LQ 3URFHVV Terra Cognita íííííííí

Terra Cognita HEIKE NEGENBORN

96 Innenseiten HNegenborn_Cantz 1 02/03/2020 15:24

Ë:!8Ì

Ë:!8Ì

Ë:!8Ì

2018388_Cantz-2 INH

−−−−

−−−−

−−−−

−−−

1 −−

−−−−

−−−−

−−−−

−2

−−−−

−−−−

−−−−

−−−

3 −−

−−−−

−−−−

−−−−

−4

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5 −−

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−−−−

−6

−−−−

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−−−

7 −−

−−−−

−−−−

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−8

−−−−

−−−−

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−−−

9 −−

−−−−

−−−−

−−−−

−10

−−−−

−−−−

−−−−

−−−

11 −

−−−−

−−−−

−−−−

−−12

−−−−

−−−−

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−−−−

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−−14

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−−−−

−−−−

−−16

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−−−−

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−−−−

−−−−

−−18

−−−−

−−−−

−−−−

− Y

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−−−

−−−−

−−−−

−−20

−−−−

−−−−

−−−−

−−−

21 −

−−−−

−−−−

−−−−

−−22

−−−−

−−−−

−−−−

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23 −

−−−−

−−−−

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−−24

−−−−

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25 −

−−−−

−−−−

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−−26

−−−−

−−−−

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−−−

27 −

−−−−

−−−−

−−−−

−−28

−−−−

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−−−−

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29 −

−−−−

−−−−

−−−−

−−30

−−−−

−−−−

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31 −

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2018388_Cantz - FB 002 - Schöndruck - $[ProductName] - 05.06.2020


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ËD!FÌËD!FÌËD!FÌ

2018388_Cantz-3 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

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= ... −−−−−−−−−−−−−18

−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32

Prinect CS−4i Form

at 102/105 Dipco 13.0g (pdf) ©

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2018388_Cantz - FB 002 - Widerdruck - $[ProductName] - 05.06.2020


2018388_Cantz - $[ProductN

ame] - 05.06.2020 13:38:19 - W

iderdruck - FB 002 - B

lack2018388_C

antz - $[ProductNam

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agenta2018388_C

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002 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

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Plate Control Strip

© H

eidelberger Druckm

aschinen AG 2013

V13.0g (pdf)

SuprasetterFujifilm

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Lin+Process

Terra Cognita HEIKE NEGENBORN

ZEICHNUNGDRAWING

DRUCKGRAFIKPRINTMAKING

MALEREIPAINTING


ËD!FÌ

ËD!FÌ

ËD!FÌ

2018388_Cantz-3 INH

−−−−

−−−−

−−−−

−−−

1 −−

−−−−

−−−−

−−−−

−2

−−−−

−−−−

−−−−

−−−

3 −−

−−−−

−−−−

−−−−

−4

−−−−

−−−−

−−−−

−−−

5 −−

−−−−

−−−−

−−−−

−6

−−−−

−−−−

−−−−

−−−

7 −−

−−−−

−−−−

−−−−

−8

−−−−

−−−−

−−−−

−−−

9 −−

−−−−

−−−−

−−−−

−10

−−−−

−−−−

−−−−

−−−

11 −

−−−−

−−−−

−−−−

−−12

−−−−

−−−−

−−−−

− B

= ...

−−−

−−−−

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−−14

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−−−−

−−−−

− C

= ..

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−−−−

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−−16

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−−−−

−−−−

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−−−−

−−18

−−−−

−−−−

−−−−

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−−−

−−−−

−−−−

−−20

−−−−

−−−−

−−−−

−−−

21 −

−−−−

−−−−

−−−−

−−22

−−−−

−−−−

−−−−

−−−

23 −

−−−−

−−−−

−−−−

−−24

−−−−

−−−−

−−−−

−−−

25 −

−−−−

−−−−

−−−−

−−26

−−−−

−−−−

−−−−

−−−

27 −

−−−−

−−−−

−−−−

−−28

−−−−

−−−−

−−−−

−−−

29 −

−−−−

−−−−

−−−−

−−30

−−−−

−−−−

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Ë:!8ÌË:!8ÌË:!8Ì

2018388_Cantz-2 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

16−−−−−−−−−−−−− M

= ... −−−−−−−−−−−−−18

−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

2013 Heidelberger D

ruckmaschinen A

G0

BC

MY

CM

CM

YC

MY

BC

MY

slurCB

CM

YC

20C

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80B

CM

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MY

M 20

M 40

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ame] - 05.06.2020 13:38:17 - Schöndruck - FB

002 - Black



002 - Cyan



002 - Magenta



002 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

▼

▼

▼

Plate Control Strip

© H

eidelberger Druckm

aschinen AG 2013

V13.0g (pdf)

SuprasetterFujifilm

Brillia LH−PJE

1/15

0.5 P

Tim

es

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20%25%

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50%60%

70%75%

80%90%

95%97%

98%99%

Lin+Process

ZEICHNUNGDRAWING

“Skizzen zu fertigenbedeutet Samen zu säen

um Bilder sprießen zu lassen.

VINCENT VAN GOGH

Sketching is like planting seeds in order

to grow pictures. „



2018388_Cantz-2 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

16−−−−−−−−−−−−− M

= ... −−−−−−−−−−−−−18

−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

2013 Heidelberger D

ruckmaschinen A

G0

BC

MY

CM

CM

YC

MY

BC

MY

slurCB

CM

YC

20C

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80B

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002 - Black



002 - Cyan



002 - Magenta



002 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

▼

▼

▼

Plate Control Strip

© H

eidelberger Druckm

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2018388_Cantz-3 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

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−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

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2018388_Cantz-2 INH

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−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

16−−−−−−−−−−−−− M

= ... −−−−−−−−−−−−−18

−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


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11


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2018388_Cantz-3 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

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= ... −−−−−−−−−−−−−18

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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

2013 Heidelberger D

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G0

BC

MY

CM

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ame] - 05.06.2020 13:38:19 - W


lack2018388_C

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002 - Cyan


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agenta2018388_C

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002 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

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▼

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Plate Control Strip

© H

eidelberger Druckm

aschinen AG 2013

V13.0g (pdf)

SuprasetterFujifilm

Brillia LH−PJE

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She is often out and about with her camera and painting utensils, es-

pecially in the Cevennes, the southern French plateau with its wild, austere

landscape and rivers winding their way through deep gorges, or in her native

Palatinate region with its soft vastness of the cultivated Rhine plain – both re-

gions covered by an overarching sky in which the spherical structures of enor-

mous cloud formations unfold their dramatic scenario. For Heike Negenborn,

this immediate contact with nature is vital for her images attained from real-

ity, with which she is currently taking center stage in landscape painting. Low

horizon lines, flat landscapes with a one-point or two-point linear perspective,

meticulously captured details of trees, shrubbery, or rock formations, olive tree

groves or vineyards, the apparently infinite sky with diverse cloud formations

familiar from the Dutch paintings of the seventeenth century: these are typical

of Heike Negenborn’s landscape paintings. The quality of her art evokes an

almost photographic depiction of the real world, which seems lost in reverie

despite the moving cumulus clouds and a particularly dramatic use of light.

She transfers the onlooker into the pleasant incommensurability of scenic ex-

panse which, despite its having been formed into a cultivated landscape by

humankind, does not indulge in a fanciful illusion of untouched nature but, as a

result of its openness and apparent wilderness, suggests a feeling of freedom,

solitude, and infinity. Here one can breathe, here one can be, in a shapely pro-

portionality of sublimity and self-assertion.

Heike Negenborn’s sketches and paintings are governed by a linear

perspective grid, which may not only be perceived beneath layers of paint, but

which intentionally overlaps and breaks through the scenic illusion. The grid

Sie ist viel in der Natur unterwegs, mit Fotoapparat und Malutensilien,

vor allem in den Cevennen, dem südfranzösischen Hochplateau mit seiner wil-

den, herben Landschaft und in tiefe Schluchten gegrabenen Flussläufen oder

in der heimatlichen Pfalz mit den sanften Weiten der bewirtschafteten Rhein-

ebene – beide Regionen mit einem alles überspannenden Himmel, in dem die

sphärischen Gebilde gewaltiger Wolkenformationen ihr dramatisches Szenario

entfalten. Für Heike Negenborn ist diese unmittelbare Berührung mit der Natur

unverzichtbar für ihre der realen Welt enteigneten Bildfindungen, mit denen

sie derzeit die Bühne der Landschaftsmalerei maßgeblich besetzt. Niedrige

Horizontlinien, flache Landschaften mit Zentralperspektive oder doppeltem

Fluchtpunkt, minutiös erfasste Details von Bäumen, Sträuchern oder Felsforma-

tionen, Olivenbaumhainen oder Rebstockfeldern, unendlich erscheinende Him-

melsgewölbe mit vielfältigsten Wolkenformationen, wie man sie aus der nieder-

ländischen Malerei des 17. Jahrhunderts kennt, sind charakteristisch für Heike

Negenborns Landschaftsgemälde. Die Qualität dieser Malerei evoziert ein

nahezu fotografisches Abbild einer realen Welt, die trotz der bewegten Wol-

kenkumuli und einer dezidiert geführten Lichtdramaturgie seltsam entrückt

und still wirkt. Sie versetzt den Betrachter in die wohltuende Unermesslichkeit

landschaftlicher Weite, die zwar vom Menschen zur Kulturlandschaft überformt

ist – ergo nicht einer fantastischen Illusion unberührter Natur nachhängt – aber

dennoch dank ihrer Offenheit und scheinbaren Wildheit das Gefühl von Freiheit,

Einsamkeit und Unendlichkeit suggeriert. Hier lässt es sich atmen, hier darf man

sein, in einer wohlproportionierten Verhältnismäßigkeit zwischen Erhabenheit

und Selbstbehauptung.

