Published by Verlag für moderne Kunst Nürnberg. Edited and with Text by Natalie de Ligt.
The now widely admired Leipzig painter Matthias Weischer (born 1973) belongs to a generation of artists who have extrapolated a powerful emotional vocabulary from portraying interiors. Weischer adds a collage style of image-building to this vocabulary; in these recent paintings, executed between 2004 and 2008, interiors begin to resemble stage sets, giving peeks at the exterior beyond.
Published by Hatje Cantz. Text by Wolfgang Holler.
The works that have brought Leipzig painter Matthias Weischer international recognition depict interiors--often sparsely furnished and unpopulated rooms--in which decorative elements and tweaked perspectives unsettle our perceptions of space and skew the viewer’s capacity to orient. Weischer’s drawings represent a second and stylistically quite independent strand of his work, being more crudely executed and less exacting in their surfaces. The genres do overlap at times: occasionally the drawings will pick up on ideas previously realized in paintings or will allude to visual elements that can later be traced in the painted works. This first catalogue of Weischer’s drawings is presented in a generous, oversized publication, the apparently disorganized feel of which lends the volume the intimacy and rough energy of an artist’s sketchbook. Born 1973 in Rheine, Germany, Weischer is often grouped with Neo Rauch as one of the most important painters of the New Leipzig School.
Published by Hatje Cantz. Edited by Markus Stegmann. Text by Rudij Bergmann. Interview by Jean-Christophe Ammann.
The young Leipzig painter Matthias Weischer, born in 1973, depicts suburban interiors that can appear at once pleasantly furnished and ominously vacated. Abstract patterns in wallpaper or carpet suggest households that have been lovingly attended to, but Weischer invests this decor with an oddly noisy insistence, so that its sheer "effect" invades any space a human presence might occupy. Often an entire ceiling or a part of a wall is omitted, so that Weischer's homes quickly come to seem absurdly staged, like sets that are wholly indifferent to habitation. Subtle perspectival collisions and a frequently clinical treatment of light compound these atmospheres of banal anxiety, and Weischer's impasto paint application further intensifies the claustrophobic pressure--even while imparting his evident enjoyment in detailing ornamental effect. The artist's conceptual preoccupations are consistent, but the emotional nuances of his paintings vary greatly. With over 200 color plates, this is an impressive catalogue raisonné for one of the Leipzig School's most promising stars.
Published by Hatje Cantz. Essay by Susanne Pfeffer.
Time seems to have come to a standstill within the empty, austere, and sometimes claustrophobic interiors of Matthias Weischer's paintings. Weischer uses different visual means to achieve the unsettling effects in his view of prototypical living spaces. Shown here is his use of shifting, colliding perspectives, the motif of a painting within the painting, views into depth, and flat, highly decorative, highly ornamental elements that appear to be superimposed on the surface.