Informel

Drama, fate, and improvisation. These are works of Informel that form a focal point of the permanent exhibition at Villa Haiss. Featuring artists such as K.O. Götz, K.R.H. Sonderborg or Fred Thieler, some of the most important representatives of the movement are exhibited in this space. Each is considered brilliant in their own right, but all shared in the urge to reinvent themselves amid the prevailing socio-political rupture and experience of catastrophe after the Second World War.

The work of K.R.H Sonderborg placed opposite the staircase is a paragon of Informel. Sonderborg, known as a “painter without a studio,” could not stretch canvases due to a congenital deformity of his right arm, and therefore laid them out on the floor to paint from all sides at lightning speed. The titles of his works often consist of the exact date and time of creation as a nod to their dynamic genesis.
It is only logical that Informel completely turned away from the restraints of figurativeness and geometry as well as systematic color composition. They barrelled toward artistic gesture and the power of liberated painting. We are submerged by the works through the complete dissolution of form and composition, and can lose ourselves in sweeping brushstrokes and impromptu splashes of color. Despite aesthetic and idealistic cohesion, the works here are a testament to the complexity that characterizes Informel. Reduced colors meet dramatic hues and expressive movement meets delicate lines.

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