Divine Feminine”); she considers "Vögel und Federn" (“Birds and Feathers”) to be the embodiment of freedom and airiness. A cheeky “Schräger Vogel" (“Odd Bird”) creates contrasts. Every answer reflects her endeavor to awaken creativity. And the last question: What is so special about LAUDA? That’s very simple – art-loving people.

For centuries, great academics and artists have been fascinated by one particular country: Mexico! “If there is a paradise on earth, then it is Mexico.” These words from universal scholar Alexander von Humboldt are quoted by Roland Reif in his narratives on a country to which he too has traveled on a number of occasions. The artist’s ‘Mexican Impressions’ are on show at the LAUDA FactoryGallery throughout August and September. In his notes Reif also alludes to Albrecht Dürer, for whom the sight of Mexican treasures induced an enthralled entry in his journal: “ … these things were so exquisite they must be worth around a hundred thousand guilders … “.

Within the scope of the ‘Art after work’ series, Dr. Gunther Wobser once again welcomed “FactoryGallery fans”, including a rare guest appearance by head of the district administration, Ulrich Derpa. He also highlighted the fact that the exhibition had spontaneously awakened a real holiday feeling. Standing in for Art Circle chairman Norbert Gleich, Karl von Baumbach presented the artist and his work and transported the numerous guests to the mystical world of Mexican art as interpreted by the exhibitor. A self-taught artist who developed his painting technique on a number of courses with Rudolf Neugebauer, Roland Reif undertook five trips in all that were intensively devoted to the culture of this world; capturing its nature, landscape and animal kingdom in a collection of pastel colors. He drew his sources from specialist literature on the ancient cultures, with which the artist has become increasingly fascinated. Looking back, Reif noted: “The more I studied the material, the more my enthusiasm grew,” before adding: “Without my deep-rooted veneration of the centuries-old history of Mexico, its fascinating mythology, and a tremendous cultural wealth that even gives the ancient Egyptians a run for their money, I would not have had either the energy or the patience to create such sculptures.” Visitors are first confronted by vibrant animal portraits at the foot of the showcase stairwell; before then being guided up the stairway by mysterious stone faces, Aztec symbols, and wonderful landscapes, including the “Palenque” – the most significant Maya site located in the jungle around the border-region to Guatemala – and the “Cenote” underground water reserve – notable for being the largest cave system in the world. Naturally, such a collection would also not be complete without the active volcano “Popocatepetl” and its now dormant compatriot “Iztaccihuatl”. Numerous carvings were reproduced with painstaking dedication to detail from the originals created by the advanced civilization – and a number of these are also on show in this unusual exhibition.

The exhibition held through June to the end of July at the LAUDA FactoryGallery presented works from Ansbach artist Susanne Wolfsgruber. In the FactoryGallery entrance area, visitors were promptly welcomed by a fascinating interplay of colors that duly continued into the brightly-lit stairwell. Deep blue progressing to vivid shades of green and brown, jet black enwrought with gold alongside purple-colored variations and delicately shimmering gray/blue-cyan evolving into a flaming red all helped breathe life into the exhibition name “Moving colors”.

Delighted with the new, intensely colorful works shown at the LAUDA plant, in his welcoming address at the Susanne Wolfsgruber exhibition, Dr. Gunther Wobser stated that the FactoryGallery and its art exhibitions had now become a true institution.

Norbert Gleich, chairman of Lauda-Königshofen art circle, once again introduced the artist, and paid special attention in his laudation to Susanne Wolfsgruber’s relationship with colors. Mr. Gleich sees the aspect of sensual experience, color perception and color stimulus as the determining factor of her work and the color scheme of each individual painting as a unique point of reference for the observer: “The subject matter is crafted from everyday stories, discussions and events.” Just to what extent the color black fascinates and moves Susanne Wolfsgruber and reflects her inner direction is evident from a statement placed underneath a jet black painting interjected with gold: “And everything is still within me and I can still be anything”. However, the artist not only experiments with color, she also gives her works – mostly acrylic on canvas – structure and vividness by making use of tissue paper, wood shavings and other filling materials. 

"Adventure in color" was the title of Heilbronn artist Christine Beck’s exhibition at the LAUDA FactoryGallery. As Dr. Gunther Wobser pointed out during the inauguration, this was the second presentation in the new "Art after Work" series and, in terms of FactoryGallery history, the 110th realization of Dr. Gerhard Wobser’s idea of also giving Lauda employees an opportunity to encounter art and artists.

In his laudation, Norbert Gleich, chairman of Lauda-Königshofen art circle, familiarized guests with Christine Beck’s life. Born in Hamburg, Christine Beck spent her childhood and school years in Allgäu and Rottweil am Neckar. The artist chose art as her facultative subject during her studies at the Academic Institute in Esslingen, while in Stuttgart and Tübingen her field of study focused on special education.

Having been musically trained at an early age while growing up in a musically-oriented family home, Christine Beck was for many years a violinist in the Collegium Musicum and Nicolai Ensemble in Heilbronn. From 1968 onwards, she undertook certified study trips and seminars that focused on painting and printed graphics, including to Marrakech, Hungary, Venice, Siena and Munich. After establishing the studio collective "Beck, Simpfendörfer, Volland" in 2000, the art of painting finally took center stage in terms of her artistic endeavors. A year later Christine Beck ultimately gave up teaching as a curative educator. 

Membership in the Association of Artists and Art Association followed. In between, from 2004 to 2009, she managed galleries for the Association of Artists and from 2006 also her own studio. In 2009 she became a Heilbronn Association of Artists jury member. “Her vibrant oil paintings have an aura that becomes more intense the closer you get,” said Norbert Gleich, in describing Christine Beck’s works. A case in point was her painting ‘Summer Garden’, which first appeared to him to be a pastel painting, but upon closer inspection turned out to be an oil painting. “Color dominates, whether the work is of a female form or an unconventionally interpreted landscape.”

The beginning of a new history of constructions of LAUDA is followed almost seamlessly by a new era of art presentation in the attractive FactoryGallery. With the opening of "Nature and people – meeting points" by Agnes Loose, the series "Art after work" in the FactoryGallery replaces the previous "Ma(h)lzeit" art over lunch initiative, which took place every two months, i.e. twenty-two times in total, since April 2010. 
As Dr. Gunther Wobser stressed when welcoming the guests, there are some reasons for this, among other things the problematic realization during the midday break. With this action Dr. Wobser wants to give the staff members of the company after work as well as guests from the outside the opportunity to participate during the late afternoon, and at the same time wants to valorize the presentation of the artists and their works. During a glass of champagne and some snacks, there is a possibility to exchange views with the artists and other guests. 
It is the 109th exhibition since Dr. Gerhard Wobser initiated the FactoryGallery in 1995. At this point, thanks were expressed to the Lauda-Königshofen art circle and its two chairpersons Norbert Gleich, who attended to the series right from the beginning, and Hanni Schifferdecker. Of the more than a hundred visitors which Dr. Gunther Wobser welcomed, the member of the German parliament Dr. Dorothee Schlegel (SPD) and the new chief executive of Sparkasse Tauberfranken Peter Vogel as well as the chairman of the Tauberbischofsheim Art Society Volker Weidhaas have to be mentioned here especially. 

As Dr. Wobser emphasized “the current exhibition is an absolute contrast to the previous spatially dominant and abstracting art of Professor Ben Willikens in very unobtrusive colors”. The trump card in the naturalistic pictures of Agnes Loose is the masterly rendition of nature and color. Enchanting gardens and flower arrangements rival turbulent sea and portraits. In his laudatory speech, art circle chairman Norbert Gleich was pleased to be able to present Agnes Loose and her works. Agnes Loose has been a member of the art circle since 1980 already, and her exhibition at the “Das Auge” gallery in 2011 turned into a crowd puller. She entered the world of painting through photography, with which in black and white she could never express what she was seeing. For this reason she decided to take up painting. In painting and drawing classes she developed her talent, organized her first exhibitions, and in 1980 joined the art circle. She wants to express atmosphere, she does not only want to paint something. And abstraction is nothing either that Agnes Loose likes. Norbert Gleich says that “her thing is not documentation despite the closeness to photography, but it is inspiration and to interpret something – that is a really personal matter.” 

This exhibition can be viewed in February and March during the business hours of LAUDA Company. A short announcement before the visit will be appreciated.

In February and March 2013, artist Jana Inka Krenk from Bad Mergentheim will be exhibiting a cross-section of her works at the LAUDA FactoryGallery. Born in Prague in 1956, by profession she is a graduate economist and lecturer at Heilbronn University. Her free time, however, is devoted to painting; or more accurately, intuitive painting – an allure that constantly evolves and offers new adventures. The images speak their own language, with messages full of fantasy, joy and serenity. Using a range of techniques, such as oil, acrylic, watercolors and various mixed techniques, Jana Inka Krenk primarily creates abstract landscapes. Her highly expressive, colorful and somewhat dreamy images constantly inspire the observer to discover something new.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

In her paintings Susanne Bauer from Neckarsulm focuses on the working title of “The Circle of Life”. In this regard, the religious and metaphysical questions of becoming and transience take center stage. 13 works on paper and canvas, all of which were made over the last three years, show the metamorphosis of stone forms as an ever-repeating motif. The sharp-edged, right-angled and geometric areas move into organic, amorphous and even dissolved areas, thus representing, through art, the cycle of “becoming, passing and re-becoming”.

Complementary to this and in virtual harmony, the 3D statuary arts and sculptures of Holger Thullner from Distelhausen perfectly accompany the pictures on display by Susanne Bauer. With a multitude of different forms of display and working techniques, fragments of human bodies are shown in stretched, and some overstretched positions, wherein some sections make visible a deep immersion and penetration, all the way to complete dispersion. Issues critical of both the past and the present also find their 3D implementation in his works.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

Christiane Versbach from the Versbach district of Würzburg sets out to formally capture the observer with her abstract acrylic paintings and gloriously diverse interplay of color. Her impressive artistic works created in bold colors and coated with a high-shine varnish well and truly bring a sparkle to the eye. Through the collage-like incorporation of fillers, mosaic stones, Window Colors and cardboard, her works take on an additional sculptured effect, while delicately counterbalancing expectation and harmony. “My pictures are not intended to be described,” states Christiane Versbach. Whether they reach, move or capture the beholder is entirely down to each individual observer who enters into this silent dialogue. It is the magic of the colors that fascinates us, stirs emotions, sets us dreaming and ultimately detaches us in small measure from the ‘here and now’.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

Attracting an abundance of art lovers from far and wide, the exhibition of works by artist Hans Kreim from Tauberbischofsheim opened at the LAUDA FactoryGallery on Monday, August 5, 2013 within the scope of the Ma(h)lzeit ‘art over lunch’ initiative between 12:30 and 1 p.m.

A resident of Impfingen, the artist is actively involved with Tauberbischofsheim Art Circle and is best known for his watercolor technique, which he uses to great effect to express his sensibility for color, form and mood.

In recent years Hans Kreim has discovered oil painting and created a number of impressive works that are vibrantly expressive in terms of form and color. Motifs in these paintings hail largely from the world of architecture. Many of the works displayed at the FactoryGallery stemmed from this phase of his artistic career.

Following registration, art aficionados were able to view the architecture-based oil paintings during office hours at the LAUDA FactoryGallery from the beginning of August to the end of September 2013.

Attracting a multitude of art aficionados, a new Leo Stang exhibition opened within the scope of the Ma(h)lzeit ‘art over lunch’ initiative in the LAUDA FactoryGallery at the beginning of October 2013.

Born and bred in Assamstadt, even as a child Leo Stang was a boy with a broad imagination. Alongside his career as a heating engineer and later as a technical manager of three care homes, he rediscovered his penchant and aptitude for painting during the mid-90s. He familiarized himself with the technical side of art in various painting and drawing courses, including under the instruction of Rudi Neugebauer.

Leo Stang’s works fluctuate between dream and reality. His large-format paintings using watercolors and acrylics with Indian ink are reflections of his personal, professional and social environment. They offer an invitation to dream, stir the imagination and carry the observer off to whole new levels of consciousness.

Subject to registration, the exhibition of Leo Stang’s “Visions” at the LAUDA FactoryGallery can be visited during office hours throughout October and up until the end of November 2013.

For the traditional end-of-year art reception at the beginning of December 2012, the new exhibition entitled “What do you do?” of Catalan artist, Bernat Daviu, opened in the LAUDA FactoryGallery. Dr. Gunther Wobser invited some 200 friends-of-art from near and far to it.

The young painter and performance artist, Bernat Daviu, comes from the region of Girona in Catalonia. He studied Fine Art at the Central Saint Martin’s College of Art and Design in London, one of the most renowned art schools in Great Britain and Europe. After completing his studies in London, he was able to put together an impressive international portfolio with numerous exhibitions and performances in various European countries at the tender age of just 27. This year, he was one of the finalists for the John Moore’s Painting Prize, the most prestigious art competition in England bestowed since 1957 by the Walker Art Gallery in Liverpool.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

A new exhibition with pictures and objects by Johann Stadler opened on Tuesday, October 2, 2012 as part of “Ma(h)lzeit” between 12:30 and 1:00 p.m. in the LAUDA FactoryGallery. This native Bavarian came to the location of Lauda through the German army and joined the Lauda-Königshofen art circle right back in 1977. Since then, he has taken part in many joint exhibitions both in Germany and abroad as well as having presented his work in a number of solo exhibitions. “You can take a stroll in the Stadler landscapes displayed.” In addition, the artist also takes pleasure in presenting old wood in a new way with interesting structures and forms.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

Hermann Trabold – brief profile

Born in 1961 in Königheim, Hermann Trabold discovered his fascination for the craft of turning at the tender age of 17 while carrying out vocational training to become a wood craftsman. Subsequent further training as a wood technician and participation in various workshops formed the basis for continuous development of his hobby.

The artist prefers fruit woods and hardwoods taken from bedding meadows and woodlands around his local region, whereby he primarily uses root woods, branch forks and pecky wood for his works. Each piece tells its own, unique story; a story of its character and the conditions it has been exposed to, including location, climate and any diseases. Cracks, molds and nicks are all part of the tree’s chronicle and have their own aesthetic appeal, which is incorporated into and shapes the respective object.

Hermann Trabold’s works have been on display in numerous exhibitions, such as the Palatin in Wiesloch, various art markets in the Forest of Odes, and recently also in the ‘Unique item seeks aficionado’ art market in Bronnbach monastery.

Bettina Haller – brief profile

Bettina Haller was born in 1971 in what was formerly Karl-Marx-Stadt and is now Chemnitz. After finishing school and receiving her high-school diploma, she studied at the Leipzig Academy of Visual Arts from 1990 to 1995, specializing in book design. She completed various courses and learned graphic printing techniques during her basic studies, before then discovering her penchant for woodcutting during her professional studies under Prof. Rolf Felix Müller. Bettina Haller received her diploma (artistic books) in 1995. During her master studies under Prof. Karl-Georg Hirsch between 1995 and 1998, she focused intensively on acrylic printing, which, along with woodcutting and creating artistic books, now forms the basis for much of her work as a freelance graphic artist in Chemnitz (since 1998) and operator of a small printing shop for artistic manual press printing (SONNENBERG PRESS), which she built up with Andrea Lange and now runs with Birgit Reichert. Since 1992, Bettina Haller has participated in many exhibitions and book fairs both domestically and abroad.

Matthias Zwarg wrote of her acrylic prints, “They are images of deceleration, illustrations of a fairy tale of time rediscovered, exacting that self-same time from the artist and observer while simultaneously lending it to them. One is able to lose oneself in the fine gossamer of surfaces and lines, the black and white of the textures and occasionally concealed objects, and the infrequently alluded characters. People have often already vacated Bettina Haller’s dream and fantasy landscapes, but have also left something behind – a chair, a toy, a little paper boat, which pave the way through “Minos’ Garden” – the remnants of civilization that rob the countryside of its serenity and guide it into the realm of art, where they become artifacts of disappointment and expectation in equal measure.”

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

Now 73 years old, artist Reinhard Framke was born in Mecklenburg in 1939, grew up in Cologne and has resided in Freiburg for a number of years. Under the motto ‘nature and all its beauty’, his exhibitions are well-known; however, nature is not the only thing reflected in his paintings. Frequently, the subject embraces mental and emotional states, dream worlds that despite prolonged deliberation do not dissolve and evaporate into the representational. Often, it is the sea of shapes and colors that initially captures the observer, in which mountains and oceans, forests and meadows, or flowers and blossom are concealed. Both Impressionist and Expressionist style elements are to be found in this diverse interplay of colors, which divulges very little of the specific, but rather conveys moods –structured forms and objects appearing as if out of a haze; clearly illustrated or finely brushed flowers, blossom and leaves, yet also animals, above all birds, that retrieve the observer from the worlds of emotions and dreams and seem to say: “take a look, reality is here, I’m not just a figment of your imagination.” Anyone viewing the exhibition would hardly believe that Reinhard Framke has also painted motifs with a technical background, such as industrial landscapes that would hardly look out of place on the directors’ floor of a major chemical concern. All his works are painted on canvass with acrylic paints using various methods, such as spatula, collage or mixed techniques.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

The paintings and drawings of Mosbach artist Gudrun Schillinger radiate energy and sensuality, captivating the observer with their intense colour and luminosity. People, or the female form to be more exact, are clearly the central theme of the artist’s works.

Born in Mannheim in 1942, the artist uses a broad, soft outline to accentuate the figures in her works against an intensively colourful background, wholly foregoing the rendition of details in favour of a large silhouette. Gudrun Schillinger also integrates collage-like textile elements. As a substrate for painting, she uses coarse canvas, hessian or other transparent or semi-transparent materials such as interfacing, tracing paper or organza, through which the substrate then pervades. Particularly appealing are the strong colours, which remain an independent image medium and design feature much like the surface. The colourful design interrelates with the painting format as a whole, while the structure of the work’s surface melds the figure and background to a single entity. Gudrun Schillinger has accumulated some unique impressions on her numerous journeys. Her work endeavours to generate stimulation from an unfamiliar environment and capture the atmosphere of a place, often via a specifically vibrant colourfulness.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

Self-taught artist Doris Tuma from Lauda-Königshofen will be exhibiting her creative works at the Lauda FactoryGallery from the beginning of February to the end of March 2012. At the start of the 1990s, she tentatively began to engage in the fine arts. Doris loved working with watercolors and oils, and indeed mastered and registered her first successes with the medium. To exchange ideas with other artists, she joined the Lauda-Königshofen e.V. Art Circle, her objective at that time being to progress further technically and artistically.

The key to her own creative development was participation in the summer academies in Trier, Bad Reichenhall and Schwalenberg (1994-2000), with the knowledge gained there giving rise to the stylistic expression that she calls her own today. She loves series and with them illustrates changing shapes and interpretations from various perspectives, cautiously handling and feeling her way into a given painting, sculpture or collage. Seeking harmony and effect, she constantly searches for the spiritual center, particularly when it comes to her work in steatite. The artist says her paintings and sculptures are responses to changes within herself, to needs that in the course of time have become personal fingerposts and that are reflected in her works. In her latest creations, she has shown a penchant for working with ‘driftwood’, which she primarily finds in mountain rivers and lakes in Bavaria while on holiday. With a lot of love for detail, an unabashed portion of creativity and arduous handwork, Doris Tuma transforms the selected foundlings into unique works of art and genuine ‘pieces of gold’ using gold leaf. Her latest works are being exhibited for the first time at the LAUDA FactoryGallery.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

Born in 1959 in Rotthalmünster, Konrad Schmid left school to complete an apprenticeship as a typesetter from 1974 to 1977. He then worked as a book/offset printer and graphic designer from 1980 to 1992. As early as 1982, he spent his free time trying out a variety of printing techniques including etching and lithography as well as lino- and woodcutting. Konrad Schmid has displayed his works in numerous individual and joint exhibitions in Germany, Austria, France, Switzerland, Hungary, the Czech Republic, Norway, Canada, Japan, Italy and Jordan. He has been working on a freelance basis since 1992. In addition to operating a studio in Passau, he also distributes a selection of hand set books through his own publishing company. His works can be seen in a number of national and international galleries and public buildings.

Konrad Schmid's woodcuts can be characterized as follows: "He has no desire to enthuse with an abundance of colors and shapes that strike and overwhelm the eye, but instead relies on highly contrasting means with nuances, abstraction and reduction. Such aesthetics shift the tone from outer manifestation to a secretive inner context that knows no boundaries and stretches into perpetuity. Beauty only blossoms in space, even humble and everyday things gain in significance when enveloped by space." Konrad Schmid's works have a specifically aesthetic allure that stems on the one hand from their conception, and on the other from the quality of the printing: the artist ultimately creates limited editions of all of his woodcuts by hand. The exhibition at the FactoryGallery will be open to art enthusiasts from December 2011 to the end of January 2012 subject to registration.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

Within the scope of its now indispensable “Ma(h)lzeit” or “art over lunch” program, the FactoryGallery staged printing presentations in which Norbert Gleich explained the technique used in his works and the story behind his woodcuts. Norbert Gleich is a co-founder of the Lauda-Königshofen e.V. art circle established in 1977 and to this day remains involved as chairman of the organization.

Norbert Gleich was born in Waldbüttelbrunn, near Würzburg, in 1940. After leaving school he successfully completed an apprenticeship in precision engineering and has been active as a self-taught artist since 1954. A former professional soldier, the artist has been absorbed by wood carving techniques since as far back as 1975.

The art of wood carving requires great technical skill along with a high degree of discipline, concentration, material knowledge and patience. Indeed, the creative process behind a colored woodcut using multiple blocks can extend over several days, if not weeks.

His subjects are illustratively/artistically created and transformed into graphic works of art exclusively in his small studio “high above the Lauda rooftops”. Rather than producing mass print runs, his aim in working with wood as a medium and the primary colors he uses focuses on constantly discovering new artistic possibilities, which inevitably results in small print runs using a “manual printing process”.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

Ines Falcke, alias ines j. plauen, was born in Plauen in 1965. From 1983 to 1989, she studied at the art academy in Dresden. Following the successful completion of her studies, she now works as an art teacher and lecturer. She has been active as a freelance artist since 1995. In the period from 1993 to date, she has taken part in various projects and exhibitions including in the USA, France, Italy and Germany. Her working areas lie in painting, graphics and plastic. In the “House of Own Initiative” (“Haus Eigenregie”), which she recently acquired in Eschenbach, a gallery, art, film, lyrics, concerts and workshops will be offered in future.

