The magnetism of German artist Gregor Schneider is seeded within his bizarre and controversial works of art. Schneider’s ability to create a completely enveloping exhibit through various media platforms is best shown in “Haus ur”, his greatest known work. Schneider’s beyond contemporary and minimalist attitude towards his art began concealed inside a three-storey home in the town of Rheydt, Germany. With room inside room inside room and window in front of window in front of wall, the artist created a very peculiar way to stage his work in exhibition spaces. He either completely reconstructs entire rooms of the house by dismantling and reassembling them inside a gallery or constructs exact replicas.
The three authorities under comparison are all discussing along a common theme with the basis of Schneider’s “Haus Ur” under review. Udo Kittelmann’s “Haus ur, Rheydt versus Totes Haus ur, Venice” and Elisabeth Bronfen’s “Secret Sites / Transmittable Traces” articles were both taken from “Gregor Schneider, Totes Haus ur, La Biennale Di Venezia 2001”. Both critics have varied outlooks and decipher Schneider’s work on different levels and with different views but are still for the artist’s contributions to visual arts. The third authority Jens Hoffman with his journal article “A House Is A Mirror” from the art journal “ANNO”, however, argues the fact that Schneider’s contributions are deep in meaning and too complex.
The main arguments chosen from the three authority’s articles include the effect the art had on the critic after they had visited it. The other two arguments are comparing and contrasting the critic and the artist’s thoughts on the “Haus ur” and what it means to them.
Udo Kittelmann’s sees Schneider’s work as building a type of surrounding entity, but not for himself. As Kittelmann (2001) says “ He is building his soul a house, a container, a body whereby the individual rooms can also be regarded as vital organs of the body,...
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