de es news

galerie szaal

2012-03-03T13:19:00.000+01:00

galerie szaal

current activities

2012-02-27T20:02:00.000+01:00

DOME OF PEACE PREVIEW new video
http://vimeo.com/36830475
a short animation : entering the DOME OF PEACE and walking around in it ,
viewing the 100 paintings.
produced with the help and 3D expertise of Peter Gric.www.gric.at

COASTLINES new video
http://vimeo.com/34662947
a compilation of sketches ( sizes A4 and A3 ) oil on paper, 2010-2011

ART PERSONALITIES, GALERIE SZAAL
www.szaal.at is showing some of my works at the WIKAM ART FAIR,
in the KÜNSTLERHAUS WIEN from 3.-11. march.

EXHIBITION: ARCHITEXTUREN 2
in the NIGHTGALLERY of the PHANTASTENMUSEUM WIEN
http://phantastenmuseum.jimdo.com/

open till march 10. mo-do 10-20 uhr, frei -sa 10-24 uhr
view earlier blog.

NACHTGALERIE im phantastenmuseum wien

2012-02-23T20:25:00.000+01:00

Die Galerie im Erdgeschoss des PHANTASTENMUSEUM WIEN ist zukünftig auch als NACHTGALERIE geöffnet.

Es ist dem Management gelungen De Es Schwertberger für die ERÖFFNUNGSAUSSTELLUNG zu gewinnen.

Gezeigt wird eine Auswahl von 20 Ölbildern

aus den Jahren 1995-2005 ( ARCHITEXTUREN )

Frühere Werkperioden werden als Videos gezeigt

Zwei PLANETARIER weisen den Weg

planetarier im einsatz

2011-11-10T23:43:00.001+01:00

Zur Eröffnung der Wikam wurden 2.500 Gäste von den "Planetariern" begrüßt. Sie sind vor den Eingängen zu den beiden Palais postiert. Es werden insgesamt zwischen 13.000 und 15.000 Gäste erwartet. ( bis 13.November ). Die Galerie Szaal zeigt Verschlungenes , Aufsteiger und einen Erdling .

SINNREICH insider report

2011-10-31T19:05:00.000+01:00

"ins SINNREICH "

De Es Schwertberger´s SINNREICH

ist eine lebendige Installation im Herzen Wiens

Erster Insiderreport von Peter Gric:

the secret convention 1.0

the secret convention 2.0

www.gric.at

"ins SINNREICH"

De Es Schwertberger´s SINNREICH

is a living Installation in the Heart of Vienna

first insider report by Peter Gric:

the secret convention 1.0

the secret convention 2.0

www.gric.at

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

on wish and request: auf wunsch und anfrage:

"THE OVERVIEW" "DER ÜBERBLICK"

"THE ART OF DE ES"

SINNREICH, Webgasse 41, 1060 Wien

www.dees.at

---------------------------------------------------------------------------------------------

in Kooperation mit dem PHANTASTENMUSEUM WIEN

www.phantastenmuseum.at

----------------------------

Sonderausstellung Galerie Szaal auf der WIKAM

2011-10-31T00:58:00.001+01:00

Galerie Szaal aus Wien zeigt die Sonderausstellung

DE ES "PLANETARIER"

Unter dem Motto „Art Personalities“ präsentiert Galerie Szaal immer wieder bedeutende österreichische Künstlerpersönlichkeiten der Gegenwart. Diesmal fiel ihre Wahl auf

De Es Schwertberger

DE ES wurde 1942 in Gresten, Niederösterreich, als Dieter Schwertberger geboren.
Der Künstler studierte zunächst an der Akademie der Bildenden Künste Malerei bei Sergius Pauser und Maltechnik der Alten Meister bei Ernst Fuchs. 1968 übersiedelte Schwertberger in die Schweiz, wo er bereits mit zahlreichen Ausstellungen reüssierte. Nach der Rückkehr 1972 wurde er Assistent von Ernst Fuchs auf der Sommerakademie in Reichenau. Ab 1975 folgte ein elfjähriger Aufenthalt in New York, wo die ersten Bilder für sein Lebensprojekt „Friedensdom“ – ein Bauwerk für einen Zyklus aus hundert Bildern – entstanden. Seit 1986 lebt und arbeitet der Künstler in Wien.