13

DIE VERMESSUNG DER WELTGundula S. Caspary

MEASURING THE WORLDGundula S. Caspary



2018388_Cantz-3 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

16−−−−−−−−−−−−− M

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−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

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lack2018388_C

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agenta2018388_C

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002 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

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Plate Control Strip

© H

eidelberger Druckm

aschinen AG 2013

V13.0g (pdf)

SuprasetterFujifilm

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14

Weiße Wolke N°1, 2017 Weiße Wolke N°2, 2017 Weiße Wolke N°4, 2019


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hence serves as a constructional basis for the landscape in order to support the

highest possible illusion of depth and space, as can also be seen in her latest

series, Netscapes. Here, towering clouds grow into the landscape, flowing

across the horizon as if wanting to escape the two-dimensional picture plane.

The graphical result of capturing and measuring a cultivated landscape on-site,

based on a specifically developed color-coded grid, confidently traces these

excerpts of nature in order to genuinely depict and fixate them on the pictorial

ground. This makes them similar to a documentary survey, either modulated

in an intense range of color or else reduced to a sketchy black-and-white de-

piction. In some paintings, the execution is so keenly modulated that they at

times resemble digitally created photographs or colorized photographs from

the nineteenth century, albeit considering that these were far hazier. Within

other works, it is not lines but pixelated grids similar to a digitalized enlarge-

ment that define the landscape, thereby referring to the undeniable present of

the twenty-first century and its appropriation of visual perception through the

medium of digital photography.

The dialectic in observing world, nature, and cultivated landscape, as

well as the ambivalence in capturing the artistic natural excerpt on something

verging between on-site sketch, photography, mathematical construction, ar-

tistic interpretation, and subjective perception – which is an integral part of

every observation of nature because it is constituted solely through the indi-

vidual sensitivity of the observer – this dialectic between scientific analysis

and the imagination reminds one of Daniel Kehlmann’s novel Measuring the

World. In this work, Kehlmann describes the mathematical and geographical

Heike Negenborns Skizzen und Gemälden liegen – als Konstruktions-

basis für die Landschaften im Dienste einer größtmöglichen Tiefen- und Raum-

wirkung – zentralperspektivische Gitternetze zugrunde, die nicht nur unter und

zwischen den Farbschichten durchscheinen, sondern sie bewusst überlagern

und die landschaftliche Illusion durchbrechen, ebenso wie in der jüngsten Bild-

serie der Netscapes die Wolkentürme die Landschaft und den Horizont über-

borden, als wollten sie aus der zweidimensionalen Bildfläche ausbrechen. Das

zeichnerische Ergebnis der Erfassung und Vermessung einer Kulturlandschaft

vor Ort auf einem farblich abgesetzten, speziell entwickelten Tiefenraster durch-

misst selbstbewusst den Ausschnitt der Natur, um diesen ‚wahrhaftig‘ abzubilden

und auf dem Bildgrund zu fixieren – fast einer dokumentarischen Bestandsauf-

nahme gleich, in Modulationen einer kräftigen Farbpalette oder auch reduziert

zu skizzenhaften Schwarz-Weiß-Abbildern. Die Ausführung der Malerei ist in

einigen Arbeiten derart scharf modelliert, dass sie bisweilen wie digital bear-

beitete Fotografien wirken oder wie überzeichnete und kolorierte Fotografien

aus dem vorletzten Jahrhundert – eingedenk der Tatsache, dass diese seiner-

zeit ungleich diffuser waren. In anderen Werken durchziehen nicht Linien, son-

dern scheinbar verpixelte Raster wie bei einer digitalisierten Vergrößerung den

Landschaftsraum und verweisen auf den unleugbaren Gegenwartsbezug zum

21. Jahrhundert und die Vereinnahmung der visuellen Wahrnehmung durch das

Medium der digitalen Fotografie.

Diese Dialektik in der Betrachtung der Welt, der Natur und der Kultur-

landschaft, sowie die Ambivalenz in der Erfassung des künstlerischen Natur-

ausschnitts zwischen Vor-Ort-Skizze, Fotografie, mathematischer Konstruktion,

15



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findings of the contrapuntal protagonists Carl Friedrich Gauß and Alexander

von Humboldt in between theory and empiricism, consistently grounding the

establishment of the reader’s empathy for his figures and scenes through dia-

lectic breaks. Kehlmann creates a stylistic polarity – which is also reflected in

the characters’ double biography – by, on the one hand, introducing the laconic

contemporary habitus of short sentences and a sober structure reminiscent of

the style of scientific essays. On the other hand, he uses idiomatic language

that reminds us of the language of the nineteenth century, including swift

changes between seriousness and pleasantry, tragedy and humor.

Heike Negenborn’s work is also defined by a profound ambivalence

between a mathematical and geographical exploration of natural scenes, her

own perception, as well as experiences in contemplating nature. By referring

back to Dutch topoi of landscape art (without which contemporary landscape

painting would not be conceivable), she stays committed to the reality of the

present-day world. She disenchants the topic of landscape, which has been im-

bued with pathos since Romanticism, by implementing grid structures, offering

reassurance by drawing reference to an objective instrument of the geographi-

cal as well as the artistic method of measuring landscape and space. The grid

furthermore provides an intellectual frame of sobriety as it calls to mind histori-

cal paragons of perspectival construction known since the Renaissance. On the

other hand, her at times dramatic cloud formations and her use of emotionally

charged light and color elements allow her and her aesthetical works of art to

mediate a feeling of sublimity or at least an awareness of its possible existence.

Considering the vastness of her landscapes and the ephemeral density of her

malerischer Interpretation und subjektiver Wahrnehmung, die jedem Blick auf

Landschaft immanent ist, da diese sich nur durch die individuelle Befindlich-

keit des Betrachters konstituiert – diese Dialektik zwischen wissenschaftlicher

Analyse und Imagination erinnert an Daniel Kehlmanns Roman Die Vermessung

der Welt. Darin beschreibt dieser die mathematischen und geografischen Ent-

deckungen der beiden kontrapunktischen Protagonisten Carl Friedrich Gauß

und Alexander von Humboldt zwischen Theorie und Empirie und vermag es

stets, die empathische Vereinnahmung des Lesers für seine Figuren oder Szenen

durch dialektische Brüche zu erden. Mit einem einerseits lakonischen Habitus

zeitgemäß kurzer Sätze und einer an die Nüchternheit wissenschaftlicher Ab-

handlungen gemahnenden Struktur sowie Redewendungen, die andererseits an

die Sprache des 19. Jahrhunderts erinnern, mit einem schnellen Wechsel zwischen

Ernst und Scherz, Tragik und Humor, entwickelt Kehlmann eine stilistische Pola-

rität, die sich auch in den Charakteren seiner Doppelbiografie spiegelt.

Auch Heike Negenborns Werk ist von einer tiefen Ambivalenz zwischen

mathematisch-geografischer Untersuchung von Naturausschnitten und selbst-

bezogener Wahrnehmung sowie Erfahrung von Naturbetrachtung geprägt: In-

dem sie auf niederländische Topoi von Landschaftsbildern rekurriert (ohne die

sich zeitgenössische Landschaftsmalerei ohnehin nicht denken lässt), bleibt sie

der Gegenwart der realen Welt verpflichtet. Sie entzaubert das seit der Romantik

mit Pathos besetzte Thema der Landschaft, indem sie mittels der Gitterstruktu-

ren eine Rückversicherung an ein objektives Instrument der geografischen sowie

künstlerischen Vermessung von Landschaft und Raum und damit einen intellek-

tuellen Rahmen der Ernüchterung implementiert, stellt das Raster doch zugleich

17


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soaring clouds, a subtle effect arises that vacillates between the forces of na-

ture and a breathless silence. Here one can dare address the notion of beauty

without risking to fall for superficiality or sentimentalism.