She is a member of the Chemnitz association of artists (Chemnitzer Künstlerbund e. V.), the artists’ professional association for art education (BDK-Fachverband für Kunstpädagogik) and the Plauen art society. Contact:

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

Born in 1954, Marianne Adam was drawn to painting at a very early age. After attending elementary and secondary school in her home town of Külsheim, she then successfully completed training as a draftsperson.

Starting a family in 1974, the young mother taught painting on a voluntary basis at the secondary school in Külsheim and later formed a painting community. In 1997 she became a founding member of the Külsheim Art Circle.

Marianne Adam now rents a studio where, in addition to her day job, she finds the time and inspiration to follow her passion of painting.

The artist has exhibited her works in various towns, including Külsheim, Wertheim, Bad Mergentheim, Lauda-Königshofen and Saarbrücken. Marianne has also won a number of awards; for example, first prize at the “German Art Awards for Hobby and Leisure Painters in Saarbrücken”, the patron of which is Oskar Lafontaine.

Marianne Adam’s motto is “Learning by doing”. When it comes to her paintings, it is not only the goal that interests her (the finished painting), but specifically the journey to its completion. Painting and music ultimately rely on boundless fantasy, without which the world would be a much gloomier place.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

Gudrun Reinheimer was born in 1950 in Brensbach, in the Odenwald region.

A mother of two daughters, she attended her first course in watercolor painting at the Tauberbischofsheim art circle as far back as 1987. Further artist training includes studies in abstract painting at the "MM" studio in Bad Mergentheim, followed by a study trip to Provence and other painting and drawing courses in Herrenberg, Bad Mergentheim and at the Tauberbischofsheim art circle.

In 2009, she commenced a three-year course of training in "freestyle painting" at the Freie Akademie für Kunst und Kreativität (akkrea) art academy in Ober-Ramstadt. The focus of the course centers on a comprehensive study of art that conveys the practicalities of modern painting while still leaving room for individual creativity.

To quote Gudrun Reinheimer: "Painting is my passion, through it I can truly express myself and communicate my impressions."

For the one part, her style of painting draws upon the sensitive perception of internal and external impulses that never dictate, but rather constantly engender inspiration. For the other part, her work is distinguished by a characteristic and original nature of expression, which unfolds free of any technical or contextual constraints.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.



Born in Bad Mergentheim


Conventional school career with secondary vocational school diploma


Degree at the institute of visual arts and art therapy in Bochum
Illustration Design course, special subject: photo-realistic representation

2008 - Date

- “Das Auge” gallery, Lauda
- Sparkasse (savings bank), Bad Mergentheim
- Marien Apotheke (pharmacy), Bad Mergentheim

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

From the start of December 2010 to the end of January 2011, ten members of the "Ombre et Lumière" Group from Lauda-Königshofen's twin city of Boissy-St. Léger shall be presenting their works in the LAUDA FactoryGallery:

Jean-Marc Alric paints pastels in the French Impressionism tradition.

The passion of Madeleine Deffieux focuses on oil painting and, in particular, the topic of landscape painting.

Alongside oil and acrylic paints, the painter,  Marie Christine Delvas, uses other materials to influence the atmosphere of her paintings.E-Mail:

In his representational oil paintings Claude Evrard deals with imagination inspired by travelling and discoveries.

"Looking at the environment through other people's eyes" is the artistic drive behind the watercolour paintings of Danielle Gachet.

Line Germani draws the inspiration for her figurative oil paintings from nature and travel.

Throughout a long career Karin Langevin has applied herself to representational painting and then to the use of abstract topics.

Louis Leray specialises in watercolour painting.

Jean Marc Mellier uses drawings as a basis for the various painting techniques applied in his works.

Self-taught Orsolina Tessier deals mostly with reflections and sunsets.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

Born in 1962 in Haslach i. K. in the Black Forest, Hans-Georg Mayer attended design academies in Freiburg and Garmisch-Partenkirchen. Today the artist lives in Tauberbischofsheim. His range of works goes beyond pure painting, also revealing traces of his studies in styling and interior design as well as numerous further training courses in design.

The artist loves to use strong colours to express himself. In all of his works created by the application of multiple layers of oils, the specific images are reduced to a certain extent, frequently giving rise to a surface accumulation of palette knife effects. These visible patterns are not realistic, but pursue their own poetic path independently of the object. The vivid effect of the colours generates a fascinating ambience through clear spatial lines.

And then there is the colour: the dominant red. Hans-Georg Mayer combines with red and also uses red for rhythmic effect. Red, the strong emotional colour, sometimes limited by lines or emphasised through accents, brings the paintings to life and suggests warmth, joy, strength and energy. Viewing his works is also fun for the inexperienced eye as the firework of colours is not merely reserved for the red paintings - "Mayer portrays poetry”. His works have been very well received both throughout the region and beyond, for example in the Baden-Württemberg representative office in Berlin.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

- born in 1975 in Lichtenstein/Sa.
- trained as a visual merchandiser and special needs carer
- currently works in a social therapy institute

- has been holding personal exhibitions since 1996 (in Lichtenstein, Stollberg, Hohenstein-Ernstthal, Glauchau,   Chemnitz, Schmölln, Burgstädt, Göpfersdorf, Bad Reichenhall, Zwickau, and other locations…)

  • exhibits works in cooperative exhibitions
  • participates in international small-format graphic art biennialshas
  • participated in the annual wood sculptors symposium in Göpfersdorf since 2001
  • participated in international sculptors' symposia in Glauchau and the Daetz Centre, Lichtenstein, in 2003/2005
  • writes lyrics and text publications, including for artist catalogues such as S.O.Hüttengrund, Peter Zaumseil,   Göpfersdorf art initiative catalogue
  • acts as laudator at vernissages
  • works are in private collections

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

His art has already made it into a schoolbook from Klett Verlag, one of the biggest educational publishers in Germany. Now, a few months after presenting his collages at the “das auge” art circle gallery, Manfred Knabe is now also exhibiting in the LAUDA FactoryGallery of Dr R. Wobser. At the newly established “Ma(h)lzeit”, the various exhibiting artists explain their works to interested members of staff during a lunch break at LAUDA, where they speak and answer questions. Lauda-Königshofen art circle chairman Norbert Gleich provided an insight into the life and work of the artist.

Having worked for 26 years as a trained offset printer in advertising agencies, Manfred Knabe then completed his artistic training in drawing and composition theory, learned various printing techniques, batik, enamelling, painting and pottery from some well-known artists, and took lessons in creativity and typography. In the 60s, Knabe contested several exhibitions in Baden-Württemberg and, as holiday cover, started teaching art to children and young people using the techniques he had acquired. Since 2001, Manfred Knabe has again dedicated himself more intensively to art, exhibiting in the Stuttgart area and for the first time in “das auge” gallery in the Lauda-Königshofen art circle. In October 2006, he gained a new accolade – one of his collages was projected onto the wall of the concert hall in the context of a Mozart event at the Melbourne Goethe Institute.

As a member of the Lauda-Königshofen art circle, Knabe also presents his maverick works in group exhibitions such as the current “30 years of the lovely Tauber valley cycle path” anniversary exhibition; his “Mountain of Bikes” is a play on words that has become a picture. Now, his creatively defamiliarised portraits including Wolfgang Amadeus Mozart, Johann Wolfgang Goethe, Albert Einstein and even Marilyn Monroe (to name but a few) can be seen for two months in the LAUDA FactoryGallery, where they can be admired and the visit recorded in the guest book provided.

The works in the LAUDA FactoryGallery can be viewed by interested parties during working hours subject to registration.

“Ma(h)lzeit”! At LAUDA, this slang German midday greeting, literally meaning “meal time” now has a new, attractive significance: under this only slightly modified term (“Malzeit” = “painting time”), a relaxed gathering now takes place around lunchtime when an exhibition is being held, allowing those present to get to know more about exhibiting artists and their work. A notice in the company lets the staff know about the opportunity to “speak to the exhibitor ‘live and on location’ at the start of the lunch hour on the day when an exhibition is set up, after a brief introduction to the exhibition by the artist… and the opportunity to scrutinise the exhibits in greater depth and therefore to gain a better understanding of them.”

The LAUDA FactoryGallery was formed in 1995 as a new forum for artists from the Tauber valley and beyond. At that time, Dr Gerhard Wobser initiated this series and thereby also provided an ever changing, new and attractive environment for the staff and for his business partners. As his successor in the management of the company, Gerhard Wobser’s son Dr Gunther Wobser is now continuing this series and expanding it with the said small “highlight”. At the premiere, he appeared delighted with the prolific attendance of the staff at the new “Malzeit". His basic idea, he said, is to “bring art to the people” – and possibly also to stimulate interest in art among a wider audience. The presentation of current exhibitor Gerd Vetter was in the hands of Norbert Gleich, who has advised on the exhibitions in the FactoryGallery right from the start, in his capacity as chairman of the Lauda-Königshofen artists’ circle.

Gerd Vetter produces seemingly surreal creations and characters, often over a period of months. Sometimes, years may pass between the start and completion of a work. Until 2000, Vetter used only charcoal and pencil to commit to paper his findings from nature, not without alienating them in the process, giving them the form of his very own mythical creatures. After 2000, colour was maintained in his works; these are mainly oil paintings, the fine brush strokes of which simply have to be admired. The imagination knows no bounds: for Vetter, as Gleich observes, art is “self-reflection: being able to give free rein to one’s thoughts, reflecting on many things including the significance of the emerging subjects… the objective of working in the areas described is to express what cannot be put into words.” The observer faces images with an attraction all of their own, including works such as "Weg ins Nichts" (“Pathway to Nothing”), “Labyrinth” or "Flugunfähig" (“Unable to Fly”), which also stimulate and occupy the imagination.

This exhibition, which is well worth seeing, is open to everyone until the end of May, during Wobser business hours. Those responsible will be delighted to see any visitors who find their way to the FactoryGallery and maybe even record their thoughts about the current presentation in the guest book provided.

In der LAUDA FabrikGalerie sind von Anfang Februar bis Ende März 2010 Bilder von der heute in Ravenstein-Merchingen lebenden Künstlerin Gisela Gatzke-Diefert zu besichtigen. Gisela Gatzke-Diefert, die 1939 in Wilhelmshaven geboren wurde und dort über 20 Jahre ihrer beruflichen Laufbahn als Finanzkauffrau verbrachte, kam 1980 ins Liebliche Taubertal. Hier arbeitete sie weitere zehn Jahre als Immobilienmaklerin in Tauberbischofsheim und verlegte mit Eintritt in den Ruhestand ihren Wohnsitz nach Merchingen. Damit verbunden war eine völlige Neuorientierung: Sie entdeckte ihr Maltalent, absolvierte 2004 ihren ersten Kurs bei Rudi Neugebauer und stellte bereits ein halbes Jahr später erstmals ihre Werke im Merchinger Schloss aus. Die Autodidaktin stellte fest, dass sie in der Malerei ihre Ideen ausleben und ihrer Kreativität freien Lauf lassen kann. Nachdem die ersten Schritte getan waren, ist Gisela Gatzke-Diefert in einen regelrechten Malrausch gefallen und hat in wenigen Monaten rund 60 Bilder geschaffen. Dabei entdeckte sie die Acrylmalerei, die ihrer Geschwindigkeit durch die kurze Trockenzeit entgegen kam. Im Laufe der Zeit veränderten sich die Bilder durch Entwicklung, Erfahrung und den Austausch mit anderen in Technik und Lebendigkeit.

Die Künstlerin sucht in ihren malerischen Experimenten stets nach Neuem. Inzwischen umfasst ihr Schaffenswerk alle möglichen Stilrichtungen von naturalistischen Blumen- und Landschaftsdarstellungen über interessante Städte-Skylines bis zu völlig abstrakten Farbkompositionen. Schon allein die Farbgebung, mal kräftiges Rot, mal Gelb oder Grün, überträgt durch ihre Intensität Emotionen auf den Betrachter. Gisela Gatzke-Diefert hinterlässt flüssige Spuren auf dem Malgrund, wie angedeutete menschliche Körper in der Landschaft - oder verwandelt Städte zu kubistischen Skulpturen, wobei sie sich weniger, dafür umso leuchtenderer Farben der Farbskala bedient.

Bei einem Besuch der Ausstellung in der FabrikGalerie können sich Kunstinteressierte von der Wirkung der Emotionen und den erweckenden Farben überzeugen lassen. Die Ausstellung ist in den Wochentagen von Montag bis Freitag während der Geschäftszeiten nach Anmeldung für jedermann noch bis Ende März 2010 zu besichtigen.

“This form of painting is not exactly contemporary. Yet given all the trash currently found on the art market, it is an absolute joy to see that there are still artists working with an adroitness as pure and precise as that of the magic realism artists.” Such were the words of a December preview visitor to the Lauda FactoryGallery, when describing the paintings of the Petersburg artists group that will be on display here until the end of January 2010. Moreover, this was not a lone voice. In creating their still life paintings, the magic realism artists work almost exclusively with a magnifying glass, thereby achieving absolute artistic precision with even the simplest of objects: be it the delicate fringe of a cover, the fragile wing of an insect, or the crack lines in a broken cup. Indeed, much of this detailed workmanship can, in turn, only be discovered by the observer with the aid of a magnifying glass.
Through their primarily small-format paintings, the eleven young Russian painters recount stories from their everyday lives, from their domestic environment and of objects with which they are surrounded, with which they live and which they use. One could perhaps even say that the magic of their art is not so much hidden in the paintings themselves, but rather in the nature of their creation and how life has been breathed into them. Back in 1989, Viktor Harms – their discoverer and mentor – united the magic realism artists of the Academy of Art and Culture in St. Petersburg into an artists group, which is primarily devoted to watercolour painting and, in particular, the refinement of these painting techniques. In introducing the exhibition, Viktor Harms highlighted the simplicity of the paintings, which although not actually showing people, nonetheless accentuate their traces. In this fashion, often “the smallest detail is afforded major importance”, which is why the paintings with their “unpretentious expression and modest format” call for “meditative observation.” In the words of Harms, the structures of the paintings are created using extremely fine brushes, with light effects incorporated by scraping the paint – in turn lending the paintings a “three dimensional effect”.
According to Viktor Harms, the lifestyles of the magic realism artists also determine their artistic work. Indeed, he states that theirs is a modest life, where the studio is simultaneously their home and the objects painted also serve for everyday use. In addition to their creative craft, the artists are marked by a “talent for improvisation, boldness in the face of challenges and a sense of personal responsibility” – “a quite different mentality” than is familiar here in the West. “There is nothing comparable in the entire world” summed up Viktor Harms, in referring to a proud list of exhibitions by the magic realism artists in Washington, Prague, London, New York and a whole host of German cities.
An evening truly in the mould of Russia, which also served to highlight just how multifaceted and alive the company’s business links to this country and its marketing company “Lauda Wostok” in Moscow are. A fact emphasised by the two managing directors, Dr. Gerhard Wobser and Dr. Gunther Wobser, in their opening address to the around 200 guests invited to the 15th private viewing of what is now the 84th exhibition since the FactoryGallery was founded.
“Russians have a love of feeling and poetry, as well as a constant penchant for the melancholy”, said Dr. Gunther Wobser in revealing his experience of travels to Russia. Moreover, this is reflected in the paintings of the magic realism artists, which, upon observation, “begin to move, to breathe and come to life.” Despite its great magnitude and numerous contradictions “the new Russia is today characterised by knowledge, precision and openness – an element of which re-emerges in this exhibition.”
The paintings and music carefully selected by Dr. Gerhard Wobser compliment each other at the FactoryGallery private viewings in a very particular way each year, as is also the case on this occasion thanks to the voices of the St. Peters Quartet, who are also located in St. Petersburg. Singers Anatoli Lumonov (tenor), Arseni Garibian (tenor), Igor Kroushelnitski (bass) and Pavel Napálkov (baritone) provided a powerfully voiced and emotional insight into the “Russian soul” through traditional songs such as Moscow Nights, The Song of the Volga Boatmen, Evening Bells and Stenka Rasin. One could well believe their innocent avowal that “Germany was their musical home”, given the rapturous applause with which the audience at Lauda also received their singing.
As has been the case for many years, all proceeds from the Lauda Art Calendar offered during the preview – with six pages depicting the 2009 exhibitions – will be donated to the “Hilfe für Kinder in Not” (children’s charity).

The “Magic realism artists from St. Petersburg” exhibition is now open at the Lauda FactoryGallery until the end of January 2010, and may be viewed from Monday to Friday during the business hours of LAUDA DR. R. WOBSER

Lauda. In ihrer künstlerischen Arbeit geht es der Heidelberger Künstlerin Margarethe Krieger immer um den Menschen. Er steht im Mittelpunkt und füllt als Portrait oder mit kleinen Gruppen tausende von Blättern, von denen ein kleiner Ausschnitt ihres Schaffens der vergangenen 40 Jahre in der Ausstellung „Menschen“ der FabrikGalerie Lauda Dr. Wobser bis Ende November zu sehen ist. In einer kleinen Vernissage mit rund 40 Gästen sprach Dr. Gerhard Wobser über die wachsende Beliebtheit der FabrikGalerie als Forum für Künstler der Region und darüber hinaus, wie die aktuelle Ausstellung mit Werken von Margarethe Krieger, die von Dieter und Barbara Kerschkowsky (Lauda) angeregt und vorbereitet wurde. Für die wesentliche Hilfe beim Drucken der Holzschnitte mit seiner Kniehebel – Presse und bei der Hängung der Ausstellung dankte Dieter Kerschkowsky dem Vorsitzenden des Kunstkreises Lauda – Königshofen, Norbert Gleich, dem er einen der Holzschnitte überreichte.

Im Mittelpunkt also der Mensch: in Grenzsituationen, im Ausnahmezustand, der Mensch in Lebensphasen, die Entscheidungen fordern, der verfolgte, gedemütigte, geschundene Mensch, der Demut und Barmherzigkeit ebenso kennt wie Hochmut und Bosheit. Der große Ernst in den Bildern von Margarethe Krieger und die überwiegend abgründigen, dunklen und tragischen Facetten des dargestellten Menschen, kommt auch durch die von ihr bevorzugten Techniken: Holzschnitte in Schwarz – Weiß, Rohrfeder – und Kohlezeichnungen, frühe Radierungen. Entschlossen und kräftig, sicher und irgendwie radikal hat sie mit wenigen klaren Schnitten ihre ausdrucksstarken Menschenfiguren in groben Brettern umrissen. Für ihre Rohrfederzeichnungen auf zumeist großformatigen Büttenblättern verwendet sie zur Feder gespitztes Rohr aus stabilem Reet oder Bambus und Tusche.

Vor allem aber sind es die Themen ihrer Bilder, die sie beschäftigen, mit denen sie sich bis zur körperlichen und seelischen Erschöpfung auseinandersetzt, die den beschwörenden Ernst und die Traurigkeit ausmachen, die den Betrachter durch die Ausstellung begleiten. Wer sich aber auf die Bilder einlässt, sich ein wenig Zeit nimmt und erkennt, wie sich das Geflecht graphischer Linien zu einem Ausdruck formt, der seelische Befindlichkeiten klärt, die Ruhe eines Augenblicks oder seine Ruhelosigkeit deutlich macht, für den werden sie transparent und erscheinen plötzlich nicht mehr so dunkel und schwermütig, wie ein oberflächlicher Gang durch die Ausstellung vermitteln mag.

Die Portraits bedeutender Schauspieler zeigen nicht nur die Kunst Margarethe Kriegers, mit wenigen Strichen einen Charakterkopf zu zeichnen, sondern auch ihre enge menschliche Verbundenheit mit diesen Künstlern. Mit ihrer Neugier auf Menschen spürt sie auch deren Geheimnissen nach und hält sie im Bild fest. So in den Portraits des großen französischen Mimen Michel Simon, von denen mehr als fünfzig im Museum ihn La Ciotat in Südfrankreich zu sehen sind, in dem der dokumentarische Nachlass des Schauspielers aufbewahrt wird. Oder die Bilder des Bühnen – und Filmschauspielers Oskar Werner, dem bedeutenden Hamlet – Interpreten, mit dem die Künstlerin dreißig Jahre lang eine innige Freundschaft verband. In späteren Jahren begegnete sie dem alternden O.W. Fischer, dem sie in zahlreichen Bildern und in einem Buch mit seinen Gedichten ein Denkmal setzte. Auch von den Schauspielern Peter Passetti und Klaus Löwitsch existieren zahlreiche Portraits.

Das zweite große Thema ihrer Kunst sind ihre Interpretationen zu Werken der Weltliteratur: Shakespeares Hamlet, Goethes Faust, Cervantes Don Quichotte, Bert Brechts Dramen aber auch die Gedichte von Ana Simon oder ihre Hommage an die Dichter Bergengruen und Fechter. – Von besonderer Intensität ist ihre Auseinandersetzung mit biblischen Themen – „Der verlorene Sohn“, „Der barmherzige Samariter“ oder „Das Buch Ruth“ - und ungemein eindrucksvoll schließlich ihr Zyklus „Jüdische Passion“, mit dem sie die Schrecken des Holocaust verarbeitet.

Seit einem Schlaganfall vor drei Jahren ist Margarethe Krieger halbseitig gelähmt – eine Katastrophe für sie als Künstlerin. Doch hat sie mit großer Energie und mit ihrer linken Hand und dem Bleistift weit über hundert großartige Männer – und Frauenköpfe gezeichnet, die weicher, fast schwerelos wirken und auffällig anders sind, als alles vorher von ihr Geschaffene. Es scheint, dass sie mehr denn je aus tiefer gelegenen Wahrnehmungsbereichen schöpft, die ihren Blick, ihre Kunst, sanfter und heller machen. Ein Wort von Oskar Werner über sich und seine Arbeit: „Ich wollte nur eines, das Leid zum Singen bringen“, könnte auch die Kunst der Margarethe Krieger beschreiben.

