Peter Krauskopf
(Germany, b. 1966)

Peter Krauskopf, born in 1966, currently lives and works in Berlin. He had studied at the Academy of Fine Arts in his birth town Leipzig and later continued as a post-graduate under Arno Rink. He is famous for his break with the figurative tradition of painting in Leipzig. Among other awards Krauskopf received the Falkenrot Prize 2015. His works have been shown in plenty of institutional solo-shows, like at the Mies van der Rohe-Haus, Berlin, the Forum Kunst Rottweil, the Kunsthalle Lingen and Kunsthaus Kaufbeuren. His works have been presented in the collection of the Albertinum in Dresden; the Ludwig Forum in Aachen; the City Museum of Wrocław; the Kunstverein Ludwigshafen; the Museum Schloss Morsbroich in Leverkusen; Kupferstichkabinett and the Galerie Neue Meister in Dresden; Germanisches Nationalmuseum in Nuremberg; Berlinische Galerie; and the Paul-Löbe-Haus for members of the Bundestag in Berlin.

Peter Krauskopf is especially interested in the process of overpainting, which he understands as an overwriting of time. All of his pieces – the intensive colored smaller plates, as well as the big monochrome color gradients – seem to be abstract at first sight. But they are all ‘concretions of a period of time’. On homogeneous, smooth grounds which either consist of an old, former abandoned painting or a monochrome under painting, Krauskopf performs one single intervention to form a new picture. Therefore he uses a scraper or brush to push a flat, consistent color application over an already existing image. This way he creates a symbiosis between a picture of the past and its completion in the present. Peter Krauskopf’s new works can be understood as collages about the phenomenon of time itself.

„Z“, B 281114, Öl/leinen, 130cm x 100cm ,2014

Peter Krauskopf – S T R U K T U R at G2 Kunstalle, Leipzig, 2018

“Drift”, 2018 at Kunsthaus Kaufbeuren, Germany

Selected Solo Exhibitions

2021 STUDIO, with Susanne Kühn, Museum der bildenden Künste Leipzig, DE
2021 Peter Krauskopf solo exhibition, Bluerider ART, Taipei, Taiwan
2020 Peter Krauskopf,Walte Storms ,GalerieMunich,Germany
2019 Paintings 2015-2019, Munich RE Art Collection, München, DE
2019 Berlin-Klondyke, Galeria Monumental, Lisbon, Portugal
2018 Code of color deGalería Álvaro Alcázar,Madrid,Spain
2018 DriftKunsthaus Kaufbeuren,Kaufbeuren,Germany
2018 GrünsteinWalter Storms Galerie,Munich,Germany
2017 StrukturG2 Kunsthalle,Leipzig,Germany
2017 40 Jahre Walter Storms Galerie , 1977 – 2017,Walter Storms
2016 Hide And SeekJochen Hempel, BerlinBerlin,Germany
2016 Walter Storms Galerie,Munich,Germany
2015 DioramaGalería Álvaro Alcázar,Madrid,Spain
2015 Falkenrot Preis 2015Künstlerhaus Bethanien,Berlin,Germany
2014 Zwalter storms galerie – Ismaninger Strasse,Munich,Germany
2014 Jochen Hempel Leipzig,Leipzig,Germany
2013 Elbe -Galeria Vilaseco,A Coruña,Spain
2012 GrauJochen Hempel Berlin,Berlin,Germany
2012 Landschaft mit abstraktem GemäldeGalerie Neue Meister
2012 Albertinum,Dresden,Germany
2012 Kunstgewerbemuseum Dresden,Dresden,Germany
2011 BlockWalter Storms Galerie,Munich,Germany
2009 Walter Storms Galerie,Munich,Germany
2008 Forum Kunst Rottweil,Rottweil,Germany
2008 Jochen Hempel Leipzig,Leipzig,Germany
2007 Mies van der Rohe Haus,Berlin,Germany
2006 Arbeiten 2006Galerie Elly Brose-Eiermann (former büro | für | kunst) –
2006 Galerie Christian Roellin – St. GallenSt. GallenSwitzerland
2005 Walter Storms Galerie,Munich,Germany
2004 Fehlfarben – Staatliche Kunstsammlung DresdenGalerie Neue Meister –
2001 EIN LOB DER KLEINEN DIFFERENZEN – Zur Konstruktion 1/01 von Peter
KrauskopfGalerie Paula Böttcher,Berlin,Germany
2000 Jochen Hempel Leipzig,Leipzig,Germany
2000 Stiftung Moritzburg – Kunstmuseum des Landes Sachsen-Anhalt,Halle,
2000 voxxx.galerie,Chemnitz,Germany
1999 Neue Arbeite-Galerie Frank Schlag & Cie. GmbH,Essen,Germany