Whereas in Kehlmann’s work the waves’ continuous breaking at the

shore inspires the pragmatic and yet highly philosophical question of how to set

the demarcation line between water and land, Heike Negenborn’s work raises

yet another question: where does the documentary nature of her depictions of

landscape and measurements of nature end, and where does the empathetic

perception and artistic imagination of landscape begin? Here as well as there,

it remains an intangible, flowing transition, one that cannot be measured or

fixated. How soothing it is for the recipient to discover that despite all the ob-

jective methods in the world and in art, the same elemental considerations are

blended into an insoluble dialectic, providing nature and landscape not only

with a realistic perspective, but also with an indispensable artistic perspective

that focuses on the fascination of nature’s grandeur, beauty, and immeasura-

bility. With this in mind, the landscapes created by Heike Negenborn can be

understood as either a complex system of poetical analysis or an analytical

poetry about experiences of landscape. ■

eine Rückbesinnung auf historische Vorbilder der perspektivischen Konstruktion

seit der Renaissance dar. Andererseits gestattet sie sich und ihren durch die teils

dramatischen Wolkengebilde, durch Licht- und Farbeinsatz stimmungsvoll aufge-

ladenen, ästhetischen Werken jedoch zugleich die Vermittlung eines erhabenen

Gefühls oder zumindest das Bewusstsein um dessen mögliche Existenz. In An-

betracht der Weite ihrer Landschaften und der ephemeren Dichte ihrer Wolken-

berge entsteht eine subtile Wirkung zwischen der Macht der Naturgewalten

und einer atemlosen Stille. Hier darf man den Begriff der Schönheit wagen,

ohne Gefahr zu laufen, in Oberflächlichkeit oder Gefühlsduselei zu verfallen.

Kommt bei Kehlmann angesichts der sich fortwährend am Strand

brechenden Wellen ganz pragmatisch und doch zu höchst philosophischem

Tiefgang verdichtet die Frage nach der Demarkationslinie zwischen Wasser und

Land auf, so stellt sich für das Werk von Heike Negenborn ebenso die Frage,

wo der dokumentarische Charakter ihrer Landschaftsporträts und Naturver-

messungen endet und die empathische Betrachtung und künstlerische Imagi-

nation der Landschaft beginnt. Hier wie dort bleibt es ein ungreifbar fließender

Übergang, der sich nicht ermessen und fixieren lässt. Wie wohltuend für den

Rezipienten, dass sich trotz aller sachlichen Methoden in der Welt und in der

Kunst die gleichen elementaren Erwägungen zu einer unlösbaren Dialektik

verschmelzen lassen, die der Natur und Landschaft neben der realen eine

unverzichtbare künstlerische Sicht auf das Faszinosum ihrer Größe, Schönheit

und Unermesslichkeit bietet. In diesem Sinne lassen sich die Landschaftsbilder

von Heike Negenborn als ein komplexes System der poetischen Analyse oder

analytischen Poesie von Landschaftserfahrung begreifen. ■

19


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−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

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ËN!JÌ

ËN!JÌ

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2018388_Cantz-4 INH

−−−−

−−−−

−−−−

−−−

1 −−

−−−−

−−−−

−−−−

−2

−−−−

−−−−

−−−−

−−−

3 −−

−−−−

−−−−

−−−−

−4

−−−−

−−−−

−−−−

−−−

5 −−

−−−−

−−−−

−−−−

−6

−−−−

−−−−

−−−−

−−−

7 −−

−−−−

−−−−

−−−−

−8

−−−−

−−−−

−−−−

−−−

9 −−

−−−−

−−−−

−−−−

−10

−−−−

−−−−

−−−−

−−−

11 −

−−−−

−−−−

−−−−

−−12

−−−−

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−−−−

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−−−

−−−−

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−−20

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−−−−

−−−−

−−−

21 −

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−−−−

−−−−

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−−−−

−−−−

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23 −

−−−−

−−−−

−−−−

−−24

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−−−−

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−−26

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ËX!XÌ

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2018388_Cantz-5 INH

−−−−

−−−−

−−−−

−−−

1 −−

−−−−

−−−−

−−−−

−2

−−−−

−−−−

−−−−

−−−

3 −−

−−−−

−−−−

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−4

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−−−−

−−−−

−−−

5 −−

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7 −−

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−−−−

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−−−−

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11 −

−−−−

−−−−

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−−12

−−−−

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−−−

−−−−

−−−−

−−20

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−−−−

−−−−

−−−

21 −

−−−−

−−−−

−−−−

−−22

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−−−−

−−−−

−−−

23 −

−−−−

−−−−

−−−−

−−24

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−−−−

−−−−

−−−

25 −

−−−−

−−−−

−−−−

−−26

−−−−

−−−−

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27 −

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2018388_Cantz-4 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

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−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

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003 - Black



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003 - Magenta



003 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

▼

▼

▼

Plate Control Strip

© H

eidelberger Druckm

aschinen AG 2013

V13.0g (pdf)

SuprasetterFujifilm

Brillia LH−PJE

1/15

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Lin+Process

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Weiße Wolke N°1, 2017


ËN!JÌ

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2018388_Cantz-4 INH

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7 −−

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9 −−

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−−−−

−10

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−−−−

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−−−−

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−−−

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−−−−

−−−−

−−−−

−−26

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−−−−

−−−

27 −

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−−28

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−−−−

−−−

29 −

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−−−−

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Weiße Wolke N°4, 2019Weiße Wolke N°2, 2017



2018388_Cantz-5 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

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= ... −−−−−−−−−−−−−18

−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

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CM

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V13.0g (pdf)

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Lin+Process


29



2018388_Cantz-5 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

16−−−−−−−−−−−−− M

= ... −−−−−−−−−−−−−18

−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

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003 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

▼

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Plate Control Strip

© H

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V13.0g (pdf)

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30


ËN!JÌ

ËN!JÌ

ËN!JÌ

2018388_Cantz-4 INH

−−−−

−−−−

−−−−

−−−

1 −−

−−−−

−−−−

−−−−

−2

−−−−

−−−−

−−−−

−−−

3 −−

−−−−

−−−−

−−−−

−4

−−−−

−−−−

−−−−

−−−

5 −−

−−−−

−−−−

−−−−

−6

−−−−

−−−−

−−−−

−−−

7 −−

−−−−

−−−−

−−−−

−8

−−−−

−−−−

−−−−

−−−

9 −−

−−−−

−−−−

−−−−

−10

−−−−

−−−−

−−−−

−−−

11 −

−−−−

−−−−

−−−−

−−12

−−−−

−−−−

−−−−

− B

= ...

−−−

−−−−

−−−−

−−14

−−−−

−−−−

−−−−

− C

= ..

. −−−

−−−−

−−−−

−−16

−−−−

−−−−

−−−−

− M

= ..

. −−−

−−−−

−−−−

−−18

−−−−

−−−−

−−−−

− Y

= ...

−−−

−−−−

−−−−

−−20

−−−−

−−−−

−−−−

−−−

21 −

−−−−

−−−−

−−−−

−−22

−−−−

−−−−

−−−−

−−−

23 −

−−−−

−−−−

−−−−

−−24

−−−−

−−−−

−−−−

−−−

25 −

−−−−

−−−−

−−−−

−−26

−−−−

−−−−

−−−−

−−−

27 −

−−−−

−−−−

−−−−

−−28

−−−−

−−−−

−−−−

−−−

29 −

−−−−

−−−−

−−−−

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2018388_Cantz-4 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

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−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

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MY

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003 - Black



003 - Cyan



003 - Magenta



003 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

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▼

▼

Plate Control Strip

© H

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V13.0g (pdf)

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0/100%1%

2%3%

5%10%

20%25%

30%40%

50%60%

70%75%

80%90%

95%97%

98%99%

Lin+Process


ËX!XÌ

ËX!XÌ

ËX!XÌ

2018388_Cantz-5 INH

−−−−

−−−−

−−−−

−−−

1 −−

−−−−

−−−−

−−−−

−2

−−−−

−−−−

−−−−

−−−

3 −−

−−−−

−−−−

−−−−

−4

−−−−

−−−−

−−−−

−−−

5 −−

−−−−

−−−−

−−−−

−6

−−−−

−−−−

−−−−

−−−

7 −−

−−−−

−−−−

−−−−

−8

−−−−

−−−−

−−−−

−−−

9 −−

−−−−

−−−−

−−−−

−10

−−−−

−−−−

−−−−

−−−

11 −

−−−−

−−−−

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The small village in Southern France, Saint-Jean-de-Fos, pictur-

esquely situated at the foothills of the Cevennes in the Languedoc region, is

a meaningful place for Heike Negenborn’s work. In 1989, she visited there for

the very first time, on the occasion of an excursion headed by her university

teacher Peter Lörincz who became her overall mentor. For the young artist,

this stay marked the discovery of landscape, the beginning of an engagement

with the perceived environment, which in the meantime has been ongoing for

over thirty years. Lörincz a renowned representative of new realism, was an

exceptional teacher with a vital impact on the artistic assets of his students.

He proved equally influential for Heike Negenborn, whose artistic develop-

ment he fostered through offering advice and exemplary artistic work. In 1995,

she spent an entire year in Saint-Jean-de-Fos. Once more, this experience led

to a significant change, this time palpable in her style. Whereas she formerly

used to draw her landscape depictions freehand, she then began to organize

the surface and space of her work by means of an intense focus on stringent

perspectival construction – this eventually became the structural foundation

for her further work.