Margarethe Krieger wurde 1936 in Heidelberg geboren. Sie studierte Kunst, Kunstgeschichte, Germanistik und Philosophie und lehrte am Gymnasium in Weinheim Kunsterziehung und Deutsch. Ihre Bilder waren und sind in zahlreichen Ausstellungen im In – und Ausland, und hier vor allem in der Schweiz und in Frankreich, zu sehen. Sie hat mehr als 30 Bücher illustriert und Preise für ihr künstlerisches Werk erhalten. In Lauda weilte sie oft als Kind und war vor rund 20 Jahren mit Bildern ihrer „Jüdischen Passion“ in der Dokumentation über „Jüdische Schicksale an Neckar und Tauber“ im Rathaus in Lauda vertreten. Die Ausstellung „Menschen“ ist im Oktober und November von Montag bis Freitag zu den Geschäftszeiten geöffnet.

Born and based in the Vogtland town of Cossengrün, the artist Uwe Klos will be exhibiting his collection in the LAUDA FactoryGallery from the beginning of August to the end of September 2009. Creating works inspired by the extremely appealing landscape on the Thuringia-Saxony border, the painter, illustrator and photographer has not only made a name for himself in the Gera area and Thuringia. Uwe Klos lives and works in a spartan and more or less secluded – but in no way lonesome – environment, devoid of any real relationship with the locals, but with a deep bond with nature and his garden. He beams with delight when talking about his life of “independent self-sufficiency” that allows him to follow his calling as an artist in an almost uncompromising manner. Uwe Klos processes impressions that originate externally as well as in his own experiences, the upshot of which is a collection of expressive images of unbridled wildness and narrative power. These landscapes and configurations can be primarily interpreted as inner landscapes, as formulations frequently conceived as dreamy improvisations, as emotions set in colour. His world is full of bright and strong colours, which he explores and reflects with wonderful facility and a confident feeling for rhythm, contrast and tone; as the English writer John Ruskin once proclaimed, “the world is an arrangement of different colours”.

However, signs and symbols that influence the vision and thoughts are becoming increasingly scarce in the latest, large-format canvas images from Uwe Klos. Even the relevance of lines created in the paint with a specific brush style have been increasingly lost to a painting style based on greater masses of paint. Conceptionally more important, however, are the “stratifications”, layers of colours representing layered thoughts and stages of recollection, events that have been discarded and yet stored. A reference to this work complex is the range of paintings exclusively in red created in 2008. How consuming, almost cruelly, the image creating process can be has been documented on the back of the canvas by Uwe Klos, who noted, almost diary-like, the respective processing date. A work is first complete when it has a striking resonance, just like a successful musical composition; only then is it valid. Subsequently, in the words of the artist, the image should be in a room where the observer is able to live and experience the joy and confidence of his formulations, and the fact that the world has added something beautiful and unique. This resonant and colourful exhibition can be viewed by interested parties during working hours subject to registration.

Unter diesem Motto gibt seit Anfang Juni 2009 der Künstler Ingo Maria Sternberg (bürgerlicher Name: Richard Hauck) in der FabrikGalerie in Lauda einen Einblick in das Spektrum seines künstlerischen Schaffens. „Immer positiv nach vorne schauen“ getreu seinem Motto begibt sich Sternberg immer mehr auf die europäische Bühne. Seine Bilder sind graphisch gestaltete Zauberwelten, eingebettet in eine fantastische 3-D-Miniatur-Dimension. Die künstlerisch aufwändig arrangierten Lebensszenerien bieten eine Fülle von Details, welche das Auge festhalten und zum Erforschen anregen. Faszinierend dabei ist die Symbiose von kreativen und poetischen Kunstanteilen. Die meditativen, motivierenden und auch humorvollen Zitate, Aphorismen und Gedichte runden die Kunstobjekte zu einem exklusiven und harmonischen Ganzen ab. Jedes Werk ist ein Unikat und wird in aufwändiger Handarbeit gefertigt. Seine Gattin Ulrike, die ihn in allen Belangen tatkräftig unterstützt, ist hierbei stetige Begleiterin und oftmals auch notwendige, aber ebenso hilfreiche Kritikerin. Kunst ist „in“. Museen sind wieder populär und warten mit Shops, Jazznächten, Restaurants und Weinpartys auf. Sie werden mehr und mehr wie Unternehmen geführt und sind zunehmend damit befasst, Ausstellungen zu organisieren, Werke zeitgenössischer Künstler anzukaufen, in Auftrag zu geben oder gar als „Produzenten“ zu fördern. Auch das internationale Business bewegt sich zunehmend auf dieses Thema zu. Nicht nur um für sich selbst ein attraktives und wertsteigerndes Ambiente zu gestalten, sondern vor allen Dingen auch dann, wenn es darum geht, verdiente Mitarbeiter mit außergewöhnlichen und werthaltigen Preisen zu motivieren und auszuzeichnen. So zählen bekannte Firmengrößen wie z. B. die „Deutsche Bahn AG“, die „Porsche AG“, die „Deutsche Vermögensberatung“, die „Maritim-Hotelgruppe“, die „Würth-Gruppe“ oder auch der „FC Bayern“ zu seinen Kunden. Aber auch Privatpersonen, wie etwa der Boxer Axel Schultz, die Sängerin Cornelia Froboess, Karl-Heinz Rummenigge, haben schon Objekte von Ingo Maria Sternberg in ihren Räumen hängen. Eine ganz besondere Arbeit durfte er in 2006 für den damaligen Bundeskanzler Gerhard Schröder fertigen. Neben seinen künstlerischen Objektarbeiten ist Ingo Maria Sternberg heute für eine deutschlandweit führende Druckerei im Kalendermanagement sowie in Design und Entwicklung tätig. Ebenso ist derzeit ein bundesweites Künstlerverzeichnis in Planung, welches die Kunstschaffenden der Bundesrepublik (sowohl Profis als auch Hobby-Künstler) mit ihren Werken samt Biographie in einem deutschlandweiten Web-Portal präsentieren wird. Neugierige können sich jetzt schon unter der E-Mail: vormerken lassen. Interessenten können die Werke während der Geschäftszeiten nach Anmeldung in der LAUDA FabrikGalerie besichtigen.

The next two months will once again see a new exhibition at the LAUDA FactoryGallery, where Dr. Ulrich Jost, a doctor for 30 years in the Tauber Valley and a member of the Lauda-Königshofen Art Circle for 23 years, will be showing his latest works. Although two of the total of 16 exhibits were shown on the occasion of the Bad Mergentheim town anniversary, this is the first time the collection has been displayed in its entirety. Now, however, this artistic form of expression is celebrating its premiere at LAUDA Dr. Wobser, actively supported by the Lauda-Königshofen Art Circle and its Chairman, Norbert Gleich. Ulrich Jost began to take photographs at the age of 12 and already had an interest in fine arts in high school. However, academic and professional activities initially took priority. Membership of the Lauda-Königshofen Art Circle played a large part in reawakening his artistic ambitions; whereupon Dr. Jost successfully completed courses in painting and ceramics, was supported by several qualified photographers (critically, as he himself notes), and participated in a number of exhibitions. Prizes in regional and national photography competitions, as well as independent exhibitions as a photographer, graphic artist, painter and ceramic artist then followed. The Art Circle has also always been able to count on Dr. Jost for new and surprising works to show at its local exhibitions. Indeed it was for an exhibition in the art circle gallery in 2006 that he created his "Gnomaliens" – bizarre sculptured beings embodying a fantastic mix of gnomes and aliens – which inspired a whole host of interested questions about materials and technique. With the current exhibition, this versatile artist is once again breaking new ground. The synthesis of photography, digital image processing incorporating every possible refinement, printed on high-grade artist’s canvas and professionally mounted with tenter frames, all lend the images a quite unique appeal. As with the Gnomaliens mentioned above, each one of these individual, artistically processed photos, including the particularly appealing example of the Upper Gatehouse in Lauda, offers a puzzle as to its creation. Even Dr. Gerhard Wobser and the Art Circle members were only offered the "briefest of insights" when Dr. Jost offered them an explanation of some of his images. This exceptional exhibition is available to all those interested and can be viewed during LAUDA’s normal business hours. irg/photo:Jung

Von Februar bis Ende März 2009 sind in der LAUDA FabrikGalerie Bilder der in Bad Mergentheim lebenden Malerin Marie-Therese Schmahl zu besichtigen. Die 1959 in Trier geborene Autodidaktin kam durch ihren Ehemann im Jahr 1992 nach Bad Mergentheim. Schon seit frühester Kindheit zeigt sie Interesse an künstlerischen und kunsthandwerklichen Dingen. Mit interesse verfolgte sie schon als Kind die Bleistiftzeichnungen ihres Vaters. Bedingt durch ihre Ausbildung als Krankenschwester und die spätere Konzentration auf die Familie wurde das Interesse an der Malerei zwischenzeitlich in den Hintergrund gedrängt. Um sich wieder auf ihre Fähigkeiten als Malerin einzulassen, brauchte sie einen Anstoß. Durch den Tod eines mit ihr verwandten und bekannten Bonner Malers, Paul Magar, lies sie sich wieder inspirieren und an die in ihr schlummernden Talente erinnern. Schon immer auf der Suche, wie wohl jeder künstlerisch veranlagte Mensch, finden sich in den Werken von Marie-Therese Schmahl die unterschiedlichsten Stilrichtungen und Ausdrucksmöglichkeiten: von Collagen mit unterschiedlichen Materialien bis hin zu Farben und Formen leise sprechender Bilder. Ihre Motivwahl besteht aus entscheidenden Augenblicken, die in einer ansprechenden Farbfreudigkeit mit kubistischen Spuren ihre Umsetzung finden. Titel wie „Herrenrunde, „Trennung“, „Auf zum Tanz“ und „Umarmung“, um nur einige zu nennen, fordern von den Besuchern der Ausstellung, dass sie Zeit und Muse finden, sich auf die unterschiedlichen Ansätze der Bilder einzulassen und das entsprechende Bild zu finden. Die ausgestellten stimmulierenden Exponate in dezenter Spachteltechnik sind in der LAUDA FabrikGalerie während der Geschäftszeiten nach Anmeldung für Kunstinteressierte noch bis Ende März 2009 zu besichtigen.

Die in Wendelstein bei Nürnberg lebende Künstlerin Kathinka Collin-Schönberg wurde am 24. Juni 1953 als - wie sie sich selbst bezeichnet - „schwarzes Schaf im Schwalbennest oder Kuckuck in der Herde“ geboren. Kurze Zeit später habe sie angefangen, "Regenwürmer zu sammeln, zu malen und zu zeichnen“. An der Kunstakademie Nürnberg wurde sie von Professorin Margarethe Zimmermann unterrichtet, den Professoren Hans Wiedemann und ganz besonders von Hermann Wilhelm, der sie in der Malklasse über viele Jahre betreute. Ihre Arbeit findet sie in "der Malerei, dem Tanz, und den Pferden“, (Reihenfolge ist chronologisch) wie sie sagt, und diese sind ein Dank an ihre Tiere und Menschen im Jenseits und hier, die ihr geholfen haben, das Leben lebenswert zu gestalten. Geprägt durch ihre Umwelt, deren Einflüsse und persönliche Erfahrungen, versucht sie, diese in ihren großformatigen Ölpastellbildern wiederzugeben. Die nahezu transparent wirkenden, mehrschichtigen Lasuraufträge mit farbverwandten Schattierungen und einer zum Teil hintergründigen Thematik - unter anderem in Form optischer Täuschungen - regen den Betrachter zum Nachdenken an. Vielfach ist in ihren Werken eine Anzahl von Rätseln eingebaut, die einer ganz persönlichen Lösung bedürfen. Die Künstlerin sucht in ihren Arbeiten einen Mittelweg zwischen figurengebundenem Ausdruck und freier Pantomime. Die Farb- und Ausdrucksintensität sowie der tänzerisch leichte Gestaltungsaufbau ihrer Bilder zeugen von der unverkennbaren Handschrift Kathinka Collin-Schönbergs. Titel wie „Auf und davon", "In Paradiesum", "Vor? Oder zurück?", "Die nackige Meia", "Heilige Elisabeth oder Pferdeharfe“ um nur einige zu nennen, inspirieren den Betrachter mit einer intensiven, nahezu philosophischen Ausdruckstiefe. Die ausgestellten vielschichtigen Ölpastell-Bilder sind in der LAUDA FabrikGalerie noch bis Ende November 2008 für interessierte Kunstfreunde während der Geschäftszeiten und nach Anmeldung unter Telefon 09343 503-0 zu besichtigen.

Armand Warin was born 1944 in Lyon and studied at the city’s “Ecole des Beaux-Arts” in 1962. Finding it too traditional and academic, he gave up studying art in the same year and set off travelling and working from job to job. After journeying through Northern Europe between 1962 and 1965, he sailed along the coast of India for a number of months, spent two years in Africa from 1965 to 1967 and then travelled for six months through Spain. Throughout these long journeys through foreign lands, Armand Warin encountered a variety of civilisations and their forms of artistic expression, which subsequently set the tone stylistically and thematically in terms of his development. In 1968 he returned to Paris, where he worked as an artist and interior designer. Encouraged by Le Corbusier, he nurtured an abstract, transparent style mainly characterised by round and rounded shapes. Leaving the hectic metropolis of Paris in 1972, he bought an old farmhouse in Brittany and became self-employed. During the eighties, he finally decided to devote all his efforts to painting and went to live in Germany as an artist. Initially he stayed in the Heidelberg region, mainly in the small but artistically progressive town of Sinsheim, before then moving to Kassel in 1987, the year of the Documenta, to meet with museum experts and other artists.
Following this period of artistic exchange and “Documenta hustle-and-bustle”, Armand Warin received numerous offers from France, which eventually saw him go back to Paris, where he lived and worked from 1988 to 1990. Later he returned to Germany – Frankfurt/Main to be precise – before then moving back to Sinsheim in 1991. From 1996, during a specifically artistic period, he transferred his focus from motifs to the abstract and also occasionally worked on sculptures. Countless contracted works, numerous exhibitions in prestigious institutes and companies as well as in noted galleries, all characterise the artist’s career.
Since 2007, Armand Warin has been living and working in his own gallery in Seckach/Odenwald, just outside Heidelberg. Here he has succeeded in refining his distinctive “painting on aluminium” technique - rendering colour by unusual means in a manner that never fails to fascinate a multitude of people. Expressive, vivid colours with bizarre colour rendering and extraordinary shapes provide the observer with acres of scope for interpretation.
The artist will be exhibiting a selection of his newer, unique works from mid-August to the end of September 2008 at the LAUDA FactoryGallery. Art lovers are invited to take a free peek at the “master of colour’s” works during business hours from 8 a.m. until noon and 1 p.m. to 4 p.m. on Monday to Thursday, and from 8 a.m. until noon on Friday.

In the months of April to the end of May 2008, discreet colour wood engravings by Christa John from Weil der Stadt can be viewed at the LAUDA FactoryGallery. The artist Christa John was born in 1941 in Polsnitz, Silesia. She discovered wood engraving as her artistic métier relatively late. After studying at the Free Art School in Stuttgart, her main focus for many years was tempera painting. In between times, she produced chalk, pastel and ink drawings, gouache and monotypes. In 1996, she visited an exhibition by Horst Janssen. Since then wood carving has been her number one means of expression, and she makes very artistic wood engravings, in which the draughtswoman also finds expression. HAP Grieshaber once described the craftsmanship as follows: „In the cutting process, the dynamic is created from power, happiness and despair. The printing itself is surprise, experience, it is the rapture of creation and at the same time control over this.“ Christa John prefers the resistance of wood to the softness of linoleum. Expressivity, rather than subtle detail, tends to be at the forefront in this kind of printing. According to the artist, wood engraving forces one to concentrate on the basics. The artist mainly discovers her subjects on walks and on journeys. Examples will also be shown in this exhibition. The Ticino, in which palms are rooted next to chestnuts and where the agave grows, whose valleys are crossed by emerald green, shimmering rivers and whose villages are made up of stone houses which cling to the steep hillsides, has always exerted a strong attraction on writers and artists. From the start, Christa John’s love belonged to the rural, the unspoilt Ticino – away from the towns, the motorway and other noisy roads. The exhibited wood engravings Ticino I, III and IV reflect this unspoilt nature. The atmosphere that is imparted by the wood engravings and the colours is characteristic of valleys like the Valle Onsernone, the Valle Maggia or the Valle Verzasca. A walk in autumn through vineyards was the inspiration for the subject „Wine growing country“. Vines form rows of vines, rows of vines form vine landscapes, the appearance of which gains in contrast and charm above all in late autumn and which almost cries out for artistic transformation. The eye cannot tire of this patchwork of leaves in bright red, in dark red and orange, in yellow and in yellowish green. The exhibited themes Wine growing country I to IV belong together, because they complement each other. They are completed as a mirror image and as positive and negative respectively. You don’t have to be a wine connoisseur to be intoxicated by the bouquet that these pictures exude. The subject „Formation“ shows a series of stone stories, which have been portrayed in a wider geological period. A porphyritic stone quarry was a model for the subjects Formation I and II, as well as for the subject Landscape with Quarry. A stay by the sea inspired the artist to create the wood engraving series „Maritimus“ (Latin for belonging to the sea, by the sea). Waves leave behind arrangements made from seaweed, shells and stones. What remains is the fleeting state of a moment, which is distorted in the wave which rolls in in the next moment. The exhibition in the LAUDA FactoryGallery, which is well worth seeing, can be viewed by art lovers during opening hours from Monday to Thursday from 9.00 to 12.00, as well as from 13.00 to 16.00, and on Friday from 9.00 to 12.00.

Long live life, that is the title of the new exhibition which has been open to the public since 18 February until the end of March in the LAUDA FabrikGalerie. Artist Ingrid Pfeffer, nee Götz was born in Mosbach (Baden) in 1967 and is a self taught artist. There she lives and has her studio. In 1996 the artist completed her studies in graphic design at the polytechnic in Hagen. Alongside her part time activity in graphic design and advertising she works as a freelance artist.

When painter Ingrid Pfeffer picks up a brush, it is immediately controlled by her heart. Her pictures and paintings are expressions of her senses, feelings determine the colour combinations. The artist is not bound by traditional painting methods or colouring, she thinks and feels in colour.

Perhaps it is thanks to this factor that she has developed a style of her own. She has never given in to the temptation to copy great masters. Ingrid Pfeffer's paintings show the soul of those depicted, open hearted and earnest. She carries her pictures around in her head and her heart for a long time, lets them mature and grow, until they find spontaneous inspiration in realisation – have to find. She paints large abstract compositions in acrylic paints on canvas, adds photo realistic still lifes in pastel crayon to velvet paper and gives children from troubled areas of this world faces with drawing with charcoal. She creates paintings - which captivate the beholder as coiled power of an explosive mental invitation. Here paintings speak a language everyone understands.

Regular visits to paint in Germany and abroad in France, Italy, Peru or Mexico and the encounters with the people are her inspiration. The pictures exhibited in the FabrikGalerie show hope, love, beauty, loneliness and pain – in nearly every facet of life. This well worth seeing exhibition in the LAUDA FabrikGalerie is on view for art lovers during business hours from Monday to Friday between 8 am to 12 am and 1 pm to 4 pm.

Text taken from the Tauber-Zeitung of 31 October 2007:

Wood carvings, lithographs and paintings by the contemporary artist Walter Habdank are currently on display at both the gallery of the Caritas Hospital in Bad Mergentheim and the Lauda “Factory Gallery" in Lauda-Königshofen.

MAIN-TAUBER DISTRICT– In the words of the director of the hospital, theologist Thomas Wigant M.A., through his expressive works Walter Habdank, “opens the senses to this world and to that other world which escapes our simple gaze.” Prof. Dr. Hans-Dieter Bundschu, who paved the way for the exhibition and organised it in cooperation with Dr. Gerhard Wobser, pointed out that Habdank “has interpreted biblical themes like no other contemporary artist, not only in his wood carvings, but also in his murals and altar paintings, stained-glass windows and mosaics.” Bizarrely, although the son of a Protestant deacon, the artist, who passed away six years ago, was better known in Catholic than in Protestant circles. While the Caritas exhibition concentrates more on the artist’s wood carvings, at Dr. Gerhard Wobser’s “Factory Gallery”, one can marvel at extracts from his earlier works, including paintings, portraits and town scenes, as well as his later works in watercolour.

The exhibition was opened by church minister and economist, Johannes Habdank, the artist’s son. Walter Habdank himself was born in Schweinfurt and attended a classics grammar school in Munich, where his artistic talents were recognized and promoted at an early stage. After the war, he confronted modern French painting and German expressionism, constantly went on study trips to southern Europe and North Africa and “expressed his impressions in emotional oil and watercolour landscapes that captivate the eye of the beholder”. In 1962, he married Friedgard Hofmann, the marriage producing three children.

During the Fifties, Walter Habdank belonged to the “prestigious youth” of the Munich art scene, but at the same time he was heavily criticised for his uncompromising representationalism. Establishing himself as a wood carver of biblical themes in the Seventies, he designed fountains and squares, along with sculptural portrayals in remembrance of the Holocaust; however, “as a result of his increasing focus on religious themes, the official art world barely paid any attention to Habdank”. Recognition primarily came from “Catholic circles, which were much friendlier towards traditional paintings”.

Walter Habdank was an Expressionist, creating “formally and contextually compromised paintings, archetypal figures and scenes that challenged the beholder to form an opinion on life, themselves and their world”. The artist had a desire to “waken the emotions”.

Dr. Wobser would like to thank Friedgard Habdank for lending the works, the Caritas Hospital and Prof. Dr. Bundschu, who tackled the project with determination and perseverance. The Habdank exhibition at the Caritas Hospital is open from 10 a.m.- 8 p.m every day until the end of January. The exhibition at the factory Gallery runs until the end of November.