Selected Group Exhibitions

2021 New LuxeBluerider ARTShanghaiChina
2021 Made in GermanyBluerider ARTTaipeiTaiwan
2020 Switch ONBluerider Art GalleryTaipeiTaiwan
2019 Berlin-KlondykeGaleria Monumental,Lisbon,Portugal
2018 Summer In The CityGalerie Asbæk,Copenhagen,Denmark
2018 Summer in the CityMartin Asbæk Gallery,Copenhagen,Denmark
2018 MdbK meets G2 Malerei aus Leipzig nach 2000Museum der bildenden Künste
2018 DepotJochen Hempel Leipzig,Leipzig,Germany
2018 Join the Dots / Unire le distanzeSalone Degli Incanti – Ex Pescheria
2018 Una treguaGalería Álvaro Alcázar,Madrid,Spain
2017 La Foresta AnimadaGalería Álvaro Alcázar,Madrid,Spain
2017 ¡Manos Arriba, Esto Es Un Atraco!CCA Andratx,Andratx,Spain
2017 Berlin-KlondykeSOEHT 7,Berlin,Germany
2017 Golden AssLADEN FUER NICHTS,Leipzig,Germany
2017 Berlin-KlondykeMaribor Art Gallery,Maribor,Slovenia
2017 40 Jahre Galerie, Jubiläumsausstellung / Teil 1Walter Storms Galerie,Munich,Germany
2016 Peter Krauskopf / Yuval Shaul / Yehuda Altmann – The WalkSpinnerei archiv
2016 Sammlung HildebrandG2 Kunsthalle,Leipzig,Germany
2016 10 AñosGalería Álvaro Alcázar,Madrid,Spain
2016 ExchangeJonathan Ferrara Gallery,New Orleans, LA,USA
2015 Galerie Jochen Hempel @ JFG – Gallery Exchange ExhibitionJonathan Ferrara
Gallery,New Orleans, LA,USA
2015 Gute Kunst? Wollen!Auf AEG,Nuremberg,Germany
2015 Imago Mundi. Luciano Benetton Collection. Mappa dell’arte nuovaFondazione Giorgio
2015 Berlin – Klondyke: 1. Berlin-EditionSalon Dahlmann,Berlin,Germany
2015 Berlin Artists’ Statements – announcementBWA Contemporary Art Gallery in
2015 G2 #1 – Leipzig 2015 – Sammlung HildebrandG2 Kunsthalle,Leipzig,Germany
2014 brennzeitenKunst und Literatur Forum Amalienpark e.V.,Berlin,Germany
2014 5 jahre schellingstr. 48Walter Storms GalerieMunichGermany
2014 Architekt – Busdriver – Zwei Brücken – 20 Jahre Gesellschaft für Moderne Kunst in
DresdenKunsthalle im Lipsiusbau,Dresden,Germany
2014 InterferenciasGaleria VilasecoA ,Coruña,Spain
2014 Group ShowJochen Hempel Leipzig,Leipzig,Germany
2013 salondergegenwart 2013salondergegenwart,Hamburg,Germany
2013 Berlin-KlondykeHipp Halle Gmunden,Gmunden,Austria
2013 Schöne Landschaft – Bedrohte Natur. Alte Meister im Dialog mit zeitgenössischer
KunstKunsthalle Osnabrück,Osnabruck,Germany
2013 Berlin KlondykeWerkschauhalle,Leipzig,Germany
2013 jetzt hier. Gegenwartskunst. Aus dem KunstfondsKunsthalle im
2012 Berlin-KlondykeNeuer Pfaffenhofener Kunstverein,Pfaffenhofen,Germany
2012 Alles WasserGalerie Mikael Andersen – Berlin,Berlin,Germany
2012 geteilt | ungeteilt – Kunst in Deutschland 1945 bis 2010Galerie Neue Meister –
2011 Berlin Klondyke 2011Art Center Los Angeles,Los Angeles, CA,USA
2011 Berlin Klondyke 2011The Odd GalleryDawson, YT,Canada
2011 Das versprochene LandGalerie Neue Meister – Albertinum,Dresden,Germany
2009 KonstruktivLeinemann-Stiftung für Bildung und Kunst,Berlin,Germany
2009 Begegnung Bauhaus. Kurt Schmidt und Künstler der Avantgarde – von Kandinsky bis
VasarelyKunstsammlung Gera – Orangerie,Gera,Germany
2008 Alge – Dillmann – KrauskopfKunsthalle Lingen,Lingen,Germany
2007 30 Jahre walter storms galerie – JubiläumsausstellungWalter Storms
2006 global playersBTAP (Beijing Tokyo Art Projects) – Tokyo,Tokyo,Japan
2006 Global Players – Zeitgenössische Künstler aus Japan und DeutschlandLudwig Forum für
Internationale Kunst,Aachen,Germany
2005 Summer Group ShowJochen Hempel Leipzig,Leipzig,Germany
2005 Martin Borowski | Peter Krauskopf | Sophia Schama – FRIES — MalereiGalerie Elly
Brose-Eiermann (former büro | für | kunst) – Dresden,Dresden,Germany
2005 Leipzig und die konstruktiv-konkrete KunstKunsthalle der Sparkasse
2002 Wunschbilder – Neuerwerbungen des Kunstfonds SachsenMuseum der bildenden
Künste Leipzig,Leipzig,Germany
2000 Bildwechsel – GruppenausstellungKunstsammlungen Zwickau – Städtisches
1998 Vitale Module. Gegenwartskunst aus SachsenKunstverein
1997 Vitale Module. Gegenwartskunst aus SachsenKunsthaus Dresden,Dresden,Germany


