TRAK Wendisch
Biography
| 1958 | Born in Berlin |
| 1977-82 | Studies in painting at the Hochschule für Grafik und Buchkunst in Leipzig with Dietrich Burger und Bernhard Heisig |
| seit 1982 | Freelance work in Berlin |
| seit 1983 | Work on the sculptures |
| 1985 | Master pupil at the Hochschule für Bildende Künste Dresden under Gerhard Kettner |
| seit 1985 | Community project Burg Goldbeck bei Wittstock |
| 1992 | Work excursion to Brasil |
| 1994 | Work excursion to Costa Rica |
| 1995 | Work excursion to Mexico |
| Lives and works in Berlin and Goldbeck (Brandenburg) | |
Solo Exhibitions (Selection)
| 2007 | Galerie Rothamel Frankfurt am Main |
| 2004 | "Körper und Fäden" (Body and Threads), Galerie Peter Borchardt, Hamburg |
| 2004 | Buschlen Mowatt Galleries, Palm Desert, (USA) |
| 2004 | "Trak Wendisch. Skulpturen", Klosterhof der ehemaligen Benediktinerabtei, Seligenstadt |
| 2004 | "Frauenträger" ("Woman Carriers"), Galerie Rothamel, Erfurt |
| 2003 | "Trak Wendisch. Beelden", Galerie Dom´Arte, Rucphen, Niederlande |
| 2002 | "Bastarde", Galerie Borchardt, Hamburg |
| 2002 | Buschlen Mowatt Galleries, Vancouver, Canada |
| 2001 | Galerie von Braunbehrens, München |
| 2001 | Städtische Galerie, Sonneberg |
| 2001 | "Seiltaenzer" ("Rope Dancers"), Skulptur für das Auswärtige Amt, Berlin |
| 2000 | "cutis et ossa", Galerie Peter Borchardt, Hamburg |
| 2000 | Galerie Rothamel, Erfurt |
| 2000 | Aufstellung "Viertelmondträgerin", Anger, Berlin Pankow |
| 2000 | "nunc autem pulchra" Galerie Borchardt, Hamburg |
| 1999 | Galerie Rothamel, Erfurt |
| 1999 | "Überschneidungen" ("Intersections"), Kunsthalle Dominikanerkloster, Osnabrück |
| 1999 | Galerie Lutz Teutloff, Bielefeld |
| 1998 | Galerie am Fischmarkt, Erfurt |
| 1998 | Galerie Rothamel, Erfurt |
| 1998 | "Ichkadaver - Zeitklangflächen", galerie tammen & busch, Berlin |
| 1998 | Galerie Borchert, Stilwerk, Hamburg |
| 1997 | art miami, Miami, USA (Solo presentation at the galerie tammen & busch) |
| 1997 | Bushlen & Mowatt, Vancouver, Kanada |
| 1997 | "Schädelbalance", Kunstverein Bielefeld |
| 1996 | Banco de la República, Biblioteca Luis Ángel Arango, Bogotá, Kolumbien |
| 1996 | Landesmuseum, Oldenburg (Kulturspeicher) |
| 1996 | galerie tammen & busch, Berlin |
| 1996 | Museum Beelden aan Zee, Scheveningen, Niederlande |
| 1996 | Stadhuis, Den Haag |
| 1996 | galerie tammen & busch, Berlin (mit Hans Scheuerecker) |
| 1996 | Galerie Lutz Teutloff, Bielefeld |
Group Exhibitions (Selection)
| 2006 | "Deutsche Bilder aus der Sammlung Ludwig" ("German Pictures from the Ludwig Collection"), Ludwig Galerie, Schloss Oberhausen |
| 2005 | "Reflexionen", Art Center Friedrichstraße, Berlin |
| 2004 | "Götzen – kein Bild ist wahr" ("Idols – no picture is true"), Internationales Kustprojekt Frankfurt/Oder and Slubice (Polen) |
| 2004 | "Kunst in der DDR eine Retrospektive der Nationalgalerie" (" Art in the DDR - a Retrospective of the National Gallery"), Neue Nationalgalerie Berlin |
| 2003 | "Lutz Teutloff Skulpturengarten" ("Lutz Teutloff Sculpture Garden") Dauerausstellung seit 2003, Bielefeld |
| 2003 | "Mauer - Stücke" ("Wall – Pieces"), Märkisches Museum, Berlin |
| 2003 | "Mauersprünge - Kunst und Kultur der 80iger Jahre in Deutschland" ("Mauersprünge – Art and Culture of the 80 Years in Germany), Martin Gropius Bau |
| 2003 | "Blickachsen 4", Bad Homburg |
| 2001 | "Holz - Aspekte zeitgenössischer Bildhauerei" ("Wood – Aspects of Contempororay Sculptur"), Galerie Netuschil, Darmstadt |
| 2000 | "Mehr Kopf als Körper" ("More Head than Body"), Galerie im Schloss Wendhausen |
| 2000 | Welt-Kunst-Ausstellung (World-Art-Exhibition), Kulturbrauerei, Berlin |
| 2000 | "Accourage" Künstler der Galerie, Galerie Borchardt, Hamburg |
For years TRAK Wendish has explored the idea of man, in a contemporary and remarkably comprehensive way, in all his media of artistic expression. That is not to be thought of differently at all: TRAK Wendisch, and the human shape interpreted in expressive stylistic idiom are, to a certain extent, synonymous. He populates a whole cosmos with his slim, often elongated shapes, reminding one of gothic robed figures. With coarse treatment of the chain-saw he peels them from the tree trunk, sensitively completing their details with his sturdy tools. At the end, Wendisch covers them with a coloured thin skin and sets them alight as in a conjurer’s magic act.
In these ideas of man, with their very similar frequently repeating gestures and body language, Wendisch sets in motion the drama of our existence. Wendisch succeeds in developing his own very contemporary stylistic idiom from this age-old traditional approach and technology. For the artist, the internal coordinating systems of the figure along its slim trunk, its symmetry and balance, become the central artistic themes in the logic of sculpture. Weights and counter weights, mass and empty spaces, intentional shifts in emphasis or the artful reconciliation of the forces against the regularities of physics become structural - an architectural means for the structure of each individual shape and the group of structures as a whole. This is evident in the anchored geometry of the body and the axially directed integration of the figures in to the construction.
The indissoluble penetration of forms and contents, that are so compelling in their different expression - here the almost cold geometrical severity of the construction, there the overheated weight of feeling from the human figure - can confidently (in the sense of Caspar David Friedrichs) be considered romantic.
In a mutual limitation between boldly composed orders of form and the almost chaotic internal riots of the figures, TRAK Wendisch proves to be as modern as archetypical. He involves the viewer into the event, making him the author but without overwhelming.