"Two birds with one stone", loosely based on this adage, FactoryGallery is holding a dual exhibition. Husband and wife artist couple, Christa and Helmut Stiegler, are showing pictures by the painter, Christa Stiegler in conjunction with the exciting sculptures by the sculptor Helmut Stiegler; the works complement each other admirably both in composition and arrangement. Christa Stiegler has been a freelance artist and seminar leader for intuitive art since 1990 working from a studio in Steinersdorf near Ansbach, where she also has her own gallery. Prior to this, the 50 year old completed eight years of private study in art and painting. The artist, who has since then exhibited regularly in galleries and in public, is also trained in person centred counselling, life coaching and psycho-oncology. The pictures rather than describing physical, tangible things, depict those of the spiritual world. Exhibits are thus created in mixed media with acrylic colours, overworked with layers of translucent oil glaze and oil chalk, occasionally combined with structural and collage material. The various colours with their differing vibration frequencies and wave lengths also represent their physical idiosyncrasy appropriately to the physical/spiritual/mental aspects of people. These colour vibration frequencies in a way build a bridge between the visible and the invisible. For the first time there is a piece of furniture on view at FactoryGallery, which draws together art and furniture craftsmanship. The creative carpenter and joiner, who is interested in art, Lukas Buckel from Aurach, inserts a picture theme into a wall cupboard door and thus combines art with practical usage – an advantage for small apartments with limited wall space. To better understand the aesthetic beauty of Helmut Stiegler's work it is helpful to immerse oneself in the creative process of his work. This "trailer" begins long before the actual physical craftsmanship in the studio. The artist frequently combines his images with questions of meaning. He does this to invite the observer to an internal communication with himself about the work of art, as "art is the nourishment of the soul" according to a core statement by the sculptor. All art lovers have the opportunity to view these unusual exhibits which are full of phantasy in the FactoryGallery, belonging to LAUDA, during the usual business hours, until mid October.

A new exhibition adorns the LAUDA FactoryGallery rooms. Since the beginning of June 2007, Christel Krüger, who originates from Königshofen, has been showing a selection of her artistic works. The autodidact Christel Krüger has been an enthusiastic and committed painter since her schooldays. In the past, a career and a truly challenging role as wife and mother were never really quite fulfilling enough for the now retired postal clerk. On top of her longstanding sporting activities as an exercise instructor, she was still able to devote time to her hobbies of painting and clay modelling. As a consequence, in the 70's Christel invested in her own kiln in order to fire the figures she produced herself. Then, at the start of the 90's, the artist rediscovered her love of painting; images that at first were representational, gradually transformed into abstraction. In the meantime, she "dissects" a face or subject into graphic colour areas, creates interlocking colour segments, spirals and octopus-like forms contrasted against stark geometric lines – whereby colour always dominates in the form of an imaginative play of colours. Typical, even characteristic, of Christel Krüger's graphically artistic works is the way she is able to express her own fantasies and ideas while simultaneously realising her own personal and optically visual language. The works exhibited in the LAUDA FactoryGallery achieve a superb balance between representationalism and abstraction. In a multi-facetted and imaginative play of colours, the bright acrylic paints motivate the observer, who is urged to accept, look closely, discover and, of course, question the various subjects. This ingenious play of colours in the LAUDA FactoryGallery is open to art enthusiasts during normal working hours until the end of July 2007.

Von A wie Angst über L wie Liebe bis Z wie Zeit. Was auf den ersten Blick wie eine Auflistung von Lexikonsbegriffen erscheint, ist in Wirklichkeit Teil des „menschlichen Alphabets“ das in der LAUDA FabrikGalerie seit Anfang Februar zu besichtigen ist. In 26 kolorierten Zeichnungen hat der Industrie- und Grafik-Designer Bernhard Schwan aus Gamburg den einzelnen Buchstaben des Alphabets jeweils Begriffe zugeordnet, die für ihn den Charakter des Menschen ausmachen. Inspiriert während eines Toskana-Urlaubes im Jahr 2000, zeichnete Schwan mit Buntstiften die dreidimensional anmutenden Skulpturen, die jeweils eine Interpretation eines Begriffs aus dem menschlichen Leben darstellen. Bernhard Schwan, 1933 in Karlsruhe geboren, absolvierte ein Gebrauchsgrafik-Studium an der Staatlichen Akademie der Bildenden Künste und auch ein Design-Studium an der Werkkunstschule Kassel. Seit 1962 ist Schwan als selbstständiger Industrie-Designer tätig, seit 1970 mit Atelier in Gamburg im Lieblichen Taubertal. Seine Buchstaben-Welt lässt die Herkunft von Grafik und Design erkennen; Schwan zeichnet klare Strukturen, die er mit spielerischen Komponenten versieht. Aufgeblasenheit, Falschheit – das lehnt der Mann der klaren Striche auch in Form und Inhalt ab. In seinen Zeichnungen erzählt der Grafiker immer eine Geschichte. Die Ideen seien hintergründig, teilweise sogar bösartig, meint er. So etwa beim R, das für Reichtum steht, oder auch bei U wie Unrat. Lustig und spielerisch seien dagegen das N wie Neid oder F wie Freude. Begierde, Habgier oder Vertrauen – dies sind alles menschliche Eigenschaften, die Schwan in seinem Leben erlebt und durchlebt hat. Aber auch seine Assoziationen zu Politik, Kirche und Sexualität hat der Künstler auf dem Zeichenblock festgehalten. Bei der grafischen Umsetzung dieser Erfahrungen bediente er sich der Anfangsbuchstaben der Begriffe. Sie spiegeln in Anordnung und Gestalt die Gedanken des Künstlers wider. Es sind alphabetische Allegorien. Die Kreativität versinnbildlicht Schwan durch den Anfangsbuchstaben K, den er in verschiedenen Größen, Formen und Farben stehen, liegen oder auf dem Kopf stehen lässt und damit dem Betrachter vor Augen führt, was Kreativität zu bewirken vermag. Viel Mühe habe ihm der Buchstabe D wie Dummheit bereitet, in dem viele perspektivisch nicht passende D's zu sehen sind. Der Clou: „Hier stimmt gar nichts, das ist perspektivisch alles falsch.“ Das Fazit: „Der Mensch lässt sich manipulieren“: Überhaupt soll sich jeder Betrachter eigene Gedanken machen. Dabei ist es dem Künstler wichtig, dass seine Zeichnungen keiner großartigen Erklärungen bedürfen. „Mann muss kein Kunsthistoriker sein, um sie zu verstehen. „Aber die Bilder haben alle eine positive Richtung“, gibt er dem Betrachter mit auf den Weg. Der Blick richte sich stets nach rechts oben, in die Zukunft. Das mit vielen Emotionen gespickte „menschliche Alphabet“ ist in der LAUDA FabrikGalerie für Kunstliebhaber während der Geschäftszeiten noch bis Ende März 2007 zu besichtigen.

LAUDA lobte anlässlich des 50. Firmenjubiläums einen Kunstpreis aus. An diesem hochkarätigem Wettbewerb mit dem Thema „Wie Innovationen den Menschen helfen“ nahmen 41 Künstler teil. Die Preise waren mit 3.000, 2.000 und 1.000 Euro dotiert. Die Preisträger wurden bei den Jubiläumsfeierlichkeiten bekannt gegeben. Zusätzlich wurde ein Publikumspreis vergeben. Rang 1 erzielte Doris Tuma aus Lauda-Königshofen. „Entwicklung von Schrift und Zahl als Schlüssel für Innovation“ nennt die Künstlerin ihr Gemälde.Wolfgang Blechschmidt aus Frankenstein (2. Preis) verbirgt in seinem Werk „Innovation“ mit der magischen Zahl neun einen Code, der vom Betrachter auf Anhieb nicht zu lösen ist. Dreimal drei Gesichter eines Mannes zwingen zum Hinschauen, zum Nachdenken, zum Entschlüsseln. Mario Urlaß aus Schönbach (3. Preis) setzt sich in seiner Collage „Chromosom 1“ mit dem Thema Innovation auseinander. Die Elemente seines Bildes sind Chromosomen, Träger von Erbanlagen, Chromatiden, wissenschaftliche Textfetzen oder Laboreintragungen. Den Publikumspreis erhielt am „Tag der offenen Tür“ Doris Rudolph aus Wertheim-Kembach für ihr Bild „Mensch und Innovation“. Die Werke sind mit der Preisübergabe in den Besitz der LAUDA FabrikGalerie übergegangen. Dr. Gerhard Wobser hat 1995 die LAUDA FabrikGalerie ins Leben gerufen. Seitdem fanden dort über 60 Ausstellungen von Künstlern und Künstlerinnen statt. Für nicht wenige von ihnen war dies ein wesentliches Sprungbrett für ihre künftige Karriere.

Evelin Neukirchen has been living and working in Würzburg for 2 years. She became involved in painting back in 1980, initially autodidactically, then took lessons and familiarised herself with the watercolour technique. She now prefers the technique of superimposing different colours, and works mainly with acrylic paints, gouache and oil pastels. For Evelin Neukirchen, the forest in all its richness and its forms is a refuge. The paintings show up the seasonal rhythm of the trees in line with the annual cycle felt by each and every person. The artist’s particular liking for the autumn can be felt: this corresponds to its unique connection of a multitude of colours on the one hand, and the melancholy of decay on the other hand. Spring, according to the artist, doesn’t keep all its promises. Autumn, on the other hand, is all the more extravagant. None of the paintings exhibited in the LAUDA FabrikGalerie were painted “on location”, as it were: they were all created in the studio. They are not visual representations of the objective existence: they are the artistic interpretation of intensely personal impressions which she has collected and implemented. Each painting is its own drama, with colours and forms being assigned their own roles. Colourfulness becomes magnificent richness here. It dissolves there. Elsewhere, flowingly soft transitions dominate. Somewhere else, opposites explode. The paintings are attractive, which cannot be said about the works of many a contemporary artist. Despite this beauty, you can feel a tense conflict, that of the extensive application and linear structures, which prevent the play of colours losing itself in pleasure. It is an old supposition that colour stands for the emotional, and the linear form stands for the rational. Even though the comparisons are actually more complex, the paintings can be interpreted as a dynamic combination of emotion and rationale, and the observer can take in the paintings at both levels – some more from the emotional point of view, some more from the rational point of view. The artist wishes to leave it up to the interested visitors to the exhibition to be addressed by the paintings in their own way. The free exhibition in the LAUDA FabrikGalerie is open for viewing during business hours from the beginning of October until the end of November.

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Now that the festivities to celebrate the 50th anniversary of LAUDA have come to end, the artists are once again the focus of attention in the LAUDA FabrikGalerie. Works by Karlsruhe artist Dieter Roth can be viewed from the beginning of August 2006. Dieter Roth took the long way round – via literature – to finally end up painting, influenced by an artist friend of his. This is the metier which now determines his life and, consequently, his art. His philosophy on life is: “If you don’t live out your dreams, you cannot realise them”, says Dieter Roth who would love to “chuck in” his job as a librarian and live exclusively from art or, to be more precise, from painting. All of Roth’s paintings are already composed in his mind’s eye in their entirety before he picks up his pencil and brush. He creates bright blue houses against an equally bright yellow background, purple mountains and landscapes you would only expect to find in a picture book. The play of colours and the contours of the “Desert dreams” in their various interpretations are overwhelming. Clear colours and strict graphic design are apparent in all his works. Roth’s comment on this: “I would much prefer to shock than to bore”. This is his reply when questioned about the pictures and the colours which express the artist’s moods. The exhibition by the Karlsruhe artist covers a wide range – from abstract to representative – in which colour plays a crucial role as a measure of his mood. Visitors interested in art can view the dreams of colour at the LAUDA FabrikGalerie from the beginning of August until the end of September during normal business hours.

The Polish artist Jan Zwolicki was born in Swiecie on the Vistula in 1967 and studied at the Lyzeum der Bildenden Kunst in Bydgoszcy from 1982 to 1987. Since 1989 he lives and works as a freelance artist in Bzowo near Danzig. In 1992, Jan Zwolicki already managed to build up contacts to the Miltenberger art scene which were intensified by many exhibitions at the Miltenberger area in the following years. Zwolicki has shown his work at Lauda before. He paints his subjects in a virtually explosive design of colour and shape. His interpretations range from loving irony to exposing satire to dynamic movement. The latest exhibited paintings by Jan Zwolicki have a peculiar atmosphere. They are full of vibrating tension. The life in them is lascivious and aggressive at the same time. The people in his pictures stand alone even when they appear in groups. Their colours glow, but they hardly communicate with each other. The luminescent hues of red, orange, turquoise, yellow and blues are set fluently. They resolve the touching dissonances in movement and seem to be spotlighted: the individual stages himself against a diffuse background. This is particularly obvious in the oil painting "Family" which shows three people. A "mountaineer" braces himself against invisibly drawing outside forces. He holds on with all his might, so that the diagonal exertion creates a counter-axis which works with the colours to evoke the red-hot, life-threatening situation. Again and again, the painter looks for this conflict in his motifs, the inexplicable, which evaporates in "Secret" and which makes the man fail to make contact with the two passers-by in the scene "Street". Art lovers can still see the electrifying oil paintings by Jan Zwolicki at the LAUDA FabrikGalerie during business hours until the end of March 2006. Our photo shows the painter Jan Zwolicki with his painting bearing the working title "Town Bus". The people represented in this scene are standing alone although they appear in a group. Their colours glow but they hardly communicate with each other.

Opposites merge to create unity It would appear that, to an artist, Dresden and the proximity to this city obliges him to follow a tradition which has seen painters, poets and philosophers, master builders and musicians to create remarkable things over the centuries. Michael Hofmann is one such artist to work according to this Saxon tradition, with its varied talents, skills, ideas and visions. The irregularity, the colourfulness and the various themes depicted by his wood engravings and collages catch the eye of the observer: hence the word ”eye-catcher” used to describe the exhibition – which can be viewed in the LAUDA FabrikGalerie until January 2006 – is allusive and ambiguous. Once again, the vernissage was an all-round delightful, inspirational evening. Michael Hofmann’s works are full of both a cheerful and a serious vividness, which is why his friends call him the ”Cheerful serious one”. The scenes from his home town of Radebeul, close to Dresden, the Elbe pastures, the Belvedere, the vineyards on the River Elbe, his still lifes, are gentle and cheerful. The occasional sharp or even hard lines of the wood engravings are always softened by the poetry of his colours and the sweep of his fine, lively movements. His images of Spain, bearing such fine-sounding titles as ”Grandiosa Corrida de Toros”, are reminiscent of Picasso’s brilliant brushstroke which, like Michael Hofmann’s wood engravings, are reduced to the minimum and the essential, yet produce an incredibly sharp image. Non-political and non-critical of society such as the great HAP Grieshaber, Michael Hofmann’s angels: they are graceful figures, vigilant companions of man – guardian angels. They form central themes of his work, as does death, which Hofmann manages to make less frightening, since he sees it as an important part of life. His glass windows, created for numerous churches and public buildings, are further testimonials to his diversified working world. His series of pipers is as edgy and poster-like as are the numerous portraits of famous contemporaries created by the famed Dresden wood engraver Conrad Felixmüller during the 1920s and 1930s. Hofmann tells stories in his works – light, colourful, clear, cheerful, frequently mischievous – yet also mysterious, containing a hidden message, a statement to be discovered, to be encoded. If you were to place a descriptive word next to the work, the words used would range from gentle lyrical poetry through to vociferous ballads. The enthusiasm for his own métier and his artistic colleague was palpable when Norbert Gleich, chairman of the Art Circle of Lauda-Königshofen, presented Michael Hofmann’s world of figures and scenes. Born in Chemnitz in 1944, he learned reproduction photography then studied art in Dresden and Leipzig. Upon completing his studies, he knew that the main focus of his creative works would be painting, coloured wood engravings and the design of glass windows. Everyday topics which allow a varied interpretation are subjects of his work. (Excerpt: Kerschkowsky).

The twin exhibition by Rudolf Kurz hosted in the Caritas-Krankenhaus in Bad Mergentheim and in the FabrikGalerie is no mean feat. The "Pictures, statues and sculptures" exhibition by Rudolf Kurz requires openness and willingness to confront serious subjects. The artist Rudolf Kurz, born in 1952 in Ellwangen, is a classic sculptor and his reputation amongst artistic circles is anything but trivial. Following the traditional line of Michelangelo-Rodin-Hrdlicka, Kurz considers it his obligation to treat the materials justly. In his exhibitions, you will encounter sandstone, marble and basalt in accord with metal, steel and bronze. The artist’s dealings with Christian motifs resulted in a part of the exhibition being established in a denominational hospital. The idea behind the exhibition in the hospital was to expose those in the hospital (i.e. patients, visitors and the medical staff) to critical situations and illnesses in the form of the subjects of "Body – cross-bearers, man’s obligations and suffering", in order to find comfort and rays of hope in the contemplation of the artistic works. The pictures and sculptures by Rudolf Kurz exhibited in the FabrikGalerie are an excellent counterpart to the exhibits in the Caritas-Krankenhaus, whereby the varied "rays of light" in the forms of pictures and the ”torsos” in the exhibited sculptures require intense contemplation in order to reveal their secret and to resolve the "ramifications". With his works, Rudolf Kurz goes against the trend of fleeting pictures, which we are surrounded by every day. He doesno-’t wish to be specific. He leaves us with mysteries, and the enigmatic becomes mysterious. Many of his works can be viewed in public places and in many churches in the south-west as well as in Rome (the private chapel of Cardinal Kaspar and the Collegium Germanicum), and in the church in Schrozberg, the hospital chapel of the Virngrundklinik, Ellwangen. The exhibition in the LAUDA FabrikGalerie Dr. R. Wobser, Pfarrstraße 41-43, can be viewed during officehours until the end of November 2005. Photo: Hammer/Tauberzeitung.

"Rays of hope" Jürgen Szajny, artist from Werdau, names his selection of paintings and graphic art displayed in the LAUDA FabrikGalerie. Jürgen Szajny, born in Chemnitz in 1944, successfully completed his studies in décor, and between 1961 and 1963 he was a student of Professor Karl Michel at the School of Painting and Drawing in Zwickau. From 1969, he pursued intensive artistic training by Edgar Klier, the painter and graphic artist from Zwickau. Jürgen Szajny, who has been living in Werdau since 1967, completed an evening course at the University of Graphic Arts in Dresden in 1977, and in 1991 completed his cultural studies. He has been working as a museum pedagogue in the open-air agricultural museum in Blankenheim castle for 14 years. He is a member of Zwickau’s art club and chairman of the Pleissenland art club, which belongs to the Zwickau Land district. He has been working as chairman of the cultural region of Zwickau Land since 1999. Some of his artistic works are privately owned in collections in Germany and France. Many of his works are owned by public institutions. The beautiful landscapes, expressed in rich colours, of the "Rays of hope" collection in the FabrikGalerie gradually diminish the ”Grey and whiteness of daily life”: This has an agreeable effect on the observer’s soul. The selected artistic works from his earlier creative days grant insights into the artificial landscapes of the area in the South of France between Marseilles and the Pyrenees, the Rhone and the Cevenne. In his works, the artist wishes to convey to the observer the uniqueness of these rich landscapes characterised by the ancient link between man and nature. Living in the Cevenne involves a continuous struggle with nature. It means the profound link with, steadfastness of and love of a piece of land which enables unlimited freedom. Whereas the first creative works by the native of Chemnitz – during the 1970s – focussed mainly on the conception of man, during the 1980s he concentrated on townscapes and reflections of his travels to the former Soviet Union, which were influenced by the art of the so-called Dresden School. Stylistically, the works of the artist can be classified as expressive impressionism. Visitors interested in art can experience Jürgen Szajny’s rays of hope in the FabrikGalerie during normal business hours until the end of September. Pictures: The artist Jürgen Szajny (left) conveys the "Rays of hope" message to two viewers in front of the "Cevenne Autumn" work. The exhibited watercolours and acrylic paintings grant insights into the artificial landscapes of the area in the South of France between Marseilles and the Pyrenees, the Rhone and the Cevenne.


In cooperation with the Würth museum, part of the excellent portrait exhibition entitled "Faces of an Epoch" by Paul Swiridoff is accessible to the general public in the LAUDA FabrikGalerie. Paul Swiridoff was born in 1914 in Vladikavkas, Caucasus. He lived in Berlin between 1934 and 1940. From 1940, he spent 10 years in Ludwigsburg, after which he moved to Schwäbisch Hall in 1950 - he ran his own photo studio here until 1980. One of Swiridoff’s positions was as editor-in-chief and publisher between 1971 and 1991 of the ”Würth report” newspaper of the globally-operating Würth Group: a position which took him around the world in his capacity as both a photographer and a journalist exploring the Würth world. Paul Swiridoff died in Schwäbisch Hall in 2002. At the beginning of his career, he was concerned mainly with landscapes and townscapes. Then he started on his first portraits, which made him famous. Following a long rest, he had the ambition of tracking down the nature of time in the faces of leading personalities over half of the last century. His book entitled ”Faces of an Epoch” could be interpreted as the final chapter and as a bridge between a legendary post-war period and the world as it approached the end of the last century. With this 50th book of pictures, Swiridoff has immortalised a time period of 50 years as the result of his passionate search for the mysteries in the faces of his contemporaries. In the last paragraph of his preface ”Marginal notes on my encounters over five decades”, Swiridoff writes, ”Maybe this book is also unusual in the way it reflects, in these faces, the human element, the all-too human element and the eternal human element over decades, all made visible by the same author”. A silent request to read the faces. Ultimately, an earthly creation awakens a profound, human interest and a greater enchantment than the actual creation itself. He frequently speaks of the landscape which represents the human countenance. Any observer of his portraits is bound to agree: it is impossible to avoid thinking of an ancient, cracked mountain landscape when looking at the image of Adenauer. Swiridoff said, ”Nowhere else does the miracle of the creation of humanity manifest itself as touchingly as in the landscape of the human face”. It is fascinating, at the end of this century, to cast a glance back to some of the minds which have left their marks on the past few decades. Anyone who, upon first reflection, missed that no categories are formed – i.e. politicians, artists, intellectuals – will be enlightened, upon observation of the exhibition, that this is not possible. The highly-interesting exhibition in the LAUDA FabrikGalerie is open for viewing during the normal opening hours through to the beginning of August 2005.