To see in perspective, to think in perspective is clearly an option

towards the future, an idea against the infinite. The boldly used linear per-

spective in Negenborn’s realized creations focuses on an infinite, far-away

vanishing point, joined by metaphysical implications. Through the relation

between point of station and vanishing point, the perspectival picture conveys

“a feeling of powerful subjectivity, the observer experiences himself as an indi-

vidual.”1 This rational construction in her works, which adopts the perspectival

Das kleine südfranzösische Dorf Saint-Jean-de-Fos, im Languedoc ma-

lerisch vor den Ausläufern der Cevennen gelegen, ist ein wichtiger Ereignisort

für die Malerei Heike Negenborns. 1989 ist sie zum ersten Mal dort, mit einer

studentischen Exkursion, geleitet von Peter Lörincz, der ihr Lehrer für alles in

allem wird. Dieser Aufenthalt bringt für die junge Künstlerin die Entdeckung der

Landschaft, den Beginn einer nun über 30 Jahre währenden Beschäftigung mit

dem gesehenen Lebensraum. Lörincz, ein renommierter Vertreter des Neuen

Realismus, ist ein hervorragender Pädagoge, der die künstlerischen Anlagen

seiner Schüler und Schülerinnen wegweisend leitet. So auch bei Heike Negen-

born, deren malerische Entwicklung er beratend und beispielhaft unterstützt.

1995 ist sie für ein ganzes Jahr in Saint-Jean-de-Fos und wieder bringt der Auf-

enthalt einen wesentlichen, nun stilistischen Umbruch: Ihre zuvor freihändige

Landschaftsmalerei erfährt in intensiver Auseinandersetzung durch eine konse-

quente perspektivische Führung eine Flächen- und Raumorganisation, die zur

strukturellen Grundlage ihres weiteren Schaffens wird.

Perspektivisch sehen, perspektivisch denken ist natürlich eine Opti-

on auf die Zukunft, eine Idee gegen Unendlich. Die im entwickelten Werk von

Heike Negenborn offensiv eingesetzte Zentralperspektive der Bilder fokussiert

sich auf einen unendlich fernen Fluchtpunkt, verbunden mit metaphysischen

Implikationen. Durch das Verhältnis von Augenpunkt und Fluchtpunkt ver-

mittelt das perspektivische Bild so „das Gefühl handlungsmächtiger Subjekti-

vität, der Betrachter erlebt sich als Individuum.“1 Diese rationale Konstruktion

der Arbeiten, die sich die perspektivischen Errungenschaften der Renaissance

aneignet und ins Heute überführt, ist zugleich die statische Komponente

NUAGESHeinz Höfchen

NUAGESHeinz Höfchen


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Wolkenmacht, 2008


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achievements of the Renaissance and transfers them to the present, consti-

tutes the static component of Negenborn’s landscapes, which the artist dia-

lectically contrasts with the motif of movement.

Anyone who has listened to the composition Nuages by Django Rein-

hardt can imagine what clouds meant to him: a representation of the original

homeland of the homeless Sinti and Roma, because they keep wandering like

the clouds. However, these clouds are not only a sentimental melancholic alle-

gory for travelers, rather, they represent the everlasting journey per se. For

Reinhardt, their musical description was a vehicle for his concerns, his life,

and his art, driven by the certainty of their metamorphosis, for even the most

intimidating cloud formations promise hope, even though they eventually dis-

solve.

Sometimes Heike Negenborn cheerfully refers to herself as Nua-

geuse: unlike music, which is ephemeral, she uses artistic means to transform

clouds into solid beauty, although, of course, clouds do embody an idea of

motion. Since 2004, the artist has been incorporating clouds in her creations

by making them the key motif of the subject matter. Her work is motivated and

inspired by Dutch landscape painting of the seventeenth century, in particular

by Jacob van Ruisdael, who introduced the category of flat landscape with a

low horizon and a high cloudy sky as a true depiction of landscape into Euro-

pean painting. Thus, Heike Negenborn becomes part of a specific tradition of

realistic representation in landscape painting, whose artistic style with clear,

authentic, and scenic realizations deeply reminds one of the landscape paint-

ing of German Romanticism.

der Landschaften Negenborns, der die Künstlerin dialektisch ein Bewegungs-

motiv entgegenstellt.

Wer je die Komposition Nuages von Django Reinhardt gehört hat,

kann sich vorstellen, was die Wolken für ihn waren: ein Bild für die eigentliche

Heimat der heimatlosen Sinti und Roma, denn sie ziehen weiter, wie die Wol-

ken. Aber die Wolken sind nicht nur ein sentimental-melancholisches Gleich-

nis für Reisende, ja für das permanente Reisen an sich. Für Reinhardt war ihre

musikalische Beschreibung wohl Vehikel seiner Sorgen, seines Lebens, seiner

Kunst – getrieben von der sicheren Gewissheit ihrer Metamorphose, denn auch

die bedrohlichsten Wolkenformationen geben Hoffnung, auch sie werden sich

irgendwann auflösen.

Heike Negenborn nennt sich manchmal heiter Nuageuse – sie verwan-

delt die Wolken mit den Mitteln der Malerei, anders als die Flüchtigkeit der

Musik es vermag, in eine stabile Schönheit, wenngleich die Wolken natürlich

die Idee der Bewegung spiegeln. Seit 2004 integriert die Künstlerin Wolken in

ihre Werke und macht sie als Schlüsselmotiv zum eigentlichen Inhalt der Bilder.

Ihre Arbeit ist dabei angeregt und inspiriert von der holländischen Landschafts-

malerei des 17. Jahrhunderts, insbesondere vom Werk Jacob van Ruisdaels,

der den Typus der Flachlandschaft mit niedrigem Horizont und hohem Wol-

kenhimmel als naturnahe Abbildung von Landschaft in die europäische Malerei

eingebracht hat. Damit steht Heike Negenborn in einer spezifischen Tradition

der Wirklichkeitserfassung in der Landschaftsmalerei, deren Stilstufe mit klaren,

realistischen landschaftlichen Ausformulierungen stark an die Landschaftsmale-

rei der deutschen Romantik erinnert.


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To her, cloud formations are foremost aesthetic moments without fur-

ther content-related implications. Nevertheless, clouds are iconographically

defined by tradition; this means their pictorial meaning has long been deter-

mined and handed down. In Western Christian culture, clouds are symbols of

concealment, as they are in Islam, too, where they specifically represent the

inscrutability of Allah. In the second book of Moses, God leads the Israelites

in the form of a pillar of clouds, as they are leaving Egypt, and the resurrected

Christ is veiled by a shroud of clouds. In illustrations of the Last Judgment,

the throne of God is formed out of clouds; moreover, in early medieval art, the

creator is depicted by a hand parting the clouds. Up to this day, this image

represents divine omnipotence. On a more secular level, we contemplate the

fair-weather clouds with a cheerful, free spirit and a positive state of overall

happiness lets us float on “cloud nine.”

For Negenborn, clouds are a heroic idealization of landscape, re-

garded as a symbol of internal scenic drama. With a strong emphasis on tower-

ing clouds, she accomplishes a vivid intensity of the dialectic pair of sky and

earth, showing it with a straightforward access. This is complemented by the

contrast between movement and stasis, projection and moment. She has been

photographing her clouds since 2004. Photography, next to her preliminary

drawings, to her is sketch, design, and archive, a realistic set-piece that she

brings and integrates into her paintings. In her creations, reality and illusion

blend together, become inseparable.

In the East of Africa, the Kilimanjaro, a mountainous massif of almost

6000 meters in height, soars above the clouds. Beneath his most western sum-

Wolken sind ihr zunächst vor allem ästhetische Momente, ohne weite-

re inhaltliche Implikationen. Allerdings sind Wolken ikonografisch, das heißt in

ihrer Bildbedeutung, schon lange determiniert, durch Tradition und Vererbung

festgelegt. Im abendländisch-christlichen Kulturkreis, aber übrigens auch im Is-

lam, gelten Wolken als Symbole der Verhüllung, beziehungsweise stehen für die

Unerforschlichkeit Allahs. Gott zieht im 2. Buch Mose als Wolkensäule vor den

Israeliten her, die aus Ägypten auswandern und auch der auferstandene Chris-

tus wird von Wolken umhüllt. Auf Bildern des Jüngsten Gerichts wird der Thron

Gottes aus Wolken gebildet und in der frühmittelalterlichen Kunst ist der Schöp-

fer durch eine Hand symbolisiert, die durch die Wolken dringt: Noch heute

bedeutet dieses Bild göttliche Allmacht. Profan gesehen denkt daneben sicher

jeder gern an die Schönwetterwolken mit heiterer, freier Stimmungslage und die

positive Laune der Freude am Leben, die auf „Wolke sieben“ schweben lässt.

Wolken sind für Negenborn auch eine heroische Überhöhung von

Landschaft, sie gelten als Sinnbild innerer landschaftlicher Dramatik. Mit der

starken Betonung der Wolkentürme erreicht sie eine eindringliche Intensität

des dialektischen Motivpaars Himmel und Erde, zeigt es in direktem Zugriff.