Zu Beginn der 60er Jahre malte Schwertberger surreale, utopische Räume und Szenerien, die formal zunächst eher dem Phantastischen Realismus zuzuordnen waren. Im Lauf der Zeit entwickelte er daraus einen eigenen, sehr persönlichen Stil, der ihn zu einem der herausragenden Vertreter der „visionary art“ werden ließ – Schwertberger betrachtet sich als Suchender, der das Gefundene in der „Sprache der Bilder“ mitteilt. Seine Botschaft von „Sinn und Verwandlung“ gewinnt klaren Ausdruck und Intensität durch präzisen Umgang mit Licht, Raum und Textur.

Über die „Planetarier“, die während der WIKAM im Atrium des Palais Niederösterreich ausgestellt sind und auch erworben werden können, sagt der Künstler: „Diese sind Friedenswächter, die aus einer Welt ohne Grenze“, aus der Dimension der Ganzheit kommen. Da sie alle gleich und doch auch alle verschieden sind, regen sie den Dialog von „Vielheit und Einheit“, „Gleichheit und Unterschied“ an.“
Diese überlebensgroßen Skulpturen wurden bereits mehrmals erfolgreich im In- und Ausland gezeigt. So wurden im Jahre 1991 anlässlich der 800 Jahre Feier der Stadt Bern 40 „Planetarier“ auf dem Gurtenberg ausgestellt, und im Jahre 2000 fand die Installation „100 Planetarier Am Himmel“ in Wien statt.

WIKAM 2011

Wiener Internationale Kunst- & Antiquitätenmesse

im
Palais Ferstel
&
Palais Niederösterreich

4 bis 13.11 2011

9 Planetarier machen sich auf den Weg

http://www.kunstkauf.at/?content=ferstel_niederoesterreich.htm

opening RAUMGEWEBE im vip terminal

2011-04-15T13:46:00.017+02:00

Die Eröffnung der von Frau Klarissa Stoiser ( Flughafen Interne Kommunikation ) perfekt organisierten Ausstellung des Künstlers De Es Schwertberger war ein sehr gelungenes Ereignis. Flughafenchef Dr. Christoph Herbst übergab mit knappen Worten das Pult an den Präsidenten des Wiener Künstlerhauses, Joachim Lothar Gartner, welcher auf einfühlsame Weise, Weg und Werk Schwertbergers würdigte. Anschliessend konnte das ausschliesslich vegetarische Büffet zu aller Zufriedenheit neue kulinarische Horizonte öffnen. Die positive Ausstrahlung der Bilder fand beim Publikum grossen Anklang, ausserdem entstand der Eindruck, die Werke ( mehr als 45 ) seien speziell für diese Räumlichkeiten entworfen.

Der eine Teil der Ausstellung im Eingangsbereich ist frei zugänglich, der andere in der VIP Lounge ist nur in Absprache mit dem Künstler zu besichtigen. Interessenten führt der Künstler gerne persönlich durch die Ausstellung. Die Ausstellung läuft bis Mitte Juni, wird aber möglicherweise noch länger hängen. Preisliste und Ausstellungsfolder liegen auf.

Die beiden das Durchgangstor flankierenden "Planetarier" weisen unübersehbar auf das

besondere dieser Ausstellung hin.

fotos: ingo lang

ausstellung flughafen wien RAUMGEWEBE

2011-04-08T19:32:00.004+02:00

EINLADUNG

Der Vorstand der Flughafen Wien AG freut sich,

Sie anlässlich der Vernissage von

De Es Schwertberger

R A U M G E W E B E

einladen zu dürfen

Dienstag, 12 April 2011, um 18:00 Uhr,

General Aviation Center am Flughafen Wien

Laudator :Joachim Lothar Gartner.Präsident des Künstlerhauses Wien

im Anschluss laden wir zu einem Buffet

Die Ausstellung umfasst eine Auswahl von Ölbildern aus den Jahren 1990 bis 2010 und widmet sich dem Thema RAUMGEWEBE

Das Erlebnis der RAUMTIEFE ist für mich essentiell für die Wirksamkeit eines Bildes.