The cool capers of April does not get a look-in in the light-flooded FabrikGalerie. The walls are ablaze with a diversity of colors which really get the observer into the mood for the joyous month of May and spring as a whole. This diversity of colors is the result of twenty-seven acrylic paintings by the artist Irmin Beck, who now lives and works in Sönewitz, not far from Dresden. At the beginning of the 1960s, the native of Miltenberg studied at the School of Arts and Crafts in Würzburg. Following her move to Berlin, the artist worked as an illustrator and as a trainee in a chemographic art institute. She continued her artistic training here, and also successfully completed her studies in biology. Irmintraud Beck has been working as an illustrator in the field of medicine and natural science since 1980. Upon her move to Dresden in 1985, her career took a different turn. In Dresden, she discovered the courage, the strength and the leisure to give in to her longing for artistic freedom and to realize on the canvass her very own fantasies – with no "ifs and buts" – away from anatomy and clinical case studies. Right from the beginning, complex spatial constellations and structured fantasies of plant life have been her subjects. The main focus of her exhibited works will be plants with flowers expressed in bright colors. These are not depictions of real subjects, but rather imaginative, partially fabulous images and "floral structures", as Irmin Beck herself describes her works. A tangle of buds, branches and stalks reminiscent of a primeval forest appears to take on the appearance of a system of nerve and blood vessels. Exotic flower gardens, lush underwater worlds, imaginary desert landscapes, tropical jungle idylls, fantastic yet also chaotic and also strictly-arranged tubular and capillary systems charmingly captivate the eye of the beholder. Irmin Beck’s works play with nature’s abundance of forms, and invent quiet, restful, unsentimental patterns in color tones which are also used in medical reference books to identify the human circulation system. Her art breathes the coldness of technical precision – a precision of extremely graphic sharpness on homogenous projection surfaces which take on a varnished appearance. You could describe this distanced manner of painting as a new form of a realism which is not unfamiliar with a romantic spirit. Irmintraud Beck does not use any sketches, preferring instead for the cosmos of her paintings to unfold like a living organism on the canvas. Inner and outer worlds merge: her art is a quiet, complete echo of herself: "the floating smile of a keen intelligence".

Since the beginning of February 2005 the artist Astrid Ritter, who lives in Wertheim, has been showing a true display of colours and structures. Astrid Ritter, born in 1945, graduate of the Würzburg Art School, studied at the art academies in Mannheim and Nuremberg. Meanwhile, she can look back at a long series of successful exhibitions both at home and abroad. In the LAUDA FabrikGalerie, Astrid Ritter is displaying a very special technique which she invented herself. It is a unique combination of the technique of painting pictures on the back of glass and collage. She cannot and does not wish to deny her origins as an illustrator and icon painter, yet she has arrived at the point where she has discarded all severity. Continuous diversity layered on top of each other which grows in a long creative process: that is her credo. And, in order to serve this credo, she uses all possible forms of expression in order to accompany the observer on long journeys of discovery. Strict forms, colours placed one on top of the other, decorative elements, handwriting, facial features: all of this divided over various levels of the image: it speaks of the desire for the fabulous, of the desire for colours and mysteries, of deductive skill and sensitivity to colour. Draft titles such as: War of emotions, the Dream dancer, Rainbow snake, Crossfire and many more transform the observer into a true buzz of colours. Their subjects continuously revolve around human existence, for which she finds extensive, richly metaphoric images derived from motifs from myths, legends and fairytales. Abstraction and figuration, decorative elements and expressive elements are combined with a rich array of colours – the result is fascinating, ambiguous works. In recent times, the artist has been taking up forms of abstract painting, and links strongly-coloured areas with representational backbeats and real stale ideas, creating effective memoirs. Again and again, Astrid Ritter displays in her works jokes and humour, thus displaying that, in her pensive view, the world is never without hope. Our photo shows two employees interested in art in front of the pictures painted on the back of glass by Astrid Ritter, which bear the draft titles of (from left to right): Rainbow snake, the Dream dancer and the War of emotions.

With a private preview for 140 guests at the Lauda FabrikGalerie, Lauda Managing Director Dr. Gerhard Wobser opened the exhibition "A walk in the inner garden (In den inneren Garten gehen)" of artwork by Prof. Mario Urlaß. The artist was presented by Norbert Gleich, chairman of the Kunstkreis Lauda-Königshofen (an art association). As in previous years, visitors were able to enjoy extraordinary sounds – an excellent programme of modern compositions by Frank Kroll from Böblingen, performed by soprano saxophone and bass clarinet, was a true musical highlight. Mario Urlass, born in 1966 in Zwickau became a member of his hometown’s Förderstudio für Malerei und Grafik (an association for the sponsorship of graphic arts) when he was only 14 years old. From 1982 to 1986, he studied at the Auerbach teacher’s seminary, where he taught from 1988 to 1992. During that time, he also studied art pedagogics at the University of Leipzig. In 2003, Urlaß became a tenued professor for art and didactics at the University of Heidelberg. Mario Urlaß’s motto is: "You need to master a form, before you can break it." His multi-faceted, slightly mysterious paintings are created in the course of a long process of constant re-evaluation and revision. As the human being evolves, form and content change as well. The works of Prof. Mario Urlaß are now adorning the walls of Thuringia’s Ministry of Education and Cultural Affairs and Saxony’s judicial building and Ministry of Arts and Sciences. Banks in Zwickau and Greiz have also been purchasing Urlaß paintings. A selection of his works entitled "Inner Garden (Innerer Garten)" can be seen until January 31, 2005, at the LAUDA FabrikGalerie during regular business hours.

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It has to be said that the new exhibition in the LAUDA FabrikGalerie DR. R. WOBSER GMBH & CO. KG stands out somewhat. It doesn’t display the current trend of cosy landscapes, symbolic advisory constructions or the eye-catching interplays of colour and form. No: the focus of the works by Berthold Dietz, the sculptor and graphic artist from Lichtentann, is still on the human element. Berthold Dietz was born in Zwickau in 1935 and studied stonemasonry and sculpting between 1949 and 1955. He attended Zwickau’s School of Painting and Arts under Prof. Carl Michel between 1952 and 1955. He then studied at the University of Fine Arts in Dresden. He completed his studies as a trained sculptor under Prof. W. Arnold in 1960. Since then, he has been living and working as a freelance artist in Lichtentanne. Dietz is one of the original sculptors on the East German cultural and artistic scene. He has been creatively active for the past 15 years. In apparent peace and solitude, he has created an artistic work in an abundance and diversity and quality without any spectacular, superficial scenarios. Dietz is an avowed Christian and doesn’t conceal this fact in his work. Christian ethos, the thoroughness of the craftsman, optimism and the affirmation of life plus the penchant for the lyrical determine the artist’s creativeness. His claim to counselling is a further credo of his art. Not art for art’s sake – but rather art to make you think, to analyse, to enjoy, to edify, to display values and human dignity. Archaic forms and figures arise from his hands, full of power, exciting dynamics and also structural peace, with a delicate appearance and also spaciously reaching into the heavens. He develops forms which are respectful to nature. They remain comprehensible and testify to human existence by means of the knowledge and experience of suffering and joy, express the emotions of joie de vivre, sadness and sympathy, thereby making them potential monumental mirror images of our society. In numerous exhibitions, Berthold Dietz has already presented his sculptures. His works have taken part in various joint exhibitions including in Dresden, Magdeburg, Rostock, Moscow, Prague, Sofia, Paris, Amsterdam, Oslo and Montpellier. Many of his works are visible in the public domain including in Zwickau, Chemnitz, Erfurt, Plauen, Gera and Hoyerswerda. One of the greatest challenges of recent years has been the avowed Christian’s participation in the competition for the monument to the Holocaust in Berlin. His draft was a platform with a side length of 65m into which a relief-like map of Europe was integrated. The centre was to hold a pavilion 11 metres in height: under its roof – the shape of a Star of David – Dietz wished to position a group of 7 Jews. To his regret, this suggestion didn’t receive a majority by the jury. The exhibition in the LAUDA FabrikGalerie shows a small yet impressive cross-section of his comprehensive works. Small sculptures and drafts for monumental sculptures, coloured manual drawings of figurative group compositions and watercolours well worth seeing from his educational trips are on the business hours between August and the end of September. Our photo is of the trained sculptor Berthold Dietz in the LAUDA FabrikGalerie next to the sculpture "Female thinker", netxt to the "Overarm" bronze sculpture and next to his sculpture from "White Italian marble". The depiction is of "Moses with the Commandments Tableaux".

Masterful, translucently delicate colour plays at the LAUDA FabrikGalerie Eva Okrslar presents a selection of her work in oil and verre églomisé Since June 2004, the LAUDA FabrikGalerie is showing more than two dozen paintings by Eva Okrslar-Benninger, born 1952 in Würzburg. From 1968 to 1971, Eva Okrslar studied at the former Würzburger Werkkunstschule with the painter Wolfgang Lenz, and worked as an art teacher afterwards. After a prolonged stay in Slovenia, she is now living and working as a freelance artist in Upper Bavaria’s Ohlstadt near Murnau/Staffelsee. The creative work of the painter Eva Okrslar – oil paintings, verre églomisé, objects – invites the beholders to take time to immerse themselves into an unusual visual offering. Masterfully, the painter creates translucent, delicate colour plays and expressive harmonies in colour. Organized structures, balance, symmetry, and a sometimes ornamental composition can be found in all pieces. It is abstract painting in its original sense. Repeatedly, the beholder is directed towards identifiable motifs and subjects, which are not presented as such, but point towards further levels of meaning and interpretation. It is the naturalism of the transcendental, of the fantastic, which serves as a connection between Eva Okrslar and the Surrealists. In other words: the quest for the many manifestations of the unseen world, the intention to lend a shape to the shapeless. Seemingly small things, simple forms of life, ciliates, moss, with all their inherent possibilities to grow and perish, find their way into the painter’s visual world. The mythic and spiritual icons of ancient piety are particularly important subjects. Biographies always leave their traces in an artist’s oeuvre. Thus, Eva Okrslar examines the cultural landscape around her in a creative manner. At the same time, she is a sensitive collector of contemporary folk art, the themes of which often find their way into the artist’s own work. The magical power of the exhibited verre églomisé paintings suits the artist’s creative urge. After all, the sophisticated technique reflects on the Murnau area, which inspired artists like Kandinsky and Gabriele Münter to experiment with verre églomisé in the early 20th century. Our photo shows the artist (far right) with interested visitors in front of the painting "Opfer", oil on canvas (2000).

Doris Rudolph, born in Eichstädt in 1967, has been dedicated to painting ever since her youth, which was spent in Ingolstadt, on the River Danube. She continued with this activity during and following her studies in interior design at the technical college of higher education in Rosenheim. Today, the artist lives and works in Bettingen am Main. A representative cross-section of her creative colour portraits is open to the public in the LAUDA FabrikGalerie during April and May 2004. Doris Rudolph's works delight the observer with their generally strong, richly-contrasting colours which cannot deny the influence of Expressionist pioneers such as Franz Marc or August Macke. The choice of subject always revolves around man and his environment, whereby the latter is frequently experienced more or less as an abstraction. The artist pays particular attention to the human face, whose features and possible expressions present a special challenge in their representation. In her paintings, faces remain mainly realistic, with the colour matching the more distinct background. The bodies, on the other hand, turn into roughly-sketched portrayals, or are ”cut up” into geometric, segment-shaped sections. The qualified interior designer gets her ideas from nature itself, the bases of her figures are realistic people, who gradually lose parts of their identity during the creation of the painting. Suspense is thus created – suspense which entices the observer into an emotional and highly-imaginative atmosphere. Commissioned paintings such as wall murals for restaurants and wellness areas or large-format paintings for specific occasions such as customer portraits, have contributed towards the progression of the artist's particular style of painting. The main materials used are acrylic or emulsion paint on canvas. The paintings by Doris Rudolph do not only address people interested in art: they also impress ”the man on the street”.

Works by the artist Michael Blümel can be viewed in the LAUDA FabrikGalerie during the months of February and March. The native of Bad Mergentheim, born in 1967, student of the history of art, philosophy and visual communication and graphic design, lives and works as a freelance artist in Leipzig. The majority of his work is taken up with illustrating texts. He works with publishing houses and various literature journals. Michael Blümel frequently holds exhibitions both at home and abroad: the artist is a fan of France, and spends some of his time living in Cahors, in the south of France. The exhibition currently being shown at the LAUDA FabrikGalerie is entitled ”Figure Structures”. The title itself is an indication of what to expect: figures and structures are connected, are joined together, and form the central theme of his work. On almost each and every one of his pictures and graphics, people are represented as a mass, as a structure. Indian ink, oil, acrylic are the artist's preferred materials, although he sometimes also goes for mixed techniques. The message which his work tries to convey is actually formed by literature. Michael Blümel sees books and pictures as irreversibly linked. The observer does not need any literary knowledge in order to access his pictures. ”Either they like it or they don't”, is the way the artist formulates it. He ”demands” of the observer to take one's time and to preoccupy with the work of art. As an artist, he is aware that you cannot please all the people all the time.

It was in a virtuoso and wonderfully rousing manner that Christian Reichert played his guitar: from variations on a theme from Mozart or Paganini, a sonata or a tango by Roland Dyens – the ”devil's guitarist” thrilled his audience and set the musical counterpoint to the exceptional and remarkable ”con form” exhibition of pictures by Renate Jung and sculptures by Hilde Würtheim. The ”Cooperation” of ideas and a congenial interplay of colours, form and music between the three artists turned the evening into an experience. Our LAUDA FabrikGalerie has long since established itself as a permanent institution on the art scene in the region – and way beyond. The original idea from the company founder and initiator Dr. Gerhard Wobser of ”Bringing art to the workplace” has not only generated interest amongst employees, but also attracted the attention of many art fans from all over Germany: indeed, from many other countries too. Pictures by Renate Jung from Würzburg will be causing a sensation in the FabrikGalerie over the next couple of months. Apart from the twelve small-format etchings entitled ”Through the year with Renate Jung”, all pictures are without exception large format and represent a multitude of themes, messages and colour. The visitor inevitably stops, quickly changing from an observer of, to a communicator with, the pictures, falling under the spell of the spacious, clear and fixed, sometimes severe, compositions of the faces and figure landscapes. Clay sculptures by Hilde Würtheim stand, sit and crouch between the pictures. Intimate with her simplification of nature and naturalness, natural worth and grace, lively in their charm, cheerful in the brightness of colours and both original and humorous with their embellishments. The artist blends fiction with real role models, creates her own sculptures or reproduces original sculptures, such as the Franconian regional writer Willi Schwappacher or Monika and Karl, a married couple from the community of Eschenau. Hilde Würtheim freely constructs her structures, which means that the clay material is freely shaped and then fired. This necessitates safe materials in dealing with clay. ”It is her objective to attain a high degree of reduction and to work out the characteristic features such that the portrait is recognisable. Managing partner Dr. Gunther Wobser, who presented the artists with flowers and gifts, expressed a sentiment felt by many guests to the vernissage thus: ”The establishment of the LAUDA FabrikGalerie was a brilliant idea of my father's”.

The works of four artists from Neschwitz, Saxony, were exhibited in the town hall of Königshofen for several days during the Königshöfer Messe (Königshofen Fair). Now this outstanding artwork from Lausitz (which, incidentally, is in the immediate vicinity of the Wobser family's former home town) is on view in the FabrikGalerie of the LAUDA DR. R. WOBSER company until the end of November. Ino Jänichen-Kucharska is represented by a selection of ceramics, oil paintings and watercolours. The artist selected three letters from her first name of Ingerose to come up with the name of the Greek goddess for ships in distress – Ino. The life of this multi-talented lady reads like a book; apprenticeship as a bricklayer, studies in architecture, work as a teacher, architect, garden designer, painter, ceramicist, poet, musician… her fantasy and creativity appear to be indefatigable. The exhibits on show present a small selection from her vast range of artwork. Rosemarie Köster presents her ”Unique Textile Specimens” behind glass. The filigree works of art have already been exhibited in a multitude of cities including Berlin, Bremen, Dresden, Freiburg, Heidelberg and Krefeld and have received a great deal of attention at international competitions. Several of her works have already been snapped up for public buildings. Wrought-iron candle holders, bowls with highly-imaginative shapes and surfaces and various other objects by Michael Kaczmar are on view at the exhibition. The highly-talented smith learned his trade in his parent's smithy, completed his master craftsman course and, following his traineeship to ”Professional Restorer”, dedicated his working life to the restoration of monuments. The Chamber of Handicrafts in Kassel honoured him with the title ”Recognised Restorer for the Smith Trade”. After his studies in the USA, he took over his parents' business and taught style, metalwork and the preservation of listed buildings at the ”Bundesfachschule Metallhandwerk Rosswein”. Michael Vogler's artistically-designed photography depicts unfamiliar picture details and perspectives; attractive macro images captivate the observer. Vogler's career is also an interesting one; from his A-levels, to dropping out of his fighter pilot traineeship, through to his studies in agriculture (completed in 1975) and his studies at the Engineering School for Horticulture, his job as a painting therapist and restoration work on churches right through to his freelance artistic profession as photographer.

The current double exhibition of the married artists from the Vogtland, Regina and Wolfgang Blechschmidt, in the LAUDA FabrikGalerie uses abstract styles to refer to topical subjects. The two artists process the subject of light with various means. With Regina Blechschmidt, we find light in the depth of space. A staggered network of lines blocks access for us. We suspect light in the infinite. With Wolfgang Blechschmidt, light is found on the surface. Small and miniature structures absorb light and reflect it. The artists have many things in common. Nevertheless, their ways of expressing themselves are individual. One striking thing is the aesthetics, a strong reticence as far as colours and contrasts are concerned, which also extends to the choice of the frames. Each motif demands a specific frame - a special point to which little attention is frequently paid and which is handled perfectly and fortunately in this exhibition. Wolfgang Blechschmidt has a weakness for tender colours. A warm, elegant grey dominates - mainly increased to white. With one single exception, the picture "War". This is an extremely portrait format in the colours yellow via orange, red down to an impressive rust red. It starts with a homogeneous yellow surface quiescent in itself, which has a nuance of darker yellow in the upper area with two superimposed, rectangular shapes. Above it, there follows the sulphur-yellow centre. It is like the core of an explosion, everything pushes to the outside. Above this, threatening, uncanny, ominous, a mushroom cloud, which bursts open the format in the upper area. Wolfgang Blechschmidt's further search for traces of life can be seen every day on old facades of houses. Normally, these survivors of the former time are intentionally regarded as being eyesores in our environment, which is becoming more and more beautiful, and are re-plastered. Blechschmidt now draws our attention to their aesthetic richness: whole generations have left their traces. These layers, which he uncovers as if with a scalpel, are then moved back into our consciousness. But he does not preserve residues of plaster and masonry and present them to us in a frame, he reproduces the situation, rediscovers the structures and achieves an abstract realism in this way. With Regina Blechschmidt, sacral elements such as church portals, glass windows or monastery paths find their way into her pictures. The cross as the symbol of suffering appears in a number of versions. It mainly appears light yellow in the symmetrical middle. Darkness is more in the peripheral zones of the picture, superposed by a number of lines. These structures have been formulated with extreme vehemence. We feel the tempo, the force and the passion in these lines. They have an inner tension, because they are mainly anti-cyclical. They hit each other at an angle of 90 degrees, thus again forming many more crosses. Her plastics also show the interrelationship between light and shadow. Sacral subjects as well as human emotions are implemented here in an abstract way. The observer of the "Madonna", for example, feels the security of the spread coat, but at the same time one feels a great loneliness. The winding paths of the ceramics "Bindings" give an idea of battle and harmony. The pain of the tormented "King" becomes visible when you look at the picture. The married artists, who were born in Falkenstein in the Vogtland and also now live there again, have had a varied past. Regina Blechschmidt was active as a designer at the Plauen state-owned company as a trained textile artist and studied "Applied Art” in Schneeberg. After moving to Baden-Württemberg in 1989, she taught at the Juveniles' Art School in Offenburg. After opening her own ceramic workshop in Falkenstein in 1997, she has been working freelance for three years. Wolfgang Blechschmidt has been concerning himself with painting and graphics since 1963. He has been a freelance artist since 1982 and completed studies at the Dresden University of Fine Arts. After the move to Baden-Württemberg, he was a teacher at Juveniles'
Art School in Offenburg and at Offenburg Adult Education Institute in the area of Painting and Graphics for Adults. Despite the change of residence to Falkenstein in 1998, he has remained at the Art School in Offenburg as a teacher in the area of Painting and Graphics. Those interested in art can gain an impression of the artists' work at the LAUDA FabrikGalerie during business hours until the end of September 2003.

Apart from her occupation—she is an engineering draftswoman by trade, a housewife, and a mother—Petra Goldschmitt of Kuelsheim has taken the initiative for creative development. For her, painting is like a dream, the withdrawal from everyday life, colourful dreaming, an expression of her observations and emotions. Due to its demand for spontaneous decisions which are almost irreversible in their effect, she continues to be fascinated by watercolouring. She is continuously challenged to quickly respond to runaways and structures as well as wait in a disciplined manner for the paint to dry to continue working. Her watercolours speak their own language and are intended to reach the viewer—and this exhibition at the LAUDA FabrikGalerie reaches her goal. This is confirmed on a daily basis by feedback of our staff as well as our numerous business callers. Her work depicts colourful plants, unique buildings exhibiting a number of different structures, picturesque spots, and dreamy landscapes in subtle pastel tones. The artist discovered her passion for painting in school when she chose painting as her first major course of study. According to the artist, she learned the art and craft of painting by attending watercolouring, portrait drawing, and ink drawing courses as well as weekend seminars and advanced training courses. Meanwhile the artist has become an active member of the Kuelsheim and Lauda art circles, and she holds seminars for individuals of all age groups that are interested in art. As her paintings speak well for themselves, Petra Goldschmitt does not provide too many explanations regarding her work. Instead, she enjoys talking about her personal inner satisfaction while painting, passing into dreaming, escaping from daily life, and losing herself in the painting until it is completely finished. However, she can only fully "release" her work if it stands up to her critical scrutiny—after sufficient time. The work of the artist certainly passes her close examination, and a tour through the exhibition at the LAUDA FabrikGalerie demonstrates the exquisite quality of her work. She conjures pleasantly aromatic plants, dreamy landscapes in a range of different moods, quiet spots filled with spirituality, and buildings of a unique structure in both monochromic or vivid colours and traditional or modern styles—all her paintings are a homage to her expert stroke, her sense of colour, her flair for form, and her good perception of a balanced composition. The effects of the paintings are increased by means of exceptional framing which succeeds in intensifying and underlining the contents of the watercolours.