Damit einher geht die Gegenüberstellung von Bewegung und Statik, von Pro-

jektion und Moment. Seit 2004 fotografiert sie ihre Wolken. Fotografie ist ihr –

neben den vorbereitenden Zeichnungen – Skizze, Entwurf und Archiv, ein rea-

listisches Versatzstück, das sie der Malerei zuführt und in sie integriert. Realität

und Illusion vermischen sich in ihrer Malerei dabei untrennbar.

Über den Wolken thront im Osten Afrikas der Kilimandscharo, ein Berg-

massiv von fast 6.000 Metern Höhe. Sein westlicher Gipfel heißt bei den Massai



2018388_Cantz-6 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

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−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

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Two white trees, 2008


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1 Jochen Schulte-Sasse, „Perspektive“, in: Karlheinz Barck, Martin Fontius, Dieter Schlenstedt, Burkhart Steinwachs, Friedrich Wolfzettel, Ästhetische Grundbegriffe, 7 Bde., Bd. 4, Stuttgart, Weimar 2010, S. 770.

2 Ernest Hemingway, „The Snows of Kilimanjaro”, in: Esquire, New York, August 1936, Intro.

1 Jochen Schulte-Sasse, “Perspektive”, in: Karlheinz Barck, Martin Fontius, Dieter Schlenstedt, Burkhart Steinwachs, Friedrich Wolfzettel, Ästhetische Grundbegriffe, Volume 4 (Stuttgart, Weimar 2010), p. 770.

� Ernest Hemingway, “The Snows of Kilimanjaro”, in: Esquire, New York, Aug. 1936, Intro.

mit, known by the Massai as the House of God, lies the frozen skeleton of a

leopard. During an attempt to ascend, the animal had failed, forever remain-

ing in the ice, along with its secret, as Ernest Hemingway once wrote: “No

one has explained what the leopard was seeking at that altitude.”2 The frozen

leopard as an image of eternal, frozen beauty in an ultra-white landscape met-

aphorically portrays the pursuit for the sublime. It is an allegory of artistic

endeavors to reach an explicit and pure statement. Heike Negenborn is also

on a quest for pure expression: her “ frozen” landscapes are entirely free of

trivialities, they breathe an astounding clarity of the spiritual in art, and are

connected to pantheistic reasoning, originating in Spinoza’s maxim “Deus sive

Natura.” In this sense, her creations are naturalistic, aiming at the inner quality

of natural objects, the essence beneath the surface. Along these lines, Heike

Negenborn creates an entirely distinctive form of magic realism, a magical

presence of landscape. To some extent, the true topographical subject matter

is freed from one location through staging and stylization, and respectively

transformed into an ideal landscape. ■

das Haus Gottes, dicht unter ihm liegt das Gerippe eines gefrorenen Leoparden:

Beim Versuch hinaufzukommen war er gescheitert, blieb jedoch auf ewig im

Eis, allein mit seinem Geheimnis, wie Ernest Hemingway schrieb: „No one has

explained what the leopard was seeking at that altitude.“2 Der frozen leopard als

Bild unvergänglicher, schockgefrosteter Schönheit in ultraweißer Landschaft ist

eine Metapher für die Suche nach dem Erhabenen. Es ist ein Gleichnis für die

künstlerischen Bemühungen, zu klarer und reiner Aussage zu kommen. Auch

Heike Negenborn ist auf der Suche nach dem reinen Ausdruck, ihre „gefrore-

nen“ Landschaften sind völlig frei von Nebensächlichem, atmen eine stupende

Klarheit des Geistigen in der Kunst und sind wohl pantheistischem Denken,

ausgehend von Spinozas Maxime „Deus sive Natura“, verbunden. In diesem

Sinne sind ihre Arbeiten naturalistisch, sie zielt auf die innere Natur der natür-

lichen Dinge, auf den Gehalt hinter den Oberflächen. Negenborn entwickelt

dabei eine ganz eigene Form des magischen Realismus, eine magische Präsenz

von Landschaft. Die reale topografische Vorgabe wird durch Inszenierung und

Stilisierung gewissermaßen von der Ortsgebundenheit befreit und wandelt sich

jeweils zur idealtypischen Landschaft. ■



2018388_Cantz-7 INH

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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

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2018388_Cantz-7 INH

−−−−

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42



2018388_Cantz-6 INH

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−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

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−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

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−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

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004 - Black



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004 - Magenta



004 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

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Plate Control Strip

© H

eidelberger Druckm

aschinen AG 2013

V13.0g (pdf)

SuprasetterFujifilm

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43

Aragón 7, 2011


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−−−−

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Lin+

Proc

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44



2018388_Cantz-7 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

16−−−−−−−−−−−−− M

= ... −−−−−−−−−−−−−18

−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

2013 Heidelberger D

ruckmaschinen A

G0

BC

MY

CM

CM

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M 20

M 40

M 80

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Y 20Y 40

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B 40B 80

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004 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

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Plate Control Strip

© H

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V13.0g (pdf)

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20%25%

30%40%

50%60%

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98%99%

Lin+Process



2018388_Cantz-7 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

16−−−−−−−−−−−−− M

= ... −−−−−−−−−−−−−18

−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

2013 Heidelberger D

ruckmaschinen A

G0

BC

MY

CM

CM

YC

MY

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MY

slurCB

CM

YC

20C

40C

80B

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M 20

M 40

M 80

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MY

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Y 20Y 40

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MY

slurYB

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ame] - 05.06.2020 13:38:33 - W


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antz - $[ProductNam

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004 - Cyan


ame] - 05.06.2020 13:38:33 - W


agenta2018388_C

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004 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

▼

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▼

Plate Control Strip

© H

eidelberger Druckm

aschinen AG 2013

V13.0g (pdf)

SuprasetterFujifilm

Brillia LH−PJE

1/15

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Ëb!fÌ

Ëb!fÌ

Ëb!fÌ

2018388_Cantz-6 INH

−−−−

−−−−

−−−−

−−−

1 −−

−−−−

−−−−

−−−−

−2

−−−−

−−−−

−−−−

−−−

3 −−

−−−−

−−−−

−−−−

−4

−−−−

−−−−

−−−−

−−−

5 −−

−−−−

−−−−

−−−−

−6

−−−−

−−−−

−−−−

−−−

7 −−

−−−−

−−−−

−−−−

−8

−−−−

−−−−

−−−−

−−−

9 −−

−−−−

−−−−

−−−−

−10

−−−−

−−−−

−−−−

−−−

11 −

−−−−

−−−−

−−−−

−−12

−−−−

−−−−

−−−−

− B

= ...

−−−

−−−−

−−−−

−−14

−−−−

−−−−

−−−−

− C

= ..

. −−−

−−−−

−−−−

−−16

−−−−

−−−−

−−−−

− M

= ..

. −−−

−−−−

−−−−

−−18

−−−−

−−−−

−−−−

− Y

= ...

−−−

−−−−

−−−−

−−20

−−−−

−−−−

−−−−

−−−

21 −

−−−−

−−−−

−−−−

−−22

−−−−

−−−−

−−−−

−−−

23 −

−−−−

−−−−

−−−−

−−24

−−−−

−−−−

−−−−

−−−

25 −

−−−−

−−−−

−−−−

−−26

−−−−

−−−−

−−−−

−−−

27 −

−−−−

−−−−

−−−−

−−28

−−−−

−−−−

−−−−

−−−

29 −

−−−−

−−−−

−−−−

−−30

−−−−

−−−−

−−−−

−−−

31 −

−−−−

−−−−

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Lin+

Proc

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47

Causse de Millau, 2013Streiflicht 6, 2011



2018388_Cantz-6 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

16−−−−−−−−−−−−− M

= ... −−−−−−−−−−−−−18

−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

2013 Heidelberger D

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G0

BC

MY

CM

CM

YC

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MY

slurCB

CM

YC

20C

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M 20

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Y 20Y 40

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C 20

C 40

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B 20B 40

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004 - Black



004 - Cyan



004 - Magenta



004 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

▼

▼

▼

Plate Control Strip

© H

eidelberger Druckm

aschinen AG 2013

V13.0g (pdf)

SuprasetterFujifilm

Brillia LH−PJE

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5%10%

20%25%

30%40%

50%60%

70%75%

80%90%

95%97%

98%99%

Lin+Process

48

Skyscape 10, 2013


Ël!jÌ

Ël!jÌ

Ël!jÌ

2018388_Cantz-7 INH

−−−−

−−−−

−−−−

−−−

1 −−

−−−−

−−−−

−−−−

−2

−−−−

−−−−

−−−−

−−−

3 −−

−−−−

−−−−

−−−−

−4

−−−−

−−−−

−−−−

−−−

5 −−

−−−−

−−−−

−−−−

−6

−−−−

−−−−

−−−−

−−−

7 −−

−−−−

−−−−

−−−−

−8

−−−−

−−−−

−−−−

−−−

9 −−

−−−−

−−−−

−−−−

−10

−−−−

−−−−

−−−−

−−−

11 −

−−−−

−−−−

−−−−

−−12

−−−−

−−−−

−−−−

− B

= ...

−−−

−−−−

−−−−

−−14

−−−−

−−−−

−−−−

− C

= ..

