While the DJ’s claim to artistic fame is his modification or combination of different sources, which does not put him in a situation where he competes with the authors of these sources, Bauer’s painting style is not a deliberate combination or modification of things, he rather sticks as closely as possible to the photo and the original situation and depicts it in a very terse and detailed way. This is where the first differences between Bauer, the painter, and Bauer, the DJ, show up the painter captures and depicts things according to nature, the DJ changes and adapts things. So they quite deliberately change existing materials, sounds, sound patterns or noises. DJs make a living by not only selecting sound carriers to which people can dance but by also using technical means to change the music material at their disposal according to their own sound aestheticism. They neither depict tones nor sounds, neither conversations nor movements, they are only able to visually capture an ephemeral instant which normally vanishes right away.įrank Bauer is a disk jockey this is probably the reason why so many of the scenes which the artist portrays are pictures that depict night life. His pictures are painted and not shot even if they focus on naturalistic, even photorealistic depictions, despite this endeavour, they are abstractions of the real, since they reduce perceptions to what is visible. As a painter, Bauer becomes a contemporary witness. If we are to take Ballhausen’s words seriously, it is this generation, of which he is a part and in which he lives, which determines his sujet or rather his genre. Generation 89 will provide the first leading figures of the Berlin Republic – or else will fall into oblivion as a mere generational episode.”įrank Bauer portrays representatives of this generation, and, in them, he stylizes this generation and records it for future generations. It is only these children of 1989 who can claim for themselves a generational label as much to the point as the label coined for the former anti-aircraft gun assistants who are now in government and the generation of 1968 which is now calling the tune. Niels Ballhausen describes them as follows: “In the European context, the term “generation 89” seems to be a more appropriate term, since this generation, by consciously and directly experiencing the political changes of 1989, has lost its faith in the durability of social coordinates…. These are people in their late twenties to middle thirties who might best be described by the wonderful term “generation 89”. He captures an instant in which the persons he depicts relate to one another and interact, they communicate verbally, through mimicry or gestures, above all through their posture, or rather their gestures. “In this way architecture is no longer a question of projecting the abstract but distorting the real.” Nils Ballhausenįrank Bauer’s pictures are snapshots of situations which normally would not leave a lasting impression on you, in most cases several people meet in a social context. "Stilleben", Galerie Voss, Düsseldorf (E) "Salon 98", Galerie Bärbel Grässlin bei Tishmann & Speyer Properties, Frankfurt a. "Nachtleben", Galerie Voss, Düsseldorf (E) "Self and the Other", Galerie Christa Burger, München "Neuer Realismus", Kunstverein Emsdetten (E) Studio D`Arte Cannaviello, Milano (I) (E) "The Morning After…", Cokkie Snoei, Rotterdam (NL) "Privatleben", Galerie Voss, Düsseldorf (E) "Deutsche Malerei 2003", Frankfurter Kunstverein, Frankfurt "Hands up, Baby, Hands up", Oldenburger Kunstverein,Oldenburg "We’ll Slide Down the Surface of Things", De Vleeshal, Middelburg (NL) "New German Painting", Regina Gallery Moskau (RUS) "Dreams are my Reality", La B.A.N.K., Paris (F) "Kunstpreis der Böttcherstraße 2005", Kunsthalle Bremen "Affetti Collaterali", Guidi & Schoen, Genua (I) "Deutsche und amerikanische Malerei aus der Sammlung Frieder Burda", Museum Frieder Burda, Baden-Baden "Kunstdialog gemeinsam in Bewegung", Museum of Art, Wuhan, China "Es werde Dunkel! Nachtdarstellungen in der zeitgenössischen Kunst", Städtische Galerie Bietigheim-Bissingen
"Es werde Dunkel! Nachtdarstellungen in der zeitgenössischen Kunst", Stadtgalerie Kiel und Kunstmuseum Mülheim an der Ruhr "after the goldrush", Kunstverein Speyer, Speyer "…den Wald vor lauter Bäumen…", Galerie Voss, Düsseldorf (E) "Menschenbilder", Museum Frieder Burda, Badan-Baden "Skulptur und Malerei", Filser und Gräf, München "Boys n' Girls", Staatliche Kunsthalle Karlsruhe, Karlsruhe (Ge) "Back to Basics", Galerie Voss, Düsseldorf
"Die Gelassenheit der Dinge", Galerie Voss, Düsseldorf "Wege in die Ungenauigkeit", Galerie Voss, Düsseldorf "Bilder vom Verschwinden", Galerie Voss, Düsseldorf
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