Colourful oil and acrylic paintings by the artist Rut Fischer-Stege – who lives in Schollbrunn – have been on display to visitors at the LAUDA FabrikGalerie since the beginning of April. Rut Fischer-Stege was born in Darmstadt in 1940. Following her studies in music in Kassel, she studied painting and graphic arts at the Offenburg School of Design from 1968 to 1973. Initially involved in various activities such as graphic design, advertising, publishing graphics and illustration, she eventually wound up in expressive painting. The artist is a member of the Berufsverband Bildender Künstlerinnen und Künstler (Federal Association of Artists of the Fine Arts) in Frankfurt and of ”Das Rad” (”The Wheel”), an association of Christian artists. Since then, she has successfully presented her works to the public in many towns and cities both at home and abroad. Many of her works are now publicly and privately owned, or owned by the church. Her exhibited works cover the area of conflict from ”Conflict and cooperation, between ratio and emotion”. If on one hand, it is the gestural flowing of the paint, on the other hand it is the structural, the calculated area element as well as the consciously-used line. Mixed technique, collages and aquarelle-type values of expression are all elements included in her acrylic painting. The multitude of flower designs – which she sees as the symbol of life – contained in contrasting graphic areas of colour, give an exciting overall result. The exhibited compositions of paintings give the observer the feeling that a new way of effectively staging contrasts has been born. Metallic shining gold and silver elements, vibrant red and bright yellow bring out the main features in dominating blue and green areas. Acrylic paint is sometimes applied thickly and pasty, sometimes ”diluted” and alienated down to ”aquarelle paint”. A positive and colourful colour interpretation comes over in almost all of her works, making her work unique. The colourful exhibition, designed for the spring, is open to the art-going public during business hours until the end of May.


A representative cross-section of the multiple talents of Adam Lude Döring is being presented in the LAUDA FabrikGalerie during February and March 2003. Over productive decades, Adam Lude Döring followed his own path which began in Saxony and which led him to a voyage of artistic self-discovery and liberation following the war and deprived beginnings in the West. Lude Döring has been living and working in Sachsenheim-Häfnerhaslach close to Bietigheim-Bissingen since 1978. In addition to successful exhibitions in Stuttgart and the surrounding region, the artist has also held exhibitions of his works in Berlin, Munich and Paris. Adam Lude Döring's trademark are his hundred-square compositions; the surface is systematically placed underneath a screen comprising 100 equal squares. It is on these separate squares that the play of lines, figures, forms and colours performs spontaneously. Fragments, figures, hands, faces, profiles, fingers, gestures and joints are individual leitmotifs, geometrically arranged and crossed by segments, curves, grids, nets, stripes, bars, slopes, instruments, accessories, associations – all of which contribute towards metamorphoses. Momentary sketches from the ballet studio, daily life, games and sports are some of the delicacies of this weightless art which nevertheless follows a set pattern. Adam Lude Döring started off in the 1960s doing heads, and has remained true to this subject although a former art professor of his tried to discourage him, claiming ”Nothing will come of it”. The eyes and eyebrows always ended up too large. Picasso of course was also ”to blame” for this. It is the shape arising from within which forms the solidity, not the colour. Yet the generally clear colours also hold the work together, such as the characteristic triad of yellow, black and red or the typical translucent blue. There is no end of possibilities in a square: the vivid line meets the geometric form and the artist observes who has the most power. Poetry thus comes from geometry. The formal aesthetic of the structure of the painting is a result of the work, not its precondition. The artist says that he could not construct anything from outside. ”I work from the inside out. If I try to work aesthetically it works out badly”. The highly-interesting dual exhibition, could be visited at both the Caritas hospital at Bad Mergentheim and in the LAUDA FabrikGalerie.

China is an important up-and-coming market for the German economy. It is therefore reasonable to presume that a company such as Lauda Dr. R. Wobser – which has been represented with partner companies in the ”Middle Kingdom” for over a decade now – should also be interested in the culture of this far eastern country and that it should present Chinese art in the form of an exhibition entitled ”Connecting Tradition and the Modern Age” at the FabrikGalerie. Paintings and sculptures are both outlandish and exotic, and their simplicity, aesthetics and poetry act like balm on the soul of the observer. The 25 objects by the 8 Chinese artists, who are all between 30 and 40 years of age, show how deeply almost all of them are rooted in traditional understanding of art and techniques. How much China was closed off to outside influences for a long time and how little the painting of various epochs has found its way into China’s artistic life. It is very clear from this exhibition how tradition, philosophy, learning and wisdom have influenced Asia’s character and shaped the emotions of an artist and how it is translated in his work. The Chinese woman Kexin Ju who, as a self-employed economic advisor, maintains business relations between German and Chinese companies, works as an interpreter and translator, and who also wishes to forge cultural links between the two countries, has brought ”her” exhibition to LAUDA’s FabrikGalerie. Kexin Ju comes across as lively and committed at the opening of the exhibition, which wishes to express not only emotions and sensations, but also ”quite different human aspects” and which ”is a reflection of the development of society, of Zeitgeist and mutual individual feelings – irrespective of their origins or culture”. ”A high degree of traditional awareness and the spirit of social critique” distinguish the representatives of various cultural schools in China and elucidate their philosophy, which is based on Taoism. Emptiness (a particular feature of Chinese pen-and-ink drawings), the lack of a background, white areas and the view without a perspective, stand for the ”letting go of all the troubles of the world and the spiritualization of observations and experiences”. This merger of real and personal images directs the way of thinking of China’s artists, poets and philosophers, and is particularly evident in the art of calligraphy. It is in his type of stroke, the mastering of his brush, that the calligrapher expresses his ”elevated way of thinking, the integrity of his character and the extent of his education”, which is why the mastering of the art of calligraphy was a prerequisite for admission to all higher public offices in the China of old. Even today, pupils are expected to suppress their own individual expressions and to learn from the great examples and only develop their own individual characteristic style over time. Kexin Ju fondly explains the diverse tools of the calligraphers and painters, using several paintings to explain the artists’ ”signatures”. Her perfect, clear German surprised visitors at the opening of the exhibition. Tracking down the explanation for this perfection led us to Lauda, as Kexin Ju was a student of the Sinologist Dr Hans-Joachim Wolf, who was brought up and lived in Lauda, and who spent five years teaching German at the University of Chonquing in the province of Sichuan. Ms Ju’s interest in Germany and her love of the German language arose during this period. She left China in 1985, studied German and business studies at the universities of Würzburg and Erlangen-Nuremberg, married a German and today lives in Neustadt an der Weinstraße. Her fine ear for languages is complemented by the music of the Chinese woman Pan Jing, who energetically and gracefully coaxed strange-sounding yet familiar sounds from the pipa, an old Chinese string instrument. Her playing was graceful, elegant and extremely virtuous when she plucked the strings of the lute-like instrument, tapped it, sometimes just dabbing at it, coaxing gentle sounds out of it or reaching inside of it, or gently
drumming on the wood. Very poetic sounds, as gentle as the whispering of summer rain, as mysterious as the opening of a flower, the image of a frost pattern on a window, a ”Moonlit Night in Spring” was the name of the final song of her encore, which was applauded by a delighted audience. ”It was with a concentrated ”charming offensive” that China came to Lauda”, remarked Dr Gerhard Wobser, who himself dedicates a large part of his affections to art and his ambitious ”FabrikGalerie” project. The eight previews held since the gallery was created in 1995 were concluded in the exhibition year of 2002, which again presented several different artists. Acting in close cooperation with the Lauda-Königshofen art community, it is the objective of the FabrikGalerie to offer local artists in particular a forum for presenting their works, according to Dr Wobser. Some of these works are included in the art calendar which the Lauda company has now published for the fourth time and whose proceeds will be going to the ”Hilfe für Kinder in Not” children’s charity. As one of Lauda’s company objectives is to forge closer contact with China as a future market and powerful trading partner, Dr Wobser took particular delight in presenting the diversity of contemporary Chinese art, bringing to the forefront a country with which Germany will have more and more contact in the future. The company’s employees and regional visitors to the gallery alike were allowed a glimpse into a country and its culture which remains one of Asia’s most mysterious discoveries.

Since the middle of October, the latest works by the Königshofen artist and publisher Elmar Hauck have been accessible to the public in the LAUDA FabrikGalerie. Under his pseudonym of Matani, Elmar Hauck has acquired a considerable reputation. Publications in calendars, periodicals and other international press articles prove this. Anyone who knows Elmar Hauck from previous times knows that he is inspired by the culture of the Far East. If you think of Asiatic art, you above all think of the varied design of the characters. Calligraphy has a high reputation all over Asia. There, writing is not only regarded as a means to an end. Thanks to its demanding aesthetics, each individual character has an expressive power over and above the mere meaning of a word. The close connection between content and form, as expressed in Chinese calligraphy for example, has inspired a number of artists. In the real sense of the word, calligraphy is an abstract picture which has an effect on the observer. Matani understands characters as signatures. Matani's character-like and abstract image compositions breathe a ceremonial calmness - on the other hand, they generate dynamic movement, play and seriousness. Chaos and order correspond without compulsion - in all freedom. Heavy things are effortlessly made to hover. Formally, the pictures are reduced to the essentials. But this thriftiness is increased to the highest possible effect by a distinctly subtle design of the pictures. Matani's unique picture language is unmistakable - but the artist points out yet another, essential element of his signatures: "... a picture must contain something which has not been painted into it." In any case, his painting style is unique in contemporary art. According to Matani, art is "nowadays the only means remaining which is able to give people something in its freedom, in its closeness and its visionary character, where all other systems have failed in the meantime. That is: peace as nourishment for the soul and new impulses as a design of the future." As a manager and finder of ideas, Elmar Hauck convincingly transfers this philosophy to his work in the "Aquarell" publishing house. In Königshofen, calendars become cult objects, are styled to so-called "signs of the time" under the pseudonym of "Matani". Such an "artistic sign of the time" goes all over the world from the LAUDA FabrikGalerie - in the form of such a wonderful calendar. For example, leading companies have already realised that art is basically predestined to transmit positive advertising signals. About seven different calendars by Matani appear every year, with paintings, photographs and texts by him personally.

"Views" is what the textile designer Horst Eczko from Langenfeld calls his works which have been exhibited in the LAUDA FabrikGalerie (FactoryGallery) since the beginning of September. Horst Eczko's works are marked by the quite personal language of pictures, which results on the one hand from his years of activity as a textile designer, on the other hand from teaching activity in the Department of Textile Design at the Reichenbach School of Engineering. His paintings, graphics and collages, with only a fraction of his varied creations being visible here, could be brought down to the common denominator of non-representational art. Horst Eczko, born in 1937, learned pattern drawing with Professor Georg Schauer in Reichenbach. According to the artist, this was the most important time in his life from an artistic point of view. Here, he was able to acquire the foundations for seeing and drawing precisely. He worked in the central pattern office in Lengenfeld, did a correspondence course at the School of Painting and Drawing with Professor Carl Michel in Zwickau from 1960 to 1962 and obtained the Diploma for Textile Design following school and studies in 1965.  As a designer, he started his career in the textile industry. From 1975 to 1991, he accompanied a subsidiary teaching activity in the Department of Textile Design in Reichenbach. The designer, who is active for various companies nowadays, can produce style patterns from various epochs, geometrical shapes and lines of Bauhaus art, naturalistic flower and leaf decorations or contemporary abstract designs. "One must have done everything once and even then, the profession produces new challenges", Eczko explains with a view to the wishes of an Oriental sheikh who gave the order for stylistically matching furniture covering for the chairs in his palace.  Again and again, Eczko brings his individual impressions into harmony with the social problems of our times. He makes courage to live and joy just as visible as pain and hopelessness. Titles such as "Formenspiel" (Playing with Shapes), "Überlappung" (Overlapping) and "Alle in Bewegung" (All in movement) leave enough room for interpretation. In many participations in exhibitions, for example in Warsaw, Prague, Bonn and Dresden, he has been able to collect new ideas again and again. In his atelier in Lengenfeld, various designs are created, demanding not only creativity, but also industry. As a balance, Eczko concerns himself with fine arts.

"A work of art should never be boring." This is the guiding principle of the artist from Eschau. With her talent for unusual structures and interesting compositions, she has created an exhibition with a surprising motto: tree structures and female images. Her pictures and sculptures encourage thought. What is obvious is that her pictures show clear structures but nevertheless express tension and dynamics. Everyday objects are pushed into the foreground, converted through the artist's glasses into cubist forms.  Her extraordinary techniques create almost 3D trees on the canvas and her sculptures can best be described with the definition "brainwork". These living features spontaneously involve the public in silent dialogues. Love for art already formed a part of Eleonore Meyer's childhood. However, her plan of taking up an artistic life was obstructed by the resistance of her family at that time. The trained dressmaker only started her artistic career after her children flew the nest. She developed her talents through different seminars as a member of the artists association "Offene Gruppe" (open group).  In 1988, the artist began further training in icon painting with Peter Bauer. Over the past ten years, Meyer has been a teacher of icon painting and holds her own seminars, for instance at the Leidersbach monastery this November.

For more information about the artist and her works please visit:

Coloured aluminium foil as a work of art? At the current exhibition of the works of Doris Tuma at the LAUDA DR. R. WOBSER FabrikGalerie (FactoryGallery) two works in this unusual material are being displayed, yet this is just one stone in the mosaic that comprises a multi-layered collection of works shown. The artist works both in acrylics and oils as well as materials such as marble sand or even chamotte stone, these last two being used to imbue her pictures with plasticity and structure. The three-part cycle "Veränderung in Gold" (Change in Gold) shows a striking intensity of colour even in the pronounced subdued surfaces. She adores series and uses them to demonstrate changes in form and to present a view from different angles. Intuition is one of the most important resources that Doris Tuma draws on for her works; in the interplay of ideas her creative endeavours lead to the creation of peace and harmony as in her "Suche nach der seelischen Mitte" (Search for the inner middle). This obviously not only applies to her painting but to her steatite sculptures as well, the material itself being better known as soapstone. The confidence that "this is my material" was an indication of her self-assurance when she first came into contact with soapstone many years ago – and since then Doris Tuma has time and time again managed to release the secret hidden in each one of these stones. She searches and discovers the final shape of the work of art when the stone is still in its rough state using different techniques to develop contrasts. Picture and sculpture titles such as "Harmonie" (Harmony), "Geborgenheit" (Security), "Zweisamkeit" (Two of hearts) and "Balance" realise her passion for peace and balance.  The artist has been a member of the Kunstkreis Lauda-Königshofen (Art Circle) since 1994 and she undertook her first watercolour studies with Professor Losert at the Windberg monastery in the same year. Since 1995 she has attended several summer academies among them those in Trier and Bad Reichenall. Exhibitions in the gallery of the Lauda-Königshofen art circle, "das auge" (the eye) in the former Edelfingen railway station, the music educational institute in Weikersheim the "Falkenhuas" in Würzburg and the "Romschlössle" in Creglingen outline her ongoing development over the course of the years.

Since the beginning of February, the advanced level students studying art at the Martin Schleyer Grammar School in Lauda have been displaying a cross-section of their artistic endeavours in the LAUDA DR. R. WOBSER FabrikGalerie (Factory Gallery). The exhibition was prepared and opened under the expert direction of the art lecturer Andrea Wegner-Krispin and has received a highly positive response from company staff and visitors alike. The exhibits on display reflect the high level that the advanced course at the grammar school is achieving. The exhibition in the FabrikGalerie was opened by the two managing directors of the company, Dr. Gerhard Wobser and Karlheinz Wobser, and forms part of an art gallery preview. The opening ceremony at which Dr. Gerhard Wobser gave a brief outline of the development of the FabrikGalerie was attended by the headmaster of the school Wolfgang Goericke, the art lecturer Andrea Wegner-Krispin, the "A" level art students, their parents and relatives as well as several LAUDA staff members. The FabrikGalerie hosts a total of six exhibitions a year and is now embarking on its seventh consecutive year of offering an extremely diverse and distinguished exhibition programme not only to staff members and visitors from all over the world with an interest in art, but also to the local population of Lauda-Königshofen. The FabrikGalerie has since established itself as an ideal platform not only for amateur artists, but also for professionals. Dr. Gerhard Wobser was especially delighted that the advanced level art students at the Martin Schleyer Grammar School were able to take advantage of the offer to provide a wider public forum for their works. The original idea behind staging the exhibition in the FabrikGalerie stemmed from Maximilian Koschker, a nephew of the two managing directors, who was taking the "A" level course. The headmaster Wolfgang Goericke made a brief speech in which he thanked the two company directors and expressed his belief that the works produced by the students really came into their own in the gallery setting. Being prepared to present one's works of art on a more public stage called for a little bit of courage and self-confidence. The discourse and communication conducted between the subject, the artist and the general public was not only a source of inherent praise and recognition, but also involved the risk of receiving a "certain amount of criticism". At the end of the day each individual interprets the broad term of art somewhat differently. In his welcoming address Chairman of the Kunstkreis Lauda-Königshofen (Art Circle), Norbert Gleich, called upon the up-and-coming talents to become actively involved in the art circle in Lauda-Königshofen and offered a cooperation. The art lecturer responsible for the advanced level course then commented that the exhibited works could only give a snapshot of the course curriculum. It was therefore by no means an easy decision for the 14 students to take at the beginning of year 12 as the course was being offered on the timetable at the Martin Schleyer Grammar School for the first time. After an initial study into painting techniques, a more detailed study was made of the painter Beckmann as well as the sculptor Michelanglo. Last autumn the students had taken advantage of a school trip to Tuscany to view different works of art in Florence and also to carry out some practical exercises on site. It was during the hanging of the exhibits under the direction of the experienced LAUDA head of marketing Franz Heinrich Prinz that the group discovered that a conceptual plan and artistic dialogue was also required during the preparation stage. In considering the themes, the wide range of painting techniques and picture formats and in the combination of the finished forms and sculptures, the group has managed to unite the exhibited works into an homogenous exhibition. The pictures and sculptures on display were created by the following artists on the course: Steffi Baumann, Luise Breitenstein, Gudrun Haggemüller, Julia Häußler, Myriam Hummel,
Carina Kraus, Maximilian Koschker, Verena Löffler, Maren Neumann, Nadine Seeberger, Sabrina Strobel und Judith Rödel. Each exhibitor received a white rose as a parting gift from Andrea Wegner-Kristin. For the popular art lecturer, the opening of the exhibition after many years of involvement in the idyllic valley on the banks of the Tauber River also marked a farewell, as private reasons necessitate a return to her home town of Bad Malente near Hamburg. Enjoying a glass of orange juice or champagne and the appetisers on offer, participants spent some time discussing and chatting about the exhibited works.

Woodcutting is a niche that certain artists have specialised in and is very far from modern art trends, from the period of the Young Wilds and Concept Art to the Post Modern period. For them the ability to reproduce is no longer important – eventually woodcutting was introduced in Europe in the 14th century as a way of duplicating holy images, and at the time of the Reformation it served to produce agitative posters. The Expressionists, at the beginning of the 20th century, rediscovered woodcutting as a medium of their expression. Dresden became the new home of woodcutting with Ernst Ludwig Kirchner and his Brücke friends. The rough cuts, the sharp contours, the strong abstraction gave expression to people and landscapes in stirring tragedy and impressive clarity.  German Expressionism confronted us everywhere, not only in woodcuts, which flourished here as before, whilst with us it shrunk to a speciality by Max Grieshaber. Leipzig, with its University for Graphic and Book Art, was pointing the way and can today present many woodcutters: Wolfram Ebersbach, Karl Georg Hirsch, Rolf Kuhrt, Michael Müller and Frank Wahle. Peter Zaumseil received his artistic training (Special School for Painting/Graphic in Rudolfstadt) and development in the ex-GDR. He received his stimulus in Leipzig with the woodcutters based there. He found the technique very accommodating. Here he found the reduction of the form, which painting in this way did not offer him, the clarity of the gesture, the stylisation and witty exaggeration up to caricature. Body language, body gestures is the content of his themes. He thereby also goes back to "primitive" cultural forms, like his famous predecessors at the turn of the last century, such as Paul Gauguin, whose first trip to Tahiti was the decisive factor in the deliberately simplified woodcut.  Peter Zaumseil experiments a lot, has a lot of plans, bubbles over with creativity. Small colour pictures serve him as blueprints for the large woodcuts, soft, artistic, attractive, aphorisms, locking in the moment. Execution as a woodcut thus means reduction, abstraction, precision, another level of meaning is achieved through the largeness, the intensive work. The autonomous woodcut image comes into being. Zaumseil remains communicative in his work. He enjoys working with other artists, as in the printing of art books, but he also likes bringing his own personality so strongly into his work that the observer searches for the artist behind the art. The certainty, casual manner, indeed the insolence, with which a relatively young artist has discovered an ancient technique for himself and has worked on it full of ideas and with great pleasure with indifference towards art history and current art trends, gives rise to curiosity in the observer. Simple pictograms, well-known gestures, clear composition, assured use of colour, ancient experiences, which had already been gathered in the Stone Age in caves, face us in modern aluminium frames with a smile. And we are grateful to Peter Zaumseil for this smile and we love his rough matchstick men.