Im Laufe der Jahre habe ich die verschiedenen Methoden den illusionären Raum in den malerischen Griff zu bekommen, erforscht und kultiviert.

Dabei hat sich die geradlinige Geometrie früher „Lebendiger Strukturen“ in schwingende Raumorganismen verwandelt, in die das Licht nachwievor als sinngebender Fokus eingewoben ist.

Die radikalen Verwandlungen des Weltbildes sowie die menschliche Forderung nach einer stabilen Behausung im Kosmos bilden sich gleichermassen in meinen Werken ab.

kleine werke 2010-5

2010-12-20T16:18:00.003+01:00

kleine werke 2010-4

2010-12-16T16:55:00.003+01:00

kleine werke 2010 -3

2010-12-14T11:49:00.003+01:00

kleine werke 2010-2

2010-12-07T10:10:00.004+01:00

alle öl auf leinwand, 50x40cm, 2010

small works 2010

2010-12-06T16:17:00.005+01:00

langwieriges auf allen fronten. die träume wollen nicht ans licht.

die stimmung ist dunkelintensiv, verstrickt, verwickelt, verschlungen, verwirkt,

eingesponnen, versumpft, vergeblich, verfallen, ausgehöhlt, verwest.

das licht aber lässt sich nicht täuschen ,verspricht erlösung und neues leben.

wer kennt das nicht.

ölbilder auf leinwand 50x40 cm

brainspace extradimensions

2010-11-30T16:27:00.001+01:00

brainspace extradimensions
http://vimeo.com/16919989

"my painting BRAINSPACE , oil on canvas 2009, size 260x200, converted into a threedimensional creature.space
with the digital wizardry of friend Ben Skewes.
Now you can walk right into the painting."

Kleine Werke Ausstellung

2010-11-30T15:35:00.005+01:00

Zur Ausstellung KLEINE WERKE

von DE ES SCHWERTBERGER im SINNREICH

Dezember 2010

Schon oft habe ich von meinen Besuchern gehört, dass ich immer nur Bilder mache die die Grösse einer normalen Wohnung nicht berücksichtigen oder die für einen Normalsterblichen viel zu teuer sind. Ich sage dann immer das stimmt gar nicht , ich male auch kleine und erschwingliche, die können aber neben den grossen Ausstellungsstücken kaum zur Geltung kommen.

Diesmal habe ich die grossen Bilder in die Ecken verbannt und zeige kleine, die ihnen aber an inhaltlicher Stärke durchaus ebenbürtig sind.

Es gibt da eine Serie von Ölbildern auf Leinwand, alle 50 x 60 cm gross, zum Thema BESCHWINGTE RÄUME und eine Anzahl noch kleinerer welche thematisch verwandt sind mit den grossen Bildern.

Dann gibt es noch die KLEINODE, Arbeiten mit Öl auf Papier, die so nebenbei passieren , etwa um eine gerade auftauchende Idee oder eine Variante zu notieren oder zum Ausprobieren einer Farbe. Diese Notizen können sich aber im Laufe mehrerer Jahre zu eigenständigen Bildern verdichten, die sich sich durch besondere Frische und Spontanität auszeichnen. Um ihnen Stabilität zu verleihen kaschiere ich die Papiere dann auf Platten.

Die Ausstellung kann bis Weihnachten nach Terminvereinbarung besucht werden.