Berlinische GalerieBerlin
ALTANA Kulturstiftung im Sinclair-HausBad Homburg
Germanisches NationalmuseumNuremberg
Galerie Neue Meister – AlbertinumDresden
G2 KunsthalleLeipzig
Stiftung Moritzburg – Kunstmuseum des Landes Sachsen-AnhaltHalle, Saale
Munich Re Art CollectionMunich

Trailer: Peter Krauskopf ‘意識驚奇‘ 2021.9.11-10.31

Artist Video: Peter Krauskopf

Art Critique

Atmospheres of intensive ease

((Thoughts on Peter Krauskopf's paintings)

Fernando Castro Flórez 费尔南多.卡斯特罗.弗洛雷斯

Painting celebrates the enigma of visibility, giving rise to a frenzy that is, in essence, vision itself. Seeing is be-holding, possessing at a distance; and painting extends this fanciful possession to all aspects of a being that somehow must become visible to become painting. Peter Krauskopf is an example of this “voracious vision” that, beyond "visible givens opens upon a texture of Being of which the discrete sensorial messages are only the punctuations or the caesurae. The eye lives in this texture as a man lives in his house."[1]Regarding this artist's practice, we must look to John Berger's idea that painting is a confirmation of what visibly surrounds us and constantly appears and disappears: “Without the disappearing, there would perhaps be no impulse to paint, for then the visible itself would possess the surety (the permanence) which painting strives to find. More directly than any other art, painting is an affirmation of the existent, of the physical world into which mankind has been thrown." The corporeity of painting has an expressive potential that is hard to compare to anything else. Presumably, the condition of painting is a place to express personhood and individuality, an aspect, as I mentioned before, likely due to its deeply corporeal nature. Ultimately, therefore, painting works like a metaphor, even as an equivalent to sexual activity and is, of course, a space for the projection of tremendous psychic energy.

Some of Peter Krauskopf's fascinating paintings produce a mirror effect trapping the shadow of the onlooker within this space. If his smaller artworks to a certain degree have a preparatory function, where he develops his colour ranges, then his larger works create a subtle interaction with the spectator. The beautiful colours of his paintings hypnotically capture whoever ventures to contemplate them and rhythmically take us from atmospheres inducing visions of fog to the splendour of evening skies, from grey to iridescence and brightness. Even where we believe we see only a single colour there are always reverberations, blends and hints of other tones that introduce a rhythmic nuance or, synaesthetically speaking, a musical nuance.

The intense presence of these works of art produces a drift of emotion and a kind of sense that invokes the memory of dreamlike experiences or an allegoric evocation of nature. Without becoming literal or introducing figurative-picturesque connotations, Peter Krauskopf re-examines that romantic travel narrative which drove the aesthetic of spiritual nomadism. Romantic travel is always about the search for oneself: a long journey inwards, a never-ending flight and escape. It can be a search for identity by delving into pain, an adventure into one's own suffering as much as a trip into dangerous zones. For Capar David Friedrich, the boat was the symbol par excellence of romantic nomadism, the incarnation of the navigatio vitae. Peter Krauskopf's beautiful paintings mark as much a space of passionate colours as an evocation of the “material fluidity” of water that could be interpreted based on Gaston Bachelard's Water and Dreams. Immersion into water means the return to the pre-formal with the double meaning of death and dissolution, but also rebirth, a new cycle, a strengthening of life. As Freud pointed out, dreams usually express birth through water. Water alludes as much to all that is transitory as to what is infinite. Water is transparent deepness, an element that enables the superficial and the profound to communicate. In this sense, one could say, therefore, that water traverses painting.