. −−−

−−−−

−−−−

−−16

−−−−

−−−−

−−−−

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. −−−

−−−−

−−−−

−−18

−−−−

−−−−

−−−−

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−−−

−−−−

−−−−

−−20

−−−−

−−−−

−−−−

−−−

21 −

−−−−

−−−−

−−−−

−−22

−−−−

−−−−

−−−−

−−−

23 −

−−−−

−−−−

−−−−

−−24

−−−−

−−−−

−−−−

−−−

25 −

−−−−

−−−−

−−−−

−−26

−−−−

−−−−

−−−−

−−−

27 −

−−−−

−−−−

−−−−

−−28

−−−−

−−−−

−−−−

−−−

29 −

−−−−

−−−−

−−−−

−−30

−−−−

−−−−

−−−−

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31 −

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−−−−

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−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


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ËÆ!|Ì

ËÆ!|Ì

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2018388_Cantz-9 INH

−−−−

−−−−

−−−−

−−−

1 −−

−−−−

−−−−

−−−−

−2

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−−−−

−−−−

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−−−−

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−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


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005 - Black



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005 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

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© H

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−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


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80B

CM

YslurC

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Y 20Y 40

Y 80B

CM

YslurM

BC

MY

B 20B 40

B 80B

CM

YslurY

BC

MY

CM

YslurB

BC

MY

CM

Y





005 - Black



005 - Cyan



005 - Magenta



005 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

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▼

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Plate Control Strip

© H

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aschinen AG 2013

V13.0g (pdf)

SuprasetterFujifilm

Brillia LH−PJE

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Lin+Process

54

Skyscape 11, 2013 (Detail)


ËÆ!|Ì

ËÆ!|Ì

ËÆ!|Ì

2018388_Cantz-9 INH

−−−−

−−−−

−−−−

−−−

1 −−

−−−−

−−−−

−−−−

−2

−−−−

−−−−

−−−−

−−−

3 −−

−−−−

−−−−

−−−−

−4

−−−−

−−−−

−−−−

−−−

5 −−

−−−−

−−−−

−−−−

−6

−−−−

−−−−

−−−−

−−−

7 −−

−−−−

−−−−

−−−−

−8

−−−−

−−−−

−−−−

−−−

9 −−

−−−−

−−−−

−−−−

−10

−−−−

−−−−

−−−−

−−−

11 −

−−−−

−−−−

−−−−

−−12

−−−−

−−−−

−−−−

− B

= ...

−−−

−−−−

−−−−

−−14

−−−−

−−−−

−−−−

− C

= ..

. −−−

−−−−

−−−−

−−16

−−−−

−−−−

−−−−

− M

= ..

. −−−

−−−−

−−−−

−−18

−−−−

−−−−

−−−−

− Y

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−−−

−−−−

−−−−

−−20

−−−−

−−−−

−−−−

−−−

21 −

−−−−

−−−−

−−−−

−−22

−−−−

−−−−

−−−−

−−−

23 −

−−−−

−−−−

−−−−

−−24

−−−−

−−−−

−−−−

−−−

25 −

−−−−

−−−−

−−−−

−−26

−−−−

−−−−

−−−−

−−−

27 −

−−−−

−−−−

−−−−

−−28

−−−−

−−−−

−−−−

−−−

29 −

−−−−

−−−−

−−−−

−−30

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Lin+

Proc

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55

Skyscape 12, 2013



2018388_Cantz-9 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

16−−−−−−−−−−−−− M

= ... −−−−−−−−−−−−−18

−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

2013 Heidelberger D

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M 20

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ame] - 05.06.2020 13:38:46 - W


lack2018388_C

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005 - Cyan


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agenta2018388_C

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005 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

▼

▼

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Plate Control Strip

© H

eidelberger Druckm

aschinen AG 2013

V13.0g (pdf)

SuprasetterFujifilm

Brillia LH−PJE

1/15

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Lin+Process

56

Abbruchkante, 2015


Ëv!xÌ

Ëv!xÌ

Ëv!xÌ

2018388_Cantz-8 INH

−−−−

−−−−

−−−−

−−−

1 −−

−−−−

−−−−

−−−−

−2

−−−−

−−−−

−−−−

−−−

3 −−

−−−−

−−−−

−−−−

−4

−−−−

−−−−

−−−−

−−−

5 −−

−−−−

−−−−

−−−−

−6

−−−−

−−−−

−−−−

−−−

7 −−

−−−−

−−−−

−−−−

−8

−−−−

−−−−

−−−−

−−−

9 −−

−−−−

−−−−

−−−−

−10

−−−−

−−−−

−−−−

−−−

11 −

−−−−

−−−−

−−−−

−−12

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−−−−

−−−

21 −

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−−−−

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−−−−

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−−24

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−−−−

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25 −

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−−−−

−−−−

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29 −

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ËÆ!|Ì

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2018388_Cantz-9 INH

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2018388_Cantz-8 INH

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−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

−−−−−−−−−−−−− C = ... −−−−−−−−−−−−−

16−−−−−−−−−−−−− M

= ... −−−−−−−−−−−−−18

−−−−−−−−−−−−− Y = ... −−−−−−−−−−−−−20

−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

2013 Heidelberger D

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2018388_Cantz-9 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

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2018388_Cantz-9 INH

−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

−−−−−−−−−−−−−−− 11 −−−−−−−−−−−−−−−12

−−−−−−−−−−−−− B = ... −−−−−−−−−−−−−14

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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


at 102/105 Dipco 13.0g (pdf) ©

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© H

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V13.0g (pdf)

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62

Netscape 2, 2015/2018 (Detail) Grenoble, 2016


Ëv!xÌ

Ëv!xÌ

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−−−−

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2018388_Cantz-8 INH

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−−−−−−−−−−−−−−− 7 −−−−−−−−−−−−−−−8

−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

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−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

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agenta2018388_C

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© H

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V13.0g (pdf)

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−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

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−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

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−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

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006 - Black



006 - Cyan



006 - Magenta



006 - Yellow1 2 3 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 96 97 98 99 100

▼ ▼

▼

▼

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Plate Control Strip

© H

eidelberger Druckm

aschinen AG 2013

V13.0g (pdf)

SuprasetterFujifilm

Brillia LH−PJE

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−−−−−−−−−−−−−−− 1 −−−−−−−−−−−−−−−2

−−−−−−−−−−−−−−− 3 −−−−−−−−−−−−−−−4

−−−−−−−−−−−−−−− 5 −−−−−−−−−−−−−−−6

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−−−−−−−−−−−−−−− 9 −−−−−−−−−−−−−−−10

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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

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Seiten pages 4/5, 7Saint-Bauzille-de-la-Sylve 2, 2007Transparentpapier, Bleistift, KugelschreiberTracing�paper��pencil��pen40 x 48 cm

Seite page 8Tressan, 2007Transparentpapier, Bleistift, KugelschreiberTracing�paper��pencil��pen40 x 48 cm

Seite page 8Saint-Bauzille-de-la-Sylve 1, 2007Transparentpapier, Bleistift, KugelschreiberTracing�paper��pencil��pen40 x 48 cmMuseum Pfalzgalerie Kaiserslautern

Seite page 9Saint-Bauzille-de-la-Sylve 3, 2007Transparentpapier, Bleistift, KugelschreiberTracing�paper��pencil��pen40 x 48 cm

Seite page 11Blick auf Arboras vom Rocher des Vierges, 2009 Transparentpapier, Bleistift, KugelschreiberTracing�paper��pencil��pen40 x 48 cm PrivatsammlungPrivate�collection

Seiten pages 14, 27Weiße Wolke N°1, 2017 Unikatsgrafik, Mischtechnik kaschiert auf BüttenpapierSingle�print��mixed�media�mounted�on�handmade�paper50 x 60 cm

Seiten pages 14, 28Weiße Wolke N°2, 2017 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm

Seiten pages 14, 28Weiße Wolke N°4, 2019 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm

Seite page 16Netscape 7, 2019 Acryl / Mischtechnik auf LeinwandAcrylic / mixed�media�on�canvas130 x 155 cm

Seite page 18Nightscope, 2008 Acryl auf Holz Acrylic�on�wood44 x 104 cm

Seite page 18Wolkenvielfalt, 2008 Acryl auf Holz Acrylic�on�wood44 x 52 cm

Seite page 18Cumulonimbus mediocris 3, 2012 Acryl auf Holz Acrylic�on�wood44 x 52 cm

Seite page 18Nightscape 3, 2012 Acryl auf Holz Acrylic�on�wood44 x 52 cm

Seiten pages 20/21, 23Un regard ouvert, 2014 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm

Seite page 24Drei weiße Bäume, 2016 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm

Seite page 24Chaîne des Alpes, 2016 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm

Verzeichnis der Abgebildeten WerkeL��I�W

85




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−−−−−−−−−−−−−−− 21 −−−−−−−−−−−−−−−22