Knut Vogel, who was born in Magdeburg in 1964, lived in Grossröhrsdorf with his parents for some years and attended school at Rammenau from 1970 to 1974 before the family moved to Dresden. Knut Vogel learnt the profession of ornamental locksmith and metal restorer for preservation of historic buildings and monuments, studied theory of construction styles and was awarded a master craftsman's certificate in the metal construction trade in Berlin. In the circles in Bischofswerda and Dresden run by Professor Rosso Majores, he obtained further training in studies of painting and drawing.  Currently, Knut Vogel is working as a metal designer and metal restorer in the Aurin ornamental smithy in Schönbrunn, albeit, as he says, "with a lot of freedom". He left his artistic traces in the restoration of the chandeliers in the Mirror Room of the Baroque Rammenau Castle, just like he did in the production of new fencing on the basis of a historical model at the "Brühlsche Terrasse" in Dresden. In the exhibition, which can now be seen at the LAUDA FabrikGalerie, Knut Vogel is presenting more than 30 exhibits, above all in oil technique, as well as a number of metal steles designed by him. "Many ideas for artistic implementation result from dreams", Knut Vogel remarks. But he also says that he writes down a lot of thoughts in order to put them onto canvas at a later stage. The striking thing in this context is the clear flow of the lines and the effect the paints and colours used have on the observer.  The Surrealism movement arose around 1920 from the Parisian Dada group. Surrealism makes use of dream experiences as the source of artistic inspiration, creates access to dimensions which can never be reached and brings about an unmistakable breath of reality with its "painted fantasies". His direction of style fluctuates between surrealism and impressionism. Titles like "Dream and Nightmare", Cubist Horizon and Black and White are witnesses to this. Quite strong colours dominate in all his works. It is particularly conspicuous that Vogel questions problems of this world, looks for answers to them and puts them into artistic practice. A remarkable thing is the ornamental blacksmith work on display, produced with outstanding skill, in particular the works "Tree of Wisdom" and the "Chimney Witch".

Manfred Riedl's path of artistic creativity began at the age of 14 with a textile draughtsman apprenticeship in Auerbach in Vogtland, then followed attendance at art school in Plauen with subsequent employment as a designer in Plauen's leading industry. From 1952 to 1957 Riedl studied a degree in painting at the Kunsthochschule für bildende Künste (University for fine arts) in Dresden with Professors Fraaß and Bergander. From 1957 he was a member of the association of fine artists of the former GDR. He worked as a freelance artist and exhibited his works in many Saxon towns. Numerous distinctions, amongst others, the art prize of the District of Karl-Marx-Stadt were bestowed upon him. As a university lecturer he demonstrated his artistic capabilities at the Fachhochschule für angewandte Kunst (Advanced technical college for applied art) at Schneeberg. His creativity is (all-) pervasive. Manfred Riedl, born 1924, died on the 3rd June 1999 shortly before the completion of his 75th year in his home and workshop in Auerbach in Vogtland. What is exceptional and remarkable is the artistic development of Manfred Riedl; that already after only half a decade, after the completion of his university degree, he found his own unmistakable trademark style, which he persistently built upon and cultivated. From the outset his main theme was the countryside of his Vogtländisch homeland and of the adjacent ore-enriched mountains, with which he felt a particular affinity right up until the end of his life. Manfred Riedl roamed the wooded heights during all seasons; when the snow began to melt or even during the outbreak of the colder weather periods, until he found the most interesting views of the valleys and villages or exciting vistas on the ridges, worthy of a picture. Without sketching, he recorded his motifs, which he perceived and experienced with artistic eyes, simply on small or medium-sized format surfaces. In this way he endeavoured to achieve each form and colour association through a simplification of the forms to the geometrically effective surfaces and through a limited pallet, which facilitated a very expressive unified picture. Curved and partially spiral shaped flowing field definitions, paths or streets guide the observer's eyes deeper into the picture. Bushes, trees, buildings, posts or chimneys, depicted as stereoscopic image elements or accents, allow us to experience the breadth and depth of the countryside. Sparse or wooded slopes in their precipitous or ascending flow of lines frame the picture composition. The preferred colour pairing is blue or green with orange or umber with the occasional red accents. In addition mottled white makes an appearance, which is used to lighten up and break the colours. Oil painting with a pasty colour application combined great painting with the distinctiveness of the artist, to construct the motifs from the contrasting forms and colourful surfaces. The magnificent painting methods had logically led him to watercolours. His loose, animated and certain brushwork as well as superiority in the picture style is admirable. Evidence of this bond and love of nature are the richly coloured watercolours of flowers and plants, which are exhibited in the FabrikGalerie. One will discover and recognise when observing the pictures, how he traced the shapes and colours, and indeed how he painted, levelled out and dabbed them in their contrasting ebullience on the picture surfaces, and consequently how he guides us to their fullness, richness and splendour, displayed before our eyes. Manfred Riedl possessed his own vocabulary of personally gathered design resources, an individual form and colour canon as well as unique capabilities and skills, enabling him to creatively circumvent the art form, and through this, to consistently unveil ever new compositional variations. He regarded his own pictures as a type of message, to reveal the world in all its colourful poetry to his fellow man. For him the source of power was nature in its own unique diversity, and in its continual change as an
indispensable, aesthetic-artistic experience. Riedl was deeply fulfilled by his mission, to look sensitively with wide-open eyes, to take pleasure in nature and to discover rare moments of fascinatingly unique ambience and to paint these with his personal sense of colour.

Ute Ammermann, originally from Lower Saxony, was born in 1941 in Bad Salzuflen. After she had left school, she completed an apprenticeship as a goldsmith. Since 1965 she has lived in Seckach near the youth-camp of Klinge. Since then she has been designing and tailoring her own collections in cotton, silk and wool. By 1982 she had founded the company "Mode und Kunst" (Fashion and Art), an address that, in the meantime, has become known to many people, not only in Seckach. Ute Ammermann came to painting through the painter and graphic artist Bernd Scheubert who lives in Osterburken, and, at the end of the 80s, she took several painting courses with him. However, this fact alone by no means explains the success that she has had with her art in the meantime. Although the correct technique is important for a successful picture, the necessary talent cannot be learned. You should have an eye for the right shade of colour in just the right place and whether you should work on canvas or on chipboard, the artist explains. It was on holiday in Tunisia that she saw sand-pictures for the first time. A Tunisian painter explained to her then just how complicated this technique can be, for it is difficult to fix the sand to paper or canvas. Fascinated by this technique, Ute Ammermann tried it for herself. Hence, over time she has developed an innovative combination of canvas, paper, watercolours and sand that creates an interesting 3D impression for the viewer. It is her flower pictures that she personally considers her favourite motifs, and these have had a great response. She transfers the little miracles of nature to paper in many variations. Most recently, she has also been busy painting people and landscapes. Ute Ammermann's creative energy seems inexhaustible. She spends several hours each day in front of the easel, inspired by the atmospheric piano tones of her life-long companion and music teacher Kalman Irmai. She has already shown her work in several exhibitions, including cities like Frankfurt, Zurich and Stuttgart.

"No matter what I start to make, it always ends up being a head", confesses Maria Ambach from Lauda. Heads, faces and eyes are the dominant themes of her work, which has a serious intent. Her works are compelling and yet for the most part sorrowful, powerful but not devoid of hope. With more than sixty public exhibitions Maria Ambach, once a pupil of Richard Rother and Wolfgang Lenz at the Art and Craft School in Würzburg, has been of the most active members of the Kunstkreis Lauda-Königshofen (Art Circle). What is impressive about the works created by Maria Ambach is not only her forcefulness in presenting the theme, but also her superb mastery of the most varied techniques. Oil paintings, watercolours, red chalk drawings, wax crayons and mixed techniques all form part of her repertoire. A considerable number of her paintings and drawings are devoted to people, and what she has achieved in this area, is extremely impressive and definitely worth seeing. "I dive right in, if something grabs me", says Maria Ambach. She wants to express what she feels, and so a great number of pictures have a very serious background. "Often something quite different comes out, than what I actually wanted and time and again a head suddenly appears." Ambach's miniature sculptures should reach out and touch you. Her preferred materials are alabaster and soapstone. The works come to life in stone, in its grain, form and colour. First the artist gradually develops the design and expression of the final piece by handling the selected raw material; in this every individual stone is a special challenge for the artist because of its natural composition. Countless hours are needed before the artist is finally happy with her work. Only a short time ago Maria Ambach was being awarded outstanding marks and prizes in national and international competitions by participating in different classes. Her soapstone sculptures "innige Bande" and "Theresas Zeit" won prizes in Landshut and Paris. Maria Ambach does not allow herself to be classified into one particular style. She paints, when she feels driven to do so and mainly begins without a clear objective in mind and often presents a theme using different techniques. Every piece of work is an individual creation influenced by themes and moods; detailed, realistic drawings hang next to large-scale, abstract creations, oil paintings in bright colours next to delightful, mysterious composite works.

Peter Kunkel was born in 1949 in Darmstadt-Arheiligen, where he still lives today. He is presenting a cross-section of his artistic creations at the LAUDA FabrikGalerie during the months of June and July. Kunkel describes himself as a "critical realist" but his impetuous, vigorous and energetic style can definitely be considered expressionistic. The artist deals with very different subjects from almost all phases of life in his exhibits. Peter Kunkel, although he has a fixed framework of values, is not a so-called "moral artist" wishing to spread an ideological point of view. Neither is he a commissioned artist with a given subject. His works are therefore free of intellectual exaggerations. The artistic creativity of this self-educated man, who works as a logistics expert when not creating works of art, manifests itself in numerous paintings and sculptures and indicates enormous excitement from within. His richly contrasting and energy-laden choice of colours of yellow, orange, red and blue reveal an inner fire. Peter Kunkel's works come from an intense inner urge and fight their way out with an enormous amount of energy. It is the artist's desire that the observer comes into contact with his/her inner feelings, sensations and thoughts via the paintings and sculptures, and to him it is not important whether the works are met with approval, pleasure or intense disapproval. His works are reminiscent of Indian and African tribal art. They deal with mythical, archaic subjects and have titles such as "Squaw", "Indian", "Golden Eye", "Jungle" or "Hunting Scenes". Since 1990, Kunkel has increasingly been concerned with the topic of hunting in all its manifestations. Hunting fascinates him as a subject because it is so varied. Hunting animals and man, the hunt for recognition and money, hunting the opposite sex, to name but a few of the enigmatic and superficial facets of hunting. Well over 60 of the more than 3,000 paintings are concerned with this subject. For him, man is both the hunter and the hunted, the victim of his inner and outer urges. The thing about Kunkel's art which continues to fascinate are his colourful mixing techniques. Not only can you discover wax crayons on wrapping paper, collages on textured wallpaper, but also paper painted with oil and chalk, watercolours and photos on canvas painted over with oils. The use of materials which usually have no place in paintings appeals to Kunkel. This achieves an amazing effect and gives a new dimension to the works. Peter Kunkel generally uses wood from broken down houses, the remains of tree-felling or discoveries which have been washed up on the shores of the rivers Rhine or Main. "I never use wood I have bought", Kunkel discloses and laughs. "Everything I use is either begged, borrowed or stolen". Many of his Indian wooden sculptures are coloured, others are blazed to give their surface a structure similar to charcoal. The high-quality surface finish of all painted and natural sculptures is achieved by several applications of linseed oil.

They exude power and dynamic force – the impressive works of Gertrude Reum. She is both a painter and a modeller of objects at the same time – a metal sculptress one might say. So she is an artist – and one who selects her materials completely freely, depending on the task at hand. Born in 1926 in Saarbrücken and living and working today in Buchen, Gertrude Reum was discovered more than twenty years ago by Reinhold Würth, a patron of the arts from Künzelsau. The much-cited statement by Heraclitus of Ephesus, "Everything is in a state of flux", applies to Gertrude Reum's works to an especially high degree. Inexhaustible is the only word for her repertoire of new ideas and conceptions, which she realises with untiring zeal. This allows her to look back on the fruit of her very prolific work, which has always been accompanied by brisk exhibiting activities. The themes of her work, such as creation, the cosmos and the phenomena found within these, like time, light, space and motion all call for forms of creation that again and again have to be worked out and reconsidered anew.  Though representational associations always come to one – Reum's language of form is pared down to such an extent that her works are never depictable. Impressions of nature may be the premise, but in an artistic process they are transformed into a vision independent of the object. This is especially the case for her cellulose works created during the eighties, which extend out toward the viewer a surface jagged and split open inwardly, drawing, as it were, one's curiosity into work. At that point lifeless surfaces burst, tear open and gape to disclose assumable progressions or blue oceans. Her watercolours of ravaged, destroyed landscapes, "Horizons", present themselves as more reserved in nature but just as devoid of people. In her sets of works, "Verschlingen, Überschneidungen, Faltungen, Aufbrüche and Ströme", she illustrates energies. Especially her involved metal works made of steel, brass and aluminium reveal an astonishing force, the flow of which actually appears to be alive when one changes ones point of view. Snakes or wavy forms are found on Gertrude Reum's many metal works. They run through the objects on exhibit like bundled streaks of light criss-crossing one another. Through polishing, etching and baked enamelling, these twining paths are given a three-dimensional quality nearly equalling that of holograms. Six chrome nickel steel tubes each wriggle upwards both before the FabrikGalerie and in its entrance area. They interlock as "aspiring forces", reminiscent of natural forms and, depending on the viewer's standpoint and the light's changing angle of incidence, develop a fascinating life of their own. Especially in sunshine the sculpture shines like a light with its own source of energy. As with most of these objects, people are captivated by the cool aesthetic appeal of the material used. The artist admits that the kind of material is her greatest challenge. Superficial viewing, striding through hastily or quick glances will scarcely be worthwhile here. Only those who grapple with the individual works, who take time and establish contact with these objects, following their progression and their structure, will be able to follow Gertrude Reum's captivating mystical quest.

The painter and glass-designer Bernhard Huber, born in Neresheim in 1964, studied at the Academy of Art in Stuttgart. Since 1991, he has worked as a freelance artist in Esslingen, with a large studio where he can work even on his monumental pieces. Bernhard Huber has specialised in painting on 'floatglass' and has produced many large-scale architectural works using industrial glass. Huber's objects are mid-way between surface and space and have as their theme a transition, an existence between the images, which partake of the qualities of both painting and sculpture. These works are not only about changing shapes but also about coming to an understanding of our own visual associations. About unsettling our established ways of reading things. This is how the motifs can and should be continued beyond the limits of the image. In the process, the observer and his or her world are directly, even physically, drawn into Huber's works; since, depending on the viewing angle and the interplay of light, the space and the observer mirror one another, creating a portrait within the image. The objects thus have their existence in the realm "in-between", not least because they do have the qualities of both painting and sculpture and thereby demonstrate a new way of thinking about space and of handling surfaces. A method which has to do with fragmentation, with the bits and bytes of the fast-paced modern world. A world in which traditional world-images are not only no longer in demand but are no longer even settled. This is why Huber's grids and lines are also fragments of a network, small channels for information, similar to computer disks which - in a figurative sense - point to the continually changing processes of thought. Just as Huber is a traveller between the worlds of art, defying attempts to pigeon-hole him, so his works are, in the last analysis, a traversing of boundaries, transforming earthly materials into a creative power of representation, into the thought-process and the spiritual, eternally transcendent.

No sign of a summer break here: from gentle shades to an explosion of colour, the two members of the Göltzschtal Artists Association from Auerbach in the Vogtland (in southern Thuringia) are presenting a cross-section of their creative work at the LAUDA FabrikGalerie. Tino Rex, born in 1967, works at a secondary school in Greiz as an art teacher, and devotes his spare time to creative art in a studio specially created for the purpose. His large-format wall-sized paintings in the entrance area to the FabrikGalerie set the tone for the whole exhibition. His works reflect an honest, critical view of the current problems of our times. Provocative displays of colours and shapes depict scenes from everyday life. The works are built up almost like mosaics, and the alert eye will find a cornucopia of human traits in them.  A linocut by the Rodewisch painter and graphic artist Tino Rex with the title "The Femininity of Being" was created back in 1995, while he was still studying art and the teaching of art in Leipzig, and is now in private hands. His large-format full-colour pictures and acrylic-mix techniques on hard fibre are clear and endowed with a surprising diversity, and make highly expressive statements. The creative intentions of this young artist hold a great deal of promise for his creative work over the next few years. A totally different effect is achieved by the graphic studies, watercolours, and charcoal drawings of the designer Lothar Stauch. His creative efforts are devoted mainly to painting landscapes. His form of presentation takes up the tradition of German realistic art. Graphically structured with restrained, gentle, natural shades, the series of impressions he is exhibiting of scenes in southern latitudes create delicate mood values in the beholder. Although Lothar Stauch's work is dominated by his close relationship with Nature, in his drawings, woodcuts, and linocuts he goes over to depicting extracts which look as if they have been sketched quickly but always meet their mark. These two artists have already won their laurels in numerous joint exhibitions. Many of their works are now in private hands or adorning museums or other public buildings. Both artists offer a dazzlingly wide and impressive range of work, and in this exhibition they are making a great mark in the history of the LAUDA FabrikGalerie. This is a real tip for art lovers who have stayed at home during the holiday period and are yearning for refreshing art on these hot, sticky summer days.

After her studies, Hay Yan Waldmann-Wang from Shanghai worked as an artist and a lecturer at the Research Academy for Art of the Ministry of Culture of the People's Republic of China. In the course of a research programme on Chinese history of art and painting, she investigated their relationship to Western art. Hay Yan Waldmann-Wang has been living in Germany, to be more precise in Niederstetten, as a freelance artist for eight years now. She explains the fact that she "got stuck" in the Tauber valley with the fascination which its landscape, its people and its culture had on her from the outset. She underwent additional studies at Braunschweig University of Fine Arts. She regards her drawings as a connecting element between traditional Chinese silk painting and modern western painting. Hay Yan Waldmann-Wang paints both very abstract as well as very realistic, graphic pictures. She explains this apparent contrast with the various phases in which she produces her pictures or with the various impressions which have their effects on her everyday life. Pictures which, for example, she paints between spring and summer are normally more realistic, above all if nature is the subject of her picture. On the other hand, if a concert or a television programme stimulates her to paint, then the result is mainly an abstract picture, with Waldmann-Wang immediately adding that her artistic language is expressed more in the abstract pictures. Realistic painting is too simple for her in the long run, as she does not have to look for the matching form of expression in colour and shape for realistic pictures like she does for the abstract ones. She can therefore include herself more in the abstract than in the realistic pictures. Then, she plays with the shapes, but even more so with colours. And it is precisely the combinations of colours which are generally considered to be very fascinating. This love of using strong colours and colour combinations rich in contrast in her paintings was considered to be western-orientated while she was still working in China. So, the mixture of the European and Chinese art of painting did not only start with her move to Germany, but was already part of her. 70 per cent of her paintings are done on Chinese paper, as it is only produced from natural materials. She does not only use Chinese paints, but also silk painting, watercolour and oil paints, in brief any paint which can speak for her. Her cycle "The Charming Tauber Valley" is an impressive example of her message. In it, she portrays well known motifs, such as Rothenburg, which has been painted many times, in her own particular way. She records her pictures with her eyes, processes them internally and reproduces them in her quite personal way. The very interesting exhibition with a Far Eastern flair is open to everyone during the opening hours of the LAUDA FabrikGalerie.

She did not discover her love to painting until she "reached a sensible age" as they say in Swabia. Following several courses in private Art Academies this self-taught artist from Heilbronn-Biberach has now been wielding her brush for some ten years. Her watercolours and acrylic collages are full of clarity, surprising variety and exceptional expressiveness. Sigrid Müller already had a fairly full life behind her before she came to painting. After studying for industrial sales and as mother of two daughters (now grown up) she was for thirteen years in part-time employment at the psychotherapy centre in Heilbronn-Sontheim, initially in administration, and later in therapy. This period left a deep impression on her. Even then, in the mid-eighties, she was looking for a way "to create something which gives pleasure to people". Sigrid Müller is a person who puts her back into actions, who "has a go". This is also the way in which she has opened up for herself the world of colour, motifs and presentation modes. Persistently and single-mindedly - very much to the surprise of her family but also to their joy and encouragement.  During a stay in Oberammergau in 1988 she had an encounter with a painter in an elevator. Together with two others he was engaged on preparing an exhibition in that Bavarian spa. He encouraged her to have a try and even lent her his painting tools. From that moment onwards she was infected. The virus was modern painting and she was completely under its spell. Back at home she attended local educational courses for watercolour techniques and soon became aware that landscapes and flower motifs were not her line. At a private Art School in the Black Forest she finally found what she was searching for: courses in modern watercolour painting. The late developer turned out to be an energetic and talented pupil. She became immersed in the world of painting, spent hours after hours at her easel, often well past midnight, and let off steam through the use of brush and paint. What she did not expect at that time was that within a few years her paintings would grace the walls of industrial premises, medical practices, restaurants, banks and town halls. In recent years Sigrid Müller has concentrated mainly on the subject of acrylic collages. Collages are plastic shapes, are often more alive, and offer many different possibilities of presentation. This is what she intends. She says: " I want my paintings to be mobile and address the observer through their spontaneity". Unsightly or oppressive motives are not her scene. Rather she tends to paint the world beautiful. Still she does not remain superficial in her paintings. Openness, dreams and human relationships - all these can be found in her work.

