Editing: Klaus U. Hilsbecher
Text: Portugese, Englih and German
Format: 20 X 28 cm
60 Abbildungen
100 Seiten
29,95 EUR
ISBN 9783862281701
Prinzenstraße 84, Aufgang 2
10969 Berlin, Germany
+49 (0)30 28394 – 234


Catarina de Sousa Carvalho, Cidália Ferreira, Dedo von Kerssenbrock-Krosigk, Kay Heyme, Klaus U. Hilsbecher

Klaus U. Hilsbecher is a visual artist, musician and architect. In his sculptural work glass is the central material. The artist is especially interested in the versatility and flexibility of the material. His sculptures unite rational and irrational, constructive and freely associated aspects seamlessly with each other. They unfold a poetic openness and reveal associative potential.
“In Hilsbecher’s often transparent sculptures this process of transcendence is sometimes immediately visible—for instance when we can easily understand the clear construction of a sculpture like Bogen – Arc and at the same time cannot describe the complexity of its appearance in words. It is at this moment that Hilsbecher’s art becomes truly interesting and solely physical—tangible visually and haptically but no longer through a type of thinking in which languages predominates. Then the art of Klaus U. Hilsbecher can convey unmistakable experiences and a new understanding, which make our lives richer and more interesting than before.”
Kay Heymer, Leiter moderne Kunst, Museum Kunstpalast, Düsseldorf.
See the Agenda> exposition MUSEU DO VIDRE/NÙCLEO DE ARTE CONTEMPORANEA, Marinha Grande, Portugal

Posted 7 July 2017

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Within this sympathetic, oblong book, the reader may dive into the world of Klaus U. Hilsbecher. The introductory text by Catarina de Sousa Carvalho reveals the history of the museum and connections to Hilbecher’s work and the history ‘100 Years Marinha Grande 1917-2017’ and the fundamentals of the glass industry by Cidália Ferreira, through which Hilsbecher introduces his connection with Portugal and glass. Then director of the Glasmuseum Hentrich in the Museum Kunstpallast, Düsseldorf, Germany, Dedo von Kerssenbrock-Krosigk describes both natural and man-made structures along with the role of the artist.

In chapter The Artist Klaus U. Hilsbecher by Kay Heyme isketched the sculptures in the exposition and is followed by pages further describing these works through excellent and variously sized photographs  and small descriptive texts and the book closes with a biography.

Very well made, this book will continue to be the best manual to study the exposition’s oeuvre of Klaus U. Hilsbecher.

Angela van der Burght

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