−−−−−−−−−−−−−−− 23 −−−−−−−−−−−−−−−24

−−−−−−−−−−−−−−− 25 −−−−−−−−−−−−−−−26

−−−−−−−−−−−−−−− 27 −−−−−−−−−−−−−−−28

−−−−−−−−−−−−−−− 29 −−−−−−−−−−−−−−−30

−−−−−−−−−−−−−−− 31 −−−−−−−−−−−−−−−32


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Seite page 25Steinbruch, 2017 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm

Seite page 29Weiße Wolke N°5, 2019 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm

Seite page 31Weiße Wolke N°7, 2019 Unikatsgrafik, Mischtechnikkaschiert auf BüttenpapierSingle�print��mixed�mediamounted�on�handmade�paper50 x 60 cm

Seite page 34Wolkenmacht, 2008 Acryl auf Holz Acrylic�on�wood44 x 52 cm

Seite page 36Arboras, 2009 Acryl auf Holz Acrylic�on�wood44 x 52 cm Seite page 38Two white trees, 2008 Acryl auf Holz Acrylic�on�wood44 x 52 cm

Seiten pages 40/41, 43Aragón 7, 2011 Acryl auf Holz Acrylic�on�wood44 x 52 cm

Seite page 45Aragón 8, 2011 Acryl auf Holz Acrylic�on�wood44 x 52 cm

Seite page 46Streiflicht 6, 2011 Acryl auf Holz Acrylic�on�wood44 x 52 cm

Seite page 47Causse de Millau, 2013Acryl auf HolzAcrylic�on�wood64 x 76 cm

Seite page 49Skyscape 10, 2013Acryl auf LeinwandAcrylic�on�canvas105 x 125 cmPrivatsammlung Private�collection

Seiten pages 51, 52/53Skyscape 11, 2013Acryl auf LeinwandAcrylic�on�canvas105 x 125 cm

Seite page 55Skyscape 12, 2013Acryl auf LeinwandAcrylic�on�canvas�105 x 125 cm

Seite page 57Abbruchkante, 2015Acryl auf HolzAcrylic�on�wood64 x 76 cm

Seiten pages 59, 60/61Netscape 2, 2015/2018Acryl / Mischtechnik auf LeinwandAcrylic / mixed�media�on�canvas�130 x 155 cmMuseum Wilhelm Morgner, Soest

Seite page 63Grenoble, 2016Acryl auf HolzAcrylic�on�wood64 x 76 cm

Seite page 64Rotenfels, 2017Acryl auf HolzAcrylic�on�wood64 x 76 cmPrivatsammlungPrivate�collection

Seite page 65Hortus, 2018Acryl auf HolzAcrylic�on�wood64 x 76 cm

Seite page 66Wißberg 6, 2018Acryl auf HolzAcrylic�on�wood�64 x 76 cm


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Seite page 67Beleuchtet, 2019Acryl auf HolzAcrylic�on�wood�64 x 76 cmPrivatsammlung Private�collection

Seite page 69Carrière, 2019Acryl auf HolzAcrylic�on�wood�64 x 76 cm

Seite page 70Sonniger Hang, 2017Acryl auf HolzAcrylic�on�wood�64 x 76 cmPrivatsammlung Private�collection

Seite page 71Herbstlicher Weingarten, 2019Acryl auf HolzAcrylic�on�wood�64 x 76 cmPrivatsammlung Private�collection

Seite page 72Laurentiusberg, 2019Acryl auf HolzAcrylic�on�wood�64 x 76 cmPrivatsammlung Private�collection

Seite page 73Netscape 3, 2016Acryl / Mischtechnik auf LeinwandAcrylic / mixed�media�on�canvas�130 x 155 cmMuseum Wilhelm Morgner, Soest

Seite page 75Netscape 5, 2019Acryl / Mischtechnik auf LeinwandAcrylic / mixed�media�on�canvas�130 x 155 cm

Seite page 76Netscape 6, 2019Acryl / Mischtechnik auf LeinwandAcrylic / mixed�media�on�canvas�130 x 155 cmMuseum Pfalzgalerie Kaiserslautern


Seite page 79Huayna Potosi, Bolivien, 2019Acryl auf Holz Acrylic�on�wood�64 x 76 cm

Seiten pages 80/81, 83Steinbruch, 2019Acryl auf HolzAcrylic�on�wood�64 x 76 cm Privatsammlung Private�collection


87




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BiografieB

1983Studium der Bildenden Kunst, Washington College, Chestertown, Maryland, USA1988Bachelor of Arts, Austin College, Sherman, Texas, USA1994Staatsexamen in Kunsterziehung und Englisch für das Lehramt an Gymnasien, Johannes Gutenberg–Universität Mainz2001 Diplom Freie Bildende Kunst in den Fachgebieten Malerei und Druckgrafik bei Prof. Peter Lörincz, Akademie für Bildende Künste Mainz

Auszeichnungen1987Kunststipendium am Austin College, Sherman, Texas, USA1993Förderstipendium der Johannes Gutenberg–Universität, Mainz1998Stadtdruckerpreis der Stadt Mainz, Preis für Druckgrafik 2000Stipendium am Künstlerbahnhof Ebernburg, Bad Münster am Stein-Ebernburg2004Preis für Malerei, Galerie im Uhrturm, Dierdorf2005Mitglied der Pfälzischen Sezession, Bad Dürkheim2011Mitglied im Künstlersonderbund in Deutschland, Berlin2013Albert-Haueisen-Hauptpreis für Malerei, Jockgrim2014Andreas-Kunstpreis, „Natur/Mensch” Kategorie Malerei, Nationalpark Harz2015Kunstpreis Eisenturm für Malerei, Mainz2016Wilhelm-Morgner-Preis 2016 für Malerei, Museum Wilhelm Morgner, Soest

��Studies of Fine Arts, Washington College, Chestertown, Maryland, USA��Bachelor of Arts, Austin College, Sherman, Texas, USA��State examination in English and Art Education for teaching at high schools, Johannes Gutenberg University Mainz, Germany��Diploma in Painting and Printmaking with Prof. Peter Lörincz, Academy of Fine Arts Mainz, Germany

Awards��Scholarship from Austin College, Sherman, Texas, USA��Scholarship from the Johannes Gutenberg University Mainz, Germany��Stadtdruckerpreis from the City of Mainz, category Printmaking, Germany��Artist-in-residence Künstlerbahnhof Ebernburg, Bad Münster am Stein-Ebernburg, Germany��Art Award, category Painting, Uhrturm Gallery, Dierdorf, Germany��Member of the Palatinate Secession, Bad Dürkheim, Germany�� Member of the Künstlersonderbund in Germany, Berlin, Germany��Albert Haueisen Art Award, category Painting, Jockgrim, Germany��Andreas Art Award, category Painting: "Nature/Man", Harz National Park, Germany��Art Award Eisenturm, category Painting, Mainz, Germany�� Wilhelm Morgner Award 2016, category Painting, Museum Wilhelm Morgner, Soest, Germany




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91

2017Ehrenpreis, 10e Biennale internationale d'estampe contemporaine de Trois-Rivières, Québec, Kanada2018Arbeitsstipendium der Association Les Vendémiaires, Résidence d’Emma, Saint-Mathieu-de-Tréviers, Frankreich Pfalzpreis für Bildende Kunst in der Sparte Malerei 2018 (Hauptpreis), Museum Pfalzgalerie Kaiserslautern

Werke in öffentlichen SammlungenMinisterium für Bildung, Wissenschaft, Jugend und Kultur des Landes Rheinland-Pfalz, MainzGrafische Sammlungen der Bauten des Bundes in BerlinKunstsammlungen der Veste CoburgPurdue Permanent Collection, West Lafayette, Indiana, USAStiftung Rheinland-Pfalz für Kultur, Künstlerhaus EdenkobenKunstsammlung Krohne, DuisburgMuseum Wilhelm Morgner, SoestBiennale internationale d'estampe contemporaine de Trois-Rivières, Québec, KanadaMuseum Pfalzgalerie Kaiserslautern

PublikationenHeike Negenborn. Blickfang, hrsg. von Heinz Höfchen, Ausst.-Kat. Museum Pfalzgalerie Kaiserslautern 2019Heike Negenborn. Übersichten, Ausst.-Kat. Kunststation Kleinsassen, Hofbieber-Kleinsassen 2016Heike Negenborn. Disegno, Ausst.-Kat. Galerie du Moustique, Saint-Jean-de-Fos 2012

��Honorable Mention, 10th International Biennial of Contemporary Printmaking, Trois-Rivières, Québec, Canada��Artiste-in-residence, Association Les Vendémiaires, Résidence d’Emma, Saint-Mathieu-de-Tréviers, France Pfalzpreis for Fine Arts in the category of Painting 2018, Museum Pfalzgalerie Kaiserslautern, Germany

Works in Public CollectionsMinistry of Education, Science, Youth and Culture of the land Rhineland-Palatinate, Mainz, GermanyGraphic collections of federal buildings in Berlin, GermanyVeste Coburg Art Collections, GermanyPurdue Permanent Collection, West Lafayette, Indiana, USARhineland-Palatinate Foundation for Culture, Künstlerhaus Edenkoben, GermanyKrohne Art Collection, Duisburg, GermanyMuseum Wilhelm Morgner, Soest, GermanyInternational Biennial of Contemporary Printmaking, Trois-Rivières, Québec, CanadaMuseum Pfalzgalerie Kaiserslautern, Germany