Further information about the artist can be found at Further information:

Hans Hermann Schmidt originates from Nuremberg but is by no means unknown in the Tauber valley: for many years as head of the Tauberbischofsheim garrison administration, as a member of the local council in Neunkirchen, and not least as an enthusiastic painter from early childhood. After his official retirement Hans Hermann Schmidt devoted himself exclusively to painting, in effect as a professional, although his knowledge is self-taught and has been developed through attending courses, e.g. at the Summer Academy at Neuburg/Donau. So far he has had six individual exhibitions which have found considerable interest, partly because numerous sales have resulted in many a "true Schmidt" adorning local homes, and also officially through a third price at last year's amateur painters' exhibition in Stuttgart, awarded for his painting "Sunday in Marrakesh" which can also be admired at the FabrikGalerie. The artist draws his inspiration from the important painters Picasso and Matisse. Elements of both can be recognised in his work as Schmidt picks out what enriches his style. The inspiration for harmonic colour combinations, for example, could be derived from Matisse, while some paintings could be inspired by Picasso's cubism period. He does not however allow himself to become tied down and it is quite evident to consider his a unique and unmistakable style. The works on display reveal to the viewer a mixture of colourful "joie de vivre" and a considerable portion of yearning. Yet the colours are in no way gaudy or obtrusive; they are carefully matched and greatly influence the individual mood and impression. These paintings are quite international in character and carry the viewer to Southern landscapes such as Tuscany, France or the far-away Marrakesh. The motives enshrine a clearly perceptible zest for living and Hans Hermann Schmidt's gratitude, as well as his desire to let others share in the beauty of exotic summery perceptions. The spirited and dynamic brush strokes give the canvas a three-dimensional effect which impressively underlines Schmidt's very personal feelings. This plasticity frequently derives technical support through relief structures and the use of white areas. Spontaneity is preferred to perfection, emotion defeats reason.

Choosing the artist Johann Schickinger was a imaginative idea by Norbert Gleich, the President of the Kunstkreis Lauda-Königshofen (Art Circle). From the beginning of December 1999 until the end of January 2000 Johann Schickinger's creative output is being presented to a wider audience in two parallel exhibitions. The smaller paintings and sculptures can be seen at the home of the Kunstkreis Lauda-Königshofen, the gallery "das Auge" (the eye), while his large-scale monumental sculptures and paintings are on view to the public at the LAUDA FabrikGalerie. Large-size bronzes and wood sculptures, together with large picture formats (previously rare) make the brightly lit, large-scale stairway of the FabrikGalerie appear to be rather small. The monumental art exhibits seem to interfere with the normal progress of the visitor and compel him to engage in some form of discussion with these objects, whether intentional or otherwise. Johann Schickinger, a pupil of Alfred Hrdlicka, aims like his famous teacher to employ his sculptures in confronting those subjects which are engaging mankind today: the environment, violence, vulnerability, and death. Art, he believes, can and should have a political element, it should rouse us or at least cause us to reflect. He has not intention of improving the world, in his view the arts are not sufficiently powerful to do that; however he believes "in giving impulses, because that is what we are able to do". Allowing the exhibits at FabrikGalerie to act on us we can readily recognise the message. It really screams at us from the pictures and sculptures. Here there are fragments, a torso like pain frozen in stone and metal, humanity pursued and beaten, victims of torture: Schickinger's sculptures are an accusation, they deeply move the observer and appeal to the emotions. The works "Folter" (torture) and "Exekution" (execution) were both created on the 50th anniversary of the bombing of Hiroshima and Nagasaki. "In Vergänglichkeit liegt die Hoffnung" (in transitoriness is hope) shows a particularly clear relationship to his teacher Hrdlicka: the figures grow out of the stone, the Holy Virgin carries the body of Christ. Schickinger produces his sculptures in stone and then casts them in bronze. Their appearance suggests that they are directly hewn from stone, since the artist neither polishes nor even finishes the surface after casting. Traces of the casting process are clear for anyone to see, fireclay residue remains attached to the surface. The general impression suggests weathered stone. The human body can barely be recognised, as if someone had solidified it in an instant of pain and turned it to stone. And yet the figures express an intense strain. Such an impression also becomes evident through the unexpected proportions, such as the feet much too large compared with the body. This conforms to the general geometry of the figure which has been distorted into an unnatural, square shape. The head emerges from the top, as though shouting for help, but the figure has no neck, no upright posture. Johann Schickinger has become well-known throughout Germany; his works are represented in many exhibitions and were awarded prizes at Augsburg, Nuremberg and Hamburg.

A small but exquisite selection of landscape paintings displays Gerd Holaschke's versatility in handling different painting techniques. The artist grew up in Heilbronn, Germany, and has lived for many years in the Main-Tauber region. Landscapes and amusing puns are his preferred subjects and watercolour combinations his favourite form of expression. He does however show the same mastery using the oil palette. In all pictures one can feel that Holaschke has undertaken an intensive analysis into all aspects of their contents. Whether they are his brief memos - painted puns such as the "brawler" or "with five Marks you are there"- or in fact his landscapes. And the landscapes in their full diversity, their moods, their structures, their different angles. Gnarled trees, paths, expanses, hills - preferably the landscape around the Tauber valley (Holaschke: "The Tauber valley is unique"). And then always water, as stream, thunderstorm, glossy wet paths, haze, drizzle, or luxurious vegetation. In addition to his mostly delicate watercolours he paints strong structures in oils which in part verge into abstracts and represent a concentration into intensive moods. More or less detailed pencil sketches which always serve as preliminaries are usually produced in nature - on location - and by themselves represent already small works of art. Behind the pure image it is possible to look into greater depths, further behind the actual objects. Behind them one can divine deep thoughts about nature which make his picture creations appear as a great achievement.

Werner Krug was born in 1947 in the town of Tauberbischofsheim in Frankonia. As art teacher and practising artist his main interest has been in painting. The themes of his intellectual and artistic considerations covering a very wide field are being shown to visitors at the LAUDA FabrikGalerie during the months of September and October. "Reflections" for example is the name of a series of seven large-size paintings. They demonstrate a new form of the artist coming to terms with the four decisive elements of our existence. Visions of sky, earth, water and light. We are part of the space between heaven and earth and can only live in harmony with them. The pictures have been created out of the necessity to be part of this harmony in and with nature. The landscape becomes the symbol of life. It mirrors its conditions: light and shade, lightness and gravity, and everything in between, the transitions in fact, the stages of existence. Sky, water and earth combine fluidly to form an imaginary world. It reflects the inner condition between man and nature. Both are linked in it by permanent forces and laws whose observance is the precondition for the equilibrium of life. It is only in the stillness and space of areas formed by light and shade that the tensions are resolved and the contradictions are reconciled. Peace fills the emptiness of space and creates the harmony which our life requires. Technically, these pictures (oil on tempera glazed) are the result of a lengthy process which passes through the stages of colour photography and initial watercolour studies and eventually leads to the impressive final result. The colouring of the pictures is greatly restrained, almost monochrome, and yet very much alive. Sombre blue and green tones trending towards black, together with strongly elaborated light-dark contrasts, create a dynamic atmosphere, a world dominated by a sense of coldness and abandonment. Krug the artist is however not inspired by nature or landscape alone. Massive archaic buildings for example appear shadowy in the "Minoic Visions" which are bathed in ochre-yellow light, the results of a time spent on Crete. The shapes and colours of the exhibits thus mirror the actually invisible inner world of the person who created these structures according to an inner vision. The images thus rendered visible are therefore mirror and window to the intellectual world of the individual. In the end they represent the subjective impressions and responses to our experienced visualised world, and are therefore experienced reality. This philosophical background is digested by the artist in his paintings and is converted into travel impressions, nature compositions or his dealings with social criticism. The attempt for his impressions of experiencing the world to be expressed into words has in the meantime resulted in two very successful books published by Frankonia Verlag.

Currently exhibiting some of her work is the painter Hildegard Kappert-Meyer from Rothenburg/Tauber. Born in Lower Saxony, the self-taught artist started painting as a hobby in 1980 and attended painting classes at the Hamburg adult education centre. Over a period of six terms she discovered her in-born gifts and studied for two further terms at the Blankensee art academy. Having in the meantime moved to Rothenburg she came into contact with Rosemarie Richter and together with her founded the Artists Circle there. In her numerous oil paintings and watercolours we can see landscapes, flowers, still lives and scenic motifs. The current exhibition contains interpretations from her home in the Tauber valley as well as travelling pictures from the North Sea, Majorca, the Provence, Tuscany and other parts of Italy. Kappert-Meyer experiences nature from its impact on her and occasionally uses extremely delicate, fragrant colour tones in order to captivate the viewer with a harmonious composition. Her trained eye, sound practical knowledge and deep love of nature give her watercolours a living intensity.   Even more impressive are her oil paintings which demonstrate her generous brush strokes. Expressive motifs crowd into the foreground, attract attention as if by magic, and result in pictures of expressive forcefulness. A slight estrangement and the flat treatment of the entire image render these landscapes a true engagement with nature. The exhibition at the LAUDA FabrikGalerie transports the interested viewer into a living world of breathtaking landscapes.

Through the unstinting support of the Kunstkreis Lauda-Königshofen (Lauda-Königshofen Art Circle) it has proved possible, virtually in a "fast scene change", to engage the architect and artist Karin Reuter from Weikersheim. The generous space available inside the stairway of the FabrikGalerie (FactoryGallery) provides the observer with an impressive overview; virtually all the displayed objects can be seen from the high landing at a single glance. By contrast with most galleries with their individual rooms, this layout achieves a special charm and allows the works of Karin Reuter to appear in an impressive homogeneity and freshness. In addition FabrikGalerie reaches not only the local population but also a much wider circle. The numerous business visitors, both from Germany and abroad, in their regular visits to Lauda are always intrigued to find how the entrance area presents itself anew. Many times a business conversation begins not with a discussion on the actual purpose of the visit but with a refreshing interchange about contemporary art. Company employees, too, in their daily confrontation with the changing displays develop a special relationship to artistic presentation; their frequent discussions show a high degree of sensitivity and a surprising knowledge concerning the exhibits on display. This time there has again been a very positive resonance. Well equipped technically through the study of architecture at Karlsruhe with a strong emphasis on freehand drawing, following numerous painting courses and photographic experiments, and inspired by an alert view for the beauties of nature, both at home in the garden and while travelling, the works produced by various techniques radiate a spring-fresh lustre. The watercolours in particular communicate the emotional relationship of the artist with the moods of the countryside and greatly encourage the observer to go to the countries shown in the paintings in order to be immersed in the intense atmosphere. The paintings often have the appearance of being light and spontaneous, but with a fuller understanding the perfect craftsmanship necessary to achieve this does become apparent. Since the end of April Karin Reuter has been exhibiting examples of her work at the LAUDA FabrikGalerie. After briefly reporting at the main works entrance anybody is very welcome to come and see the exhibits inside normal working hours. A visitors book has recently been started and shows clearly that this opportunity is widely appreciated.

Jan Zwolicki, born in 1967 at Swiecie on the Vistula river, lives and works today in our neighbouring country of Poland. He trained as an artist between 1982 and 1987 at the Lyceum for Creative Arts in Bydgoszes, a highly reputed establishment in his home country. Following military service he set up in 1989 as a freelance painter, and during the initial difficult years worked also on his brother's farm. The highly talented and original artist was discovered by members of the Miltenberg art scene during a visit to Poland. Following a small exhibition at a wine tavern in Klingenberg/Main he was spontaneously invited in the following year to a six-month individual presentation at the Miltenberg county offices in the series "Art at the Office". Since 1995 the artist has been taking part regularly in the art market of the New Aschaffenburg Art Society. In October of last year Jan Zwolicki exhibited his large-size paintings at the gallery "Das Auge" in Lauda's historical former town hall, an event which some will certainly remember. Jan Zwolicki produces his oil paintings both formally and in colour in a virtually explosive transformation of the particular subject. His themes range from affectionate irony, through an occasionally unmasking satire, up to a rapid dynamic movement, as for example in slightly abstract form in his painting "Everyday Still Life". This exceptionally creative artist does not fit any stereotype, he has long ago developed a highly original handwriting which is fascinating to the observer. The pictures shown still exude the smell of fresh oil paint and varnish; they are all completely new products which have been created during the last three months.

For more than 22 years the artist couple Atsuko and Kunihiko Kato has been living in Germany, more exactly in Fuerth near Nuremberg, and has become familiar with European culture. Their art creates a bridge between East and West, between reality and vision, between man and nature. Nature is the great theme of their inspiration, an "infinite creative source" they call it. For Atsuko Kato, nature as motif is the medium to the inner world of the being. "Even the contradiction between real and visionary world is unified", says Atsuko Kato who with great dedication is growing plants herself and often incorporates them, mainly ginkgos, into her artisitic work. The exactness and love of detail with which she reproduces her nature visions in a time when particularly wide brush strokes are the order of the day, is attributable not only to her Japanese inheritance.   The techniques of oil painting and lithography (which she masters to perfection) do not have their origin in the Far-Eastern tradition. Atsuko Kato's drawing teacher greatly admired Albrecht Duerer, her Professor of Art had studied in Germany, and so to continue her art studies which she had begun in Japan she chose Duerer's town, Nuremberg. For Atsuko Kato the beauty of untouched nature contrasts sharply with the world manipulated by man. For overcoming dissonance and unifying contradictions, Atsuko has found a striking symbol: the ginkgo tree, or more specifically the split ginkgo leaf which appears in many of her work in a great number of variations. The ginkgo, a plant which is a phenomenon itself with numerous special features and the subject of innumerable Asiatic myths, stands for friendship, love and hope. It is evident from the fact that this resistant plant has survived the concentrated destructive fury of Hiroshima and Nagasaki. The ginkgo thus becomes the bringer of hope; when men can begin to settle the feuds among them there is an opportunity, according to the artist's thesis, for a further step, the reunification with nature. The sculputures of Kunihiko Kato appear at a first glance much more abstract than the pictures of Atsuko Kato. Yet they are all inspired by nature, "praise of the earth" of a different kind which allows the viewer to recognise how much he has become blind to the miracles surrounding him. Not only are there expansive panoramas here, but individual forms, partly existing since primeval times, from the inexhaustible reservoir of the world of plants and animals, in particular marine animals. Kunihiko Kato describes his work as "biocentric". By releasing his natural forms from their surroundings, artistically modifying and stylising them, he gives them a completely new and secretive existence. "Living beings" is the name for all his creations, and each one of them demonstrates awe before life in all its forms, unobstrusively inviting us to pause a while and to pay attention.

Christa Nürnberger has for many years been involved in psychology, group therapy and relaxation techniques. She passes on her experience through courses and meditative painting and in seminars with adults and also with children suffering from cancer. This activity has a decisive influence on her own creativity. In her paintings she tries to present dreams, internal images and experiences through colours and symbols. The symbolic-abstract image language is her preferred mode of expression. Our intellect which we believe monitors everything through our reasoning faculties, is thus put out of action and the message can reach us more directly. Light is the most important symbol in her paintings. Forms are opening upwards and release something which is raised to the light as newly-born. A mystical bluish-green in her pictures creates an almost magical attraction for the viewer, causing the shining areas to radiate even more brightly. She combines a large number of techniques, contrasting quiet harmonious areas with tactile structures generated through the use of unexpected materials such as shredded rags and sand. Her paintings mirror the process of life: the old dies, the new is created. The old is released and sinks down into the dark, the new opens up, pushes towards the light and becomes alive. While the images first appear abstract and secretive, they become readily accessible to the attentive observer and captivate him. "Signs of light", that is the idea of Christa Nürnberger with her quiet and meditative images full of power and poetry.

The artist was born in 1931 and lives and works in Schöntal near Künzelsau. She initially concentrated on sculpture and later moved to painting, in fact four years ago. Kristin Becker says that for her, the area of the unconscious plays an essential part in the origin of her pictures. "The image grows and develops from a first impulse which often has its root in a previous dream." This is then followed by up to ten revisions to develop and give the final touches to the image presentation. Kristin Becker’s pictures fall into the category of the so-called "concrete paintings" and are not abstract art, as one might easily assume. This becomes evident on closer evaluation since she does not abstract from things and objects of the real world but develops her work purely from within the artist. Considered formally, these are textured areas of colour in which contrasting pairs such as light and dark, near and far, or light-footed and ponderous are carefully played off against each other. In certain paintings, the use of fire clay and sand as additional material achieves a relief-type sensible surface structure, producing something like an imaginary landscape. Light and colour, growing hesitatingly and mysteriously from a deeply shadowy ground, are the main creative media of the artist.

The multitalented Gerda Eberle is a master of portraits and nudes in both watercolours and oils. Her ability to form clay and stone is also an essential part of her inspirational work. Her pictures in the exhibit are intense because of her sensitivity to colour. Notable are the bright expressiveness and vivid clearness in her work. Her special gift to observe nature and people reflects in her work and she has an excellent understanding of the inner soul and essence of people. Her works are portrayed to the observer as silent, safe, warm and full of trust. Gerda Eberle's artistic ability allows her to lecture at the Bad Mergentheimer Institute of Health. In 1992, her works spread to the general public through co-exhibitions with other artists.

Certainly not unknown in the artistic scene here, Rudolf Neugebauer was born in Tauberbischofsheim and is living in Lauda. Not only has he acquired an outstanding reputation through numerous exhibitions, but has for many years been passing on his knowledge in the form of regular art classes. Thematically we are essentially at the Venetian carnival which is seen not as the widely-famed fifth season of the year but develops its own symbolism and magic. This unique atmosphere is impressively captured in pictures in oils and watercolours. Secretive masks and colourful costumes allow the viewer to take part in the fine and elegant pleasures of the Venetian bustle. A feature is that the details are never reproduced but rather appear penetrated by the special architectural beauty of Venice, by the small bridges, the narrow streets and a whiff of the morbid.

The former art teacher at the Martin-Schleyer-Gymnasium in Lauda (local grammar school) creates her watercolours intentionally from aesthetic points of view. Colours and form face one another as contrast as well as complementing each other. The square has a special significance for Isolde Broedermann. This sober and, as she believes, "intellectual" shape becomes the dominant element in all her compositions. Brightening or darkening colour graduations towards the centre always relax the strict lines of the geometry. In a lively rhythm they press together, lay siege, or penetrate each other. As a counterpoint the pictures of the artist always include also an amorphous vegetabilous form.

Not only does this exhibition consist of a double package, the inclusion of the third dimension represents a new climax in the history of the FabrikGalerie. "Pictures and Scupltures" - the motto for not so much a straight- forward exhibition but rather a transformation of the entire stairway into fantastic living landscape. Here a frog is incorporated into a basically unexceptional hydroculture, there a group of storks is watching attentively or a proud cock crows through the window over the Tauber valley at his feet. In all their work the viewer can recognise the well-schooled craftsmanship of these two artists who learned the trade of stone mason and stone sculptor. Metal scrap, such as screws, nuts and even the jaws of a vice, are artistically combined and, through inspiration and manual dexterity, magically transformed into real living creatures. A colourful spectrum from the second up to the third dimension, but never one-dimensional. "To make the real nature of things visible through transformation" - never was this idea more excitingly presented than in this exhibition.

The artist Anneliese Sack-Meixner was born in the Odenwald and nowadays is living in Lauda. She has exhibited examples of her work at the FabrikGalerie from September to October. After watercolours and objective oil paintings she gradually developed towards abstracts which today are produced preferably in acrylic, using spatula and paintbrush equally. Her paintings are produced, according to the artist, through conversation between the conscious and the unconscious ego and thus achieve the meditative visual expression which renders detail painting less and less important.

Anyone looking at the highly poster-like pictures of the artist Jaro Jelenek who lives in Bratislava (Slovakia) recognises the irony with which scenes from real life are humorously translated into art. True to the saying "to hold up the mirror to the people", one quickly recognises after some initial amusement that "the people" includes oneself and that ludicrous appearances have become the accustomed reality of every-day life. Jaro Jelenek says about his work: "My pictures deal in the yearnings, needs, stupidities and offences which determine man's current image."

As an absolute novelty this exhibition has given students at the local grammar school an opportunity to present their work to the public, directly from their art class. It was remarkable to see how many differentiated techniques the students are learning during their regular education and with what professionalism they visualise their inspirations. Beyond that the exhibition documented the close link between the Martin-Schleyer-Gymnasium and LAUDA, an example which might well be worth imitating.

It was quite early on that the artist Ruth Roth who lives in Wertheim/Main, felt the urge to paint. She understands art not only as a means of representing visible things but principally as a necessity to digest experiences and feelings, to express what can not be put into words. In her paintings in a wiped watercolour technique she likes to let chance assist in the production and enjoys the exciting creative act.

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After training by copying French and German impressionists, Dolfy Nied quickly developed her own style. According to her motto: "Painting is a continuous provocation" she acquired various painting techniques such as oil, collage and watercolour. It is especially during the cold winter's days that this impressive exhibition with her delicate watercolour landscapes and flower motifs produces a cheerful and invigorating atmosphere.

Once again the successful assistance of the Kunstkreis Lauda-Königshofen brought a remarkable artist to the FabrikGalerie. The silk painter Birgit Kraneiss takes her inspiration from intensive conversations and emotional events. The press wrote about her exhibition at LAUDA: "The pictures of Birgit Kraneiss are expressive and insistent. She understands art not as pure aesthetics but as an opportunity for the artist to mirror not only his own thoughts, feelings and impressions, but also that which moves and characterises people of our time."

Graphic woodcuts, inspired also by the work of HAP Grieshaber, are the mark of the Lauda artist Norbert Gleich, the co-founder and chairman of the Kunstkreis Lauda-Königshofen e.V. (Art Circle) which has closely cooperated in the organisation and selection of these exhibitions. Especially fascinating is the association with wood as a medium and the experiments with several base colours and types of paper, giving his work an intrinsic effect.

Watercolours, mixed watercolour techniques, mono-types and large-scale spatula work are the preferred techniques of the artist Margit Müller who was born in Dainbach. Particularly impressive is her ability for stories she has witnessed to be told vividly with often only a few lines.

On the occasion of this exhibition LAUDA has for the first time hosted a reception which has been enthusiastically received by the invited guests from politics, business and culture. At least equally pleased were the visitors with the pictures of the artist Christa Grell from Künzelsau. She uses as one of her most important base materials plaster-of-paris bandages which she applies to the canvas by a specially invented process and removes them after a certain time. On this artificially created surface she then paints her motifs in oils.

Also hailing from Lauda is Elmar Hauck who under the pseudonym Matani produces coloured ink drawings and self-developed collage and frottage techniques. Spontaneity is of the essence, not the slightest correction is permitted.

The Lauda photo-artist Karin Besserer makes the start. Artistically processed photographs offer the viewer her "Impressions of Venice" and impressively capture the spirit and the beauty of this truely fantastic lagoon town.