De Es

visionary philosophical integral art

2010-09-20T12:04:00.002+02:00

De Es Schwertberger on Integral Life Gallery

by Michael Schwarz

De Es is one the great living Visionary Artists. Integral Life will be presenting a selection of his work in two installments, one in September 2010 and the other in November 2010. Each presentation will highlight a major strain in his corpus: in November, (1) artworks meditating on the individual’s engagements with the mystery of existence; and this month’s selection, (2) profound pictorial disclosures of the forces configuring and determining manifestation.

integrallife.com/node/82966

a new wave of visionary art

2010-09-02T20:26:00.011+02:00

Reflections on the occasion of the group show

THE IRRESISTIBLE FLOW OF TIME, A NEW WAVE OF VISIONARY ART in the GALERIE 10, VIENNA, by De Es Schwertberger, August 25, 2010

1). Background

It has been over 50 years since Galerie 10 began representing the VIENNESE SCHOOL OF PHANTASTIC REALISM. Now, half a century later new movements have formed all over the world. In the Galerie 10, era’s and worlds collide in a kaleidoscope of imagery, opening portals to the “new waves”.

In 2008 an exhibition of this movement was presented in the BELVEDERE MUSEUM IN VIENNA, which focused extensively on its historical background, but forgot to give credit to the immense worldwide inspirational impact it had, and still has on the following generations. Phantastic Realism is not dead, rather it has taken on many new layers of actuality, one of them known now as International Visionary Art.

The current exhibition of 12 artists, who consider themselves to be part of the worldwide movement of a new wave of Visionary Art, proves that the flow of visionary energy that had already inspired the Viennese Masters, continues to express itself on a global scale with overwhelming vitality.

The show allows only a tiny glimpse into the gigantic unfolding vistas of this Art phenomenon. It unites works by a circle of colleagues of Amanda Sage and Leo Plaw, who are travellers between various wells of this movement, springing up all over the planet. The message is clear: The irresistible flow of time is drenched in the vital colours of Visionary Art.

2). What is “the New” of “the New Wave”?

The stream of images, which give mankind its collective inner face, is swelling with the waters of an ever-growing number of new rivers. The young visionaries drink inspiration from an increasing number of sources.

The new wave derives impulses from the old wave. The influence of the grandmasters cannot be overlooked; we find their marks on all continents. In addition, the entire lineage of the Visionary style is easily accessible through the Internet.

The Freudian-Einsteinian world-view, with its clear contours at the time of the early Phantastic Realists, 50 years ago, has been transformed into today’s multidimensional genetically manipulated digital phantom image. The staggering progress of scientific and technological evolution has added exciting new content to the Visionary program.

The computer and the Internet became indispensable tools for the production, communication, exposure and distribution of Visionary Art, in conjunction with an ever-expanding multimedia circuit. The boundaries between classical artistic disciplines are dissolving.

New spiritual movements, new methods for self-exploration and self-transformation, with or without entheogenic aid, progressively overwrite the background vibrations of the orthodox mystical traditions, cosmic consciousness, planetary integral awareness and visionary culture.

The irresistible stream of time is heading towards the sea of the timeless. The Visionary Artist is floating on its opalescent surface in a time capsule. Steering it at will, upwards or downwards, creating or receiving vision, exploring the rules of manifestation… resting beyond the speed of light.

3). Energetic Transformation

The privacy of encapsulated individual Phantastic-Realistic vision splits up into multiple fractal perspectives.

The smooth skin of the figure reveals the layers underneath, the integrated circuitry of cellular or mechanical tissues, curvatures of genetic architectures and the organising fields of living forms.

The planetary horizon, that has anchored the Phantastic-Realistic narrative in photographic familiarity, is pulled out from under our feet. We are catapulted into the vastness of unimaginable cosmic dimensions. Our universe is but one fold of the multiverse.

Imagination is fluid and plasmic. The materials of the Phantastic-Realistic vision reorganize themselves along subtle light grids, or explode to form myriads of vibrating patterns with features of abstract form and colour play, intermingled with the dust of stars and mirages of alien life forms.

Not long ago the Phantastic-Realistic vision was clearly opposed to the modern looseness of Abstract painting. Now there is a shift from its bipolar orientation to the “tripolarity of realism, fantasy and abstract form”. The new wave of Visionary Art is dreaming a unified field of artistic expression.

We are invited to flow and dance with the new wave.