PublicationsHeike Negenborn. Blickfang, ed. by Heinz Höfchen, exh. cat. Museum Pfalzgalerie Kaiserslautern 2019Heike Negenborn. Übersichten, exh. cat. Kunststation Kleinsassen, Hofbieber-Kleinsassen 2016Heike Negenborn. Disegno, exh. cat. Galerie du Moustique, Saint-Jean-de-Fos 2012


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92

Ausgewählte Einzelausstellungen SSE

2020 . Terra Cognita, Stadtmuseum Siegburg. Terra Cognita, Museum Wilhelm Morgner, Soest. Terra Cognita, Galerie Peter Zimmermann, Mannheim

2019 . Landschaften, Galerie Poll, Berlin. Transit, Galerie Hübner + Hübner, Frankfurt am Main. Blickfang, Preisträgerausstellung für Bildende Kunst in der Sparte Malerei 2018,

Museum Pfalzgalerie Kaiserslautern

2018 . Wolkenmacht und Tiergeflüster, UP ART Galerie für zeitgenössische Kunst, Neustadt an der Weinstraße

. Blickfelder, Kunsthaus Frankenthal

2017 . Weitblick, Galerie unterm Maulbeerbaum, Badenheim . Weitblick, Künstlerbahnhof Ebernburg, Bad Kreuznach

2016 . Familienbande, mit / with Michael Rausch, Galerie Ulrich Gering, Frankfurt am Main. Übersichten, Kunststation Kleinsassen, Hofbieber

2015 . Der weite Blick, Atelier-Galerie Jürgen Schmitz, Siegburg. Der weite Blick, Ingelheimer Kunstverein, Ingelheim am Rhein

2014 . Verleihung des Albert-Haueisen-Hauptpreises für Malerei 2013, Jockgrim

2013 . Junger Kunstkreis Hünfeld, mit / with Peter Lörincz, Hünfeld. Nah und Fern, mit / with Michael Rausch, Museum Pachen, Rockenhausen

2012 . Un regard ouvert – Una mirada abierta, Französische Botschaft / French Embassy,

Madrid, Spanien / Spain

2011 . Wolken über Occitanien, Maison de Heidelberg, Montpellier, Frankreich / France

2007 . Galerie Art Mayence, Mainz

2006 . Gesellschaft für Bildende Kunst Trier . Museum Kronberger Malerkolonie, Kronberg im Taunus

2005 . Landschaftsvisionen, Südpfälzische Kunstgilde, Bad Bergzabern

2004 . Landschaft, Schlossparkmuseum Bad Kreuznach

2003 . Landeszentrale für private Rundfunkveranstalter, Ludwigshafen

2000. Licht und Raum, Künstlerbahnhof Ebernburg, Bad Kreuznach

1999 . Art Galerie Armand Gaasch, Dudelange, Luxemburg / Luxembourg. Essenheimer Kunstverein

1998 . SAP Ratingen, Düsseldorf / Dusseldorf. Verleihung des Mainzer Stadtdruckerpreises 1998, Gutenberg-Museum, Mainz




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Ausgewählte GruppenausstellungenS�G�E

2020. Galerie Hübner + Hübner, art Karlsruhe. René Carcan International Prize for Printmaking, Brüssel / Brussels, Belgien / Belgium

2019 . fremd-vertraut, Kunstbezirk Stuttgart

2018 . Pfalzpreis für Bildende Kunst 2018 – Malerei, Museum Pfalzgalerie Kaiserslautern. Flux4art. Kunst in Rheinland-Pfalz, Landeskunstschau, Kunstverein Germersheim. Ereignis Druckgraphik 10, BBK Bund Bildender Künstler Leipzig

2017 . Nominiertenausstellung Wilhelm-Morgner-Preis 2016, Museum Wilhelm Morgner, Soest . 23. Karlsruher Künstlermesse 2017. 10e Biennale internationale d'estampe contemporaine de Trois-Rivières, Québec, Kanada / Canada

. Global Matrix IV – International Printmaking Exhibition, Robert L. Ringel Gallery and the Stewart Center Gallery at Purdue University, West Lafayette, Indiana, USA

. Die Große Kunstausstellung NRW Düsseldorf 2017, Kunstpalast Düsseldorf, Dusseldorf

2016. Kollision, Museum Boppard, BBK, Rheinland-Pfalz. Nominiertenausstellung Perron-Kunstpreis in der Sparte Grafik 2016, Kunsthaus Frankenthal . Wasser – 6. Realismus-Biennale, Königliche Porzellan-Manufaktur, Berlin . Das Rheinhessen-Symposium, Landesvertretung Rheinland-Pfalz, Berlin

2015. 26. Mainzer Kunstpreis Eisenturm 2015, Mainz. 70 Jahre Pfälzische Sezession, Städtische Galerie Speyer . 10. Kunstpreis Wesseling 2015, Kunstverein Wesseling. Die Große Kunstausstellung NRW Düsseldorf 2015, Kunstpalast Düsseldorf, Dusseldorf

2014. Kunstausstellung Natur – Mensch und Verleihung des Andreas- Kunstpreises, Nationalpark Harz. Krieg und Frieden, Uferhallen, Berlin. Das kleine Format – Realisten der Gegenwart, Stadtmuseum Langenfeld

2013. Kunstsalon 2013 im Ägyptischen Museum, Freie Münchner und Deutsche Künstlerschaft,

München / Munich . Internationale Grafiktriennale Krakau 2012, Contemporary Art Gallery, Oppeln / Opole,

Polen / Poland. Global Matrix III – International Print Exhibition, Central Michigan University Art Gallery, Mount Pleasant, Michigan, USA, The Art Museum at the State University of New York at Potsdam, New York, USA

2011. Biennale Internationale de la Gravure et des Nouvelles Images de Sarcelles, Paris,

Frankreich / France

2010. Licht-Bild, Essenheimer Kunstverein, Rathaus Ingelheim

2007. Pfälzische Sezession zu Gast in der Pfalzgalerie Kaiserslautern

2002 . XIII. Deutsche Internationale Grafik-Triennale, Frechen

2001. Internationale Grafikbiennale für Kaltnadelgrafik – Užice, Serbien / Serbia. John Bloxham Gallery, London, Großbritannien / Great Britain

1999. Artexpo, New York City, New York, USA

1998. The 4th Sapporo International Print Biennale Exhibition, Hokkaido Museum of Modern Art, Sapporo, Japan

1992. Das Bochum-Projekt, Kunsthalle Darmstadt

93




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Dieser Katalog erscheint anlässlich der Ausstellungen This catalogue is published on the occasion of the exhibitions

Terra Cognita – Heike NegenbornZeichnung, Druckgrafik & Malerei /Drawing, Printmaking &

Stadtmuseum Siegburg

Museum Wilhelm Morgner, Soest

Galerie Peter Zimmermann, Mannheim

Kloster Bentlage, Rheine

Herausgeber / Editor Gundula S. Caspary, Stadtmuseum Siegburg

Konzeption / Concept Martine Landat, Heike Negenborn

Gestaltung / Graphic design Martine Landat

Texte / Texts Gundula S. Caspary, Heinz Höfchen

Übersetzung / Translation Miriam Roath

Lektorat / Copy-editing Doris Hansmann, Lizzie Gilbert

Produktion / Production management edition cantz

Gesamtherstellung / Printing and binding Dr. Cantz’sche Druckerei Medien GmbH, Esslingen

Vertrieb und Marketing / Distribution and marketing edition cantz [email protected]

ISBN 978-3-947563-76-0Printed in Germany

Erschienen bei / Published by edition cantz www.edition-cantz.de

Umschlagabbildung / Cover illustration Huayna Potosi, Bolivien, 2019Frontispiz / Frontispiece Huayna Potosi, Bolivien, 2019 (Detail)

Bildnachweis / Photo credits Friedhelm Hoffmann: S./pp. 20/21, 23Heike Negenborn: S./pp. 8/9, 11, 14, 18, 24/25, 27–29, 31, 38, 49, 51–53, 67, 69/70, 94/95regentaucher.com: S./p. 94Stock: S./p. 14 Fotografiesbg, S./pp. 16, 18 S. HempelBeate Vogt-Gladigau: S./p. 95Sascha Zuhl: S./pp. 4/5, 7, 16, 18, 34, 36, 40/41, 43, 45–47, 55, 57, 59–61, 63–66, 71–73, 75–77, 79–81, 83, 89

© 2020 für die abgebildeten Werke von / for the reproduced works by Heike Negenborn:

© 2020 edition cantz GmbH & Co. KG, Berlin, die Künstlerin / the artist / die Autor*innen /the authors

Mit freundlicher Unterstützung von kindly supported by:


and und

/

/

Painting

VG Bild-Kunst, Bonn

2020 - 2022

ËD,BÌ

ËD,BÌ

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LQ 3URFHVV Terra Cognita íííííííí