Materials flow in Peter Krauskopf's paintings.流動He reduces the dynamic of painting to a process of “smearing” or sweeping pigments. His technique provides analogies to Gerhard Richter's technique, but differs from it in the kind of order he seeks to establish, as well as in his effort to dominate chance and hazard. Some of his paintings transmit a sensation of freshness; the material seems to continue to drip. A few drops go over the edge of the painting in a manifestation of the life force and the fragility of art, of this intensive lapse that challenges us to adopt a contemplative stance. The process during which he applies several layers of colour and aims to create films that work as veils, Krauskopf explains, does not simply have an ornamental function, rather, it is his "way of seeing the world."

Peter Krauskopf彼得.克勞斯科夫Peter Krauskopf asserts himself through paintinghis abstract paintings always imply corporeal presence. The painter, as Paul Valéry said, takes his body with him, "immersed in the visible by his body, itself visible, the seer does not appropriate what he sees; he merely approaches it by means of the gaze, he opens onto the world.[2]“Nature is on the inside", stated Paul Cézanne, forcing us to contemplate the enigma of the body of painting. “Quality, light, colour, depth, which are there before us, are there only because they awaken an echo in our body and because the body welcomes them. Things have an internal equivalent in me; they arouse in me a carnal formula of their presence. Why shouldn't these correspondences in turn give rise to some tracing rendered visible again, in which the eyes of others could find an underlying motif to sustain their inspection of the world?”?[3]The incarnation of that, which is visible, from the beasts painted on the walls of Lascaux until today, should not be seen as the representation of something that is somewhere else, but rather as the radiant presence it represents within the concrete space of a painting. I never see the thing itself; I see what the phenomenologist would call the "halos of Being": I see according to it, or with it, rather than that I see it.

More recent paintings by Peter Krauskopf display a double process: of first creating a surface through subtle "smears” of individual colours, then adding lumps of lines that configure a "centre". He masterly articulates these two different sculptural impulses, generating a sensation of sublimity, moving our gaze close in whilst, paradoxically,又將我們的距離拉開simultaneously making us take a distance, as if Walter Benjamin's characterisation of the aura as a manifestation of distance no matter how close one is, had been fulfilled. Peter Krauskopf states that his work does not pretend to be anything" else than the act of painting. His creative process fundamentally relies on keeping his mind open and upholding his belief in the possibilities of abstraction to generate zones of visual intensity視覺強度區域的可能性之信念。

The abstract paintings by Peter Krauskopf, with their elegant colour transitions, remind me of the works of Mark Rothko, who in turn continued the northern romantic tradition and settled the modern i sublime sentiment,絕美情感which, in the Kantian sense, was related as much to the misery of reason as to the intensified certainty of sensations. As Barnett Newman remarked, the sublime is now, a feeling of delight, when something happened instead of nothing, an event at the limits of the expressible that is testified, because it becomes an opening to escape anxiety and the form in which transcendence materialises. Some recent paintings by Krauskopf have the mysterious tonality of a world of colours that seem to melt into nothingness, even though it should be clear that the intention was neither to dematerialise nor to present a proposition aimed at exhausting or achieving nihilist reduction.虛無歸零To the contrary, his work speaks of material plentifulness and the power of visions. His painting seeks, much like Chinese painting, an empty space with the ability to articulate everything.

These paintings impose their presence and cover us, as if they were atmospheres, they seduce us with their extraordinary subtlety and, through their intense lightness, compel us to contemplate the "layers of the visible”. Valéry was right when he said “what is most deep is the skin”, a phrase completely applicable to Krauskopf's pictoral smears that we caress with our gaze. This artist moves us with his paintings, and paradoxically, makes us stop moving. He mobilises our emotions urging us to halt time to try to become one with the wonder of the world his work focusses on. Once, the writer Vladimir Nabokov was asked whether there was something in life that surprised him. He answered, “the marvel of con sciousness - that sudden window swinging open on a sunlit landscape amid the night of non-being”. Through his paintings of enigmatic tranquillity, Peter Krauskopf opens that marvellous window.Faced with the nihilist delight that renounces light, he draws spaces with which we can recover the most intense sense of beauty. He allegorically marks pathways that enable us to enter into that which can save us: poetry.

Fernando Castro Flórez (b. 1964)

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