De Es Schwertberger - 1942 – Vienna (AUSTRIA)

..My voice is in my paintings, telling stories of the journey of GETTING TO THE POINT, where THE INNER and THE OUTER, THE ONE and THE MANY merge in peace. How close we are- ART can tell.

www.dees.at

Amanda Sage – 1978 – Vienna (AUSTRIA) / Los Angeles (USA)

..My aspiration is to paint messages, visions and narratives that communicate with an ‘older & wiser us’, awakening ancient memory; as well as the ‘present us’, that we may grow up and accept the responsibilities towards ourselves, each other and the rest of existence on this planet… now.

www.amandasage.com

Dennis Konstantin -1979 – Hamburg (GER)

..A great factor of inspiration is to portray the actual reality of Quantum Physics, which explains the world as a vibrating field of form.

www.denniskonstantin.com

Leo Plaw – 1971 - Berlin (GER)

..The highest intent of art is to transform. However, the greatest transformational effect is actioned on the artist. They are after all in direct? Communion with the source (Muse) while creating. The artwork, then remains as a guide post for others to follow or explore.

www.leoplaw.com

David Heskin – 1979 – Seattle (USA)

..No longer is it acceptable to relive stylistic concepts from decades past, rather it is the necessity of the emerging movement to build authentic bridges to a brilliant future with the strength of our determination to envision it.

www.newskinstudio.com

Aloria Weaver - 1979 – Seattle (USA)

..The highest function of a human being is to love, and the highest function of Art is to point to the transcendental spiritual nature of human beings- our capacity for an evolved and integrated existence in harmony with all life.

www.aloriaweaver.com

Adam Scott Miller – 1984 – Pennsylvania (USA)

..My images are artifacts derived from exploring the relationships between personal experience and concepts that I consider to be significantly relevant. Making images is my tool for discovery, and a by-product of the experience of my consciousness. This creative work is how I process and integrate my perceptions of the world into new ways of seeing and insights into living.

www.corpuscallosum.cc

Autumn Sky Morrison - 1983 – British Columbia (CAN)

..Art can be a life shaking experience, or an intimate rendezvous. For me it is both. I place intention in what I create. Either through words, actions, thoughts, or artwork, I aim to share honesty and awakening. To celebrate this fantastic adventure. To inspire and be inspired.

www.autumnskyemorrison.com

Gregory Pettit – 1980 – Texas (USA)

..The physical plane and the interior worlds are not separate at all, but are only experienced separately because we usually lack the ability to be aware of the bridge between them.

www.gregorypettit.com

Daniel Mirante – 1977 – England

..We are hyper-dimensional beings. We are already spirit, we are already enlightened, we are already self-existent, non-compounded light. We are already in the spirit realm. We are already creating the dreams of God, we are already beautiful, primordial, divine and in the condition of Eternal Life.

www.danielmirante.com

Basia Wiacek - 1977 – England/Poland

..Works with lines of inspiration that include mythological, spiritual, ecological and indigenous themes. Her paintings are strongly intentional, dedicated to restoring harmony on Earth. She intends for her work to have medicinal, meditative and healing qualities, celebrating sacredness of creation through gratitude.

Emma Watkinson - 1973 - England

..Art is a scrying mirror to the subconscious. Glimpse beyond the veil...and listen. My intention is to create images as powerful tools of meditation designed to lift the spirit. I work with images & wisdom from many ancient spiritual paths, to walk into...and create, the future with harmony & balance.

eine neue welle der visionären kunst

2010-09-02T20:14:00.005+02:00

Betrachtungen anlässlich der Gruppenausstellung
DER UNWIDERSTEHLICHE STROM DER ZEIT,
EINE NEUE WELLE DER VISIONÄREN KUNST,
in der GALERIE 10, WIEN, von De Es Schwertberger, 25.August 2010

1. Hintergrund

Es ist nun schon fast ein halbes Jahrhundert her, dass die GALERIE 10 in Wien, begonnen hat, die Werke der WIENER SCHULE DES PHANTASTISCHEN REALISMUS auszustellen, ebenso ihre Ausbreitungen in die folgenden NEUEN WELLEN.

