Alle anzeigen2016 - Dance with me2017 - Clash2018 - Moloch City20192024 - Suzhou
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Wulf Herzogenrath – Between figurative and non-representational art

Some art historians search for artworks to illustrate their theories, while others attempt to unveil the artists’ ideas contained within the artworks. The former favour their own theories and often overlook the artworks’ unique quality; the latter consider the artworks themselves, predominantly understanding the works from the artists’ perspective. As may become apparent through my wording, I prefer the second approach for my undertaking, as I believe the works exist for themselves and for the viewer. Scholars’ major theories are interesting constructs, however, they are seldom helpful in understanding individual artworks and their impact, which to me seems to be the starting point of all art.

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Moloch City Series - The Voice - Die Stimme, 36 x 27 cm, Watercolor/Sketchbooks, 2018, Private Collection

The Voice – Die Stimme

A whisper, soft and insistent, talks to me, burying into my sub-conscious, my thought processes are confused, I see an unknown space in the sky, a narrow strip of light, I am flying in a dream, clouds float, driven by the wind, white mountains tower higher and higher.

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The Moloch City Project

The Moloch City Project

In May 2017, Sebastian Heiner and Michael Wruck launched the Moloch City project in Shanghai. The newly opened Studio Shanghai in the North Bund Art Zone was the starting point for the artistic and media documentation of the work of Sebastian Heiner.

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Suzhou 2025 - Qu Art Museum - Splashing

Splashing – Suzhou 2024 – Qu Art Museum

It begins with bubbling colors and a man who is increasingly pursued by colours that splash onto house facades and by rivulets of colour that follow him like lava. The man hurries and stumbles on, looking around and behind him as if he feels pursued. The thriller intensifies. A brief stop at the subway, then it continues at breakneck speed through the streets of Berlin. He staggers and keeps running, stops briefly in the sunny park of Pfaueninsel, this beautiful jewel of the former Prussian imperial court far out on Wannsee, and runs on. The colours pursue him ever more intensely. Finally, he enters a studio, narrowly escaping the splashes of paint on the outside wall. But here, inside the studio, there are countless pots of paint, tubes of paint lying wildly on top of each other and a first moment of pleasant calm. He takes a short breath and then picks up a lump of brightly mixed paint. He holds it as if he is weighing up what to do with this dazzling pound…. You can already guess that the lump of paint will be hurled onto the still unfinished canvas leaning against the studio wall: onto this field of infinite possibilities, where the colours will cavort and spread out dynamically.

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Moloch City Series - Sleepless, 36 x 27 cm, Watercolor/Sketchbooks, 2018, Private Collection

Sleepless – Schlaflos

Smells pour out from everywhere, crawling out … from the green carpeting, I stop suddenly … vapours climb … I see gauze curtains, yellow curtains, old, faded ornaments, soaked, a sour smell …

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Moloch City Series - Rain - Regen, 36 x 27 cm, Watercolor/Sketchbooks, 2018, Private Collection

Rain – Regen

The sun is hidden in dense clouds. Damp air settles on the city streets, softening all contours. In a diffuse state of mind, I find myself in a sort of cognitive twilight.

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Nora Gantert – Dance with me

Berlin, Shanghai, Bangkok, Beijing – In search of his own unique position, his own language, Sebastian Heiner’s artistic practice consists of frequent journeys and changing locations. Uprooting and unfamiliarity serve as artistic and psychological challenges. Heiner methodically seeks existential confrontation, which finally manifests itself in the artist’s work as a powerful yet playful dispute. The paintings represent an ongoing challenge, a continuous grappling with the “other” while in search of oneself. Francois Jullien’s philosophical approach “from the other to the self” serves as backdrop for Heiner’s work.

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