Im Jahr 2008 gab es eine Ausstellung der PHANTASTEN im Wiener Belvedere Museum, welche die historischen Aspekte stark betonte, die aber vergaß, auf den gewaltigen weltweiten Einfluss hinzuweisen, den sie auf die folgenden Generationen ausübte - und noch immer ausübt. Der PHANTATISCHE REALISMUS ist beileibe noch nicht tot, sondern tritt nun in einem neuen Kleid von Aktualität auf, im Namen der INTERNATIONALEN VISIONÄREN KUNST.

Die gegenwärtige Ausstellung von 11 Künstlern, die als Vertreter einer NEW WAVE OF VISIONARY ART verstanden werden wollen, demonstriert, dass der kohärente Strom von visionärer Energie, der schon die Wiener Meister beflügelte, sich nun auf globaler Ebene mit überwältigender Vitalität ausdrückt.

Die Ausstellung in der GALERIE 10 erlaubt nur einen kleinen Einblick in das Phänomen der weltweiten visionären Kunst. Sie vereinigt Werke von Künstlern aus dem Freundeskreis von Amanda Sage und Leo Plaw, beide sind internationale Reisende zwischen den Quellen visionärer Kunst, die sich auf allen Kontinenten auftun. Die Botschaft der Ausstellung ist klar: DER UNWIDERSTEHLICHE STROM DER ZEIT ist mit den vitalen Farben der VISIONÄREN KUNST eingefärbt.

2. Was ist das Neue der „Neuen Welle“ ?

Der Strom der Bilder, welcher der Menschheit das innere kollektive Gesicht gibt,
schwillt an durch die Wässer einer stets wachsenden Anzahl von neuen Zuflüssen. Die jungen Visionäre schöpfen Inspiration aus einer Vielzahl von Quellen.

Die „Neue Welle“ bezieht Impulse von der „Alten Welle“. Die Prägekraft der großen Vorbilder macht überall auf dem Planeten Schule. Zusätzlich ist die komplette Abfolge der visionären Abdrücke auf der Zeitspur durch das Internet bequem abrufbar.

Das Freud–Einstein’sche Weltbild zur Zeit der frühen Phantastischen Realisten, vor 50 Jahren, mit seinen noch recht übersichtlichen Konturen, hat sich seit damals ins heutige vieldimensionale, genetisch manipulierte digitale Phantombild verwandelt. Der atemberaubende Fortschritt von Wissenschaft und Technologie hat aufregenden neuen Inhalt zum visionären Programm hinzugefügt.

Computer und Internet sind unverzichtbare Werkzeuge für Produktion, Kommunikation, Veröffentlichung und Verbreitung von visionärer Kunst geworden, in Wechselbeziehung mit den sich rasant ausdehnenden Multimediakreisläufen. Die Grenzen zwischen den klassischen Kunstdisziplinen haben sich aufgelöst.

Neue spirituelle Bewegungen, Meditationsmethoden, Anleitungen zur Selbsterforschung und Selbstverwandlung, mit oder ohne entheogene Hilfsmittel, überschreiben in zunehmenden Masse die Hintergrundschwingungen der orthodoxen mystischen Traditionen. Kosmisches Bewusstsein, planetarisches und integrales Denken, visionäre globale Kultur…

Der unwiderstehliche Strom der Zeit strömt zum Meer der Zeitlosigkeit.
Der visionäre Künstler treibt auf seiner schimmernden Oberfläche in einer Zeitkapsel. Er lenkt sie willentlich stromauf- oder stromabwärts. Empfängt oder erschafft Vision. Erforscht die Spielregeln der Manifestation. Ruht jenseits der Lichtgeschwindigkeit.

3. Energetische Transformation

Die Privatheit von individuellen phantastisch-realistischen Weltkapseln hat sich in vielfältige fraktale Perspektiven aufgefächert.

Die glatte Haut der phantastisch-realistischen Figur gibt den Blick auf darunterliegende Schichten frei, auf integrierte Schaltkreise von zellularen oder mechanischen Geweben, auf den Kurvenreichtum genetischer Architexturen und auf die Organisationsfelder lebender Formen.

Der planetarische Horizont, der die phantastisch-realistische Erzählung in fotografischer Vertrautheit verankert, wird uns unter den Füßen weggezogen. Wir werden in die Weiten schwer vorstellbarer kosmischer Dimensionen katapultiert. Unser Universum ist nichts als nur eine Falte des Multiversums.

Imagination ist flüssig und plasmisch. Die Materialien der phantastisch-realistischen Schau organisieren sich aufs Neue entlang subtiler Lichtgitter oder explodieren in Myriaden von Schwingungsmustern. Abstrakte Farb- und Formspiele, mit Sternenstaub und Trugbildern außerirdischer Lebensformen durchsetzt.

Es ist noch nicht lange her, dass die phantastisch-realistische Vision in deutlicher Opposition zur modernen Lockerheit der abstrakten Malerei stand. Doch jetzt gibt es eine Verschiebung ihrer bipolaren Orientierung zur “Dreipoligkeit von Realismus, Phantasie und Abstraktion“. Die neue Welle der visionären Kunst träumt von einem geeinigten Feld künstlerischen Ausdrucks.

Wir sind eingeladen, mit der Neuen Welle zu fließen und zu tanzen.

PLANETARIER UNDER COVER

2010-05-18T13:33:00.012+02:00

im sinne des urhebers, im sinne meiner künstlerischen intention also, stehen die PLANETARIER für welteinheit, weltfrieden und weltkultur, drum heissen sie ja auch PLANETARIER. sie sind keine einzelwesen sondern wurden von mir als eine "gruppenskulptur mit botschaft" erdacht.

der sponsor und besitzer von 92 PLANETARIERN hat sie nun verschenkt, an eine stiftung für tierrecht und an eine tierheimstiftung , weil er den grund und boden auf dem sie standen verkauft hat. heimatlos, sozusagen, fanden sie unterschlupf auf dem gelände eines tierheimes, das sie aber bald wieder verlassen werden, einzeln versteigert, in alle winde verstreut. aus ist es mit der gemeinschaft der PLANETARIER.

damit die aktion der versteigerung im zusammenhang mit der tierwelt werbetechnischen biss bekommt, haben die veranstalter die PLANETARIER einfach in "bunte hunde" umbenannt. die stehen nun für die ihnen gemässen interessen , für tierrecht und tierschutz. so tun sie nun gutes, als PLANETARIER UNDER COVER.

ich habe erst jetzt, nachdem die versteigerung schon zwei wochen im gange ist, zufällig von dieser situation erfahren, und bin dabei mich online zu informieren. da werden sie durchgehend zu bunten hunden degradiert, und unter dem materialwert angeboten, ihre PLANETARISCHE IDENTITÄT wird unter den tisch gekehrt. auch gibt es nur einen spärlichen hinweis auf ihren erschaffer, es sei ein österreichischer künstler namens DEES.

es wäre wohl eine selbstverständlichkeit , hätte man auch mich ,als den erschaffer der PLANETARIERin ins ernste spiel miteinbezogen, zumindest mit nennung von De Es Schwertberger und mit hinweisen auf meine webseite www.dees.at.
interessenten könnten sich dann auch über mein werk informieren, was sowohl mir, den versteigerern und auch den neuen besitzeren zugute käme.

bericht im schweizerischen fernsehen:

Die Planetarier
Beim Gestalten des eigenen Gartens sind die Möglichkeiten grenzenlos. Von kleinen Gartenzwergen bis zu schweren Skulpturen - wie die Planetarier - ist alles möglich. Bis vor Kurzem standen die Planetarier im freiburgischen Môtier am Ufer des Murtensees. Warum sie von dort weg mussten, und was es mit diesen Figuren auf sich hat, zeigt der Bericht von Sandra Büchi.

Schweiz aktuell vom 10.05.2010

So kommen Sie zu Ihrem "Bunten Hund"
Welcher "Bunte Hund" ist Ihr persönlicher Favorit? Die verschiedenen Preiskategorien sollen allen die Möglichkeit geben, sich an dieser spannenden Kunst-Auktion für den Tierschutz zu beteiligen.
Sämtliche Figuren standen während Jahren im Freien und weisen daher unterschiedlich starke witterungsbedingte Spuren auf. Jeder "Bunte Hund" ist somit ein Unikat und trägt sein Alter auf eigene Weise.
Ihren "Bunten Hund" können Sie entweder über diese Website zu einem Fixpreis kaufen oder über ricardo.ch ersteigern.
Die 92 „Bunten Hunde“ können nach telefonischer Voranmeldung im Tierheim Pfötli in Winkel besichtigt werden.
Telefon Tierheim Pfötli: +41 (0)44 864 44 00, Montag bis Freitag, 13.30 – 17.00 Uhr

Alles Weitere zu unserer Benefizauktion erfahren Sie auf http://www.diebuntenhunde.ch/. Die Figuren können entweder zu Fixpreisen erworben oder auf http://www.ricardo.ch/ (Stichwort "Tierschutz") ersteigert werden. Bis Ende Juni werden jede Woche neue Bunte Hunde aufgeschaltet, am 9. Juli 2010 findet zudem ein grosser Abschlussevent im Tierheim Pfötli statt.

Der Reinerlös der Aktion kommt je zur Hälfte der TIR und der Stiftung TierRettungsDienst & Tierheim Pfötli zugute. Unterstützen Sie uns daher mit dem Kauf eines Bunten Hundes und geben Sie ihm in Ihrem Garten, Geschäft oder Bürogebäude ein neues Zuhause!

Vielen herzlichen Dank und viel Glück beim Mitbieten!

ALSO MITSTEIGERN UM DEN PLANETARIERN WIEDER ZUM ANSEHN ZU VERHELFEN

habe ein mail an die veranstalter geschickt um meinen unmut etwas deutlicher auszudrücken:

Von: De Es Schwertberger
Datum: 19. Mai 2010 12:23:51 GMT+02:00
An: info@diebuntenhunde.ch
Betreff: beleidigter künstler

an die handelnden personen der aktion "bunte hunde":
als künstler der die PLANETARIER erschaffen hat mochte ich folgendes mitteilen:
ist ja schön und gut diese aktion. kunst erweist sich als nützlich und tut gutes. dafür bin ich. dass man die intentionen des künstlers dabei aber völlig aus dem spiel lässt und man sich auch nicht die mühe gibt sich mit ihm in verbindung zu setzen
( wohlahnend dass der da nicht unbedingt mitspielt ) finde ich schlicht und einfach völlig daneben. ich habe erst jetzt zufällig von diesen unplanetarischen vorgängen erfahren.

man hätte ja, das wäre ein minimum, wenn man die PLANETARIER schon so rüde von ihrem übermenschenpodest runter in die tierwelt holt, etwas mehr auf ihren künstlerischen stellenwert, auf ihren erschaffer und auch auf die planetarische botschaft hinweisen können.

die umbenennung der PLANETARIER ist ein vandalenakt.
die MONA LISA bleibt die MONA LISA und ist nicht eine süsse katz.

Mein Künstlername ist De Es Schwertberger so findet man mich auch reichlich im Web.

LEBENSLICHT

2010-04-23T17:41:00.013+02:00

immer wieder seit 1977 beschäftigt mich mein GESAMTKUNSTWERK FRIEDENSDOM. die sache wäre einfach , hätte ich ein stück grund würde ich ein haus für den monumentalen bilderzyklus selber bauen. nachdem aber nicht so ist, bin ich der kustos der schon existierenden kunst für das ungebaute domgebäude. ich denke wenn ich die bilder alle zusammen einmal herzeigen würde, dazu bräuchte es eine wahrlich grosse halle und eine idealistische institution die bereit ist mein anliegen zu fördern, dann würden sich neue perspektiven eröffnen.

in meinem grossen atelier habe ich schon sequenzen aus dem zyklus ausgestellt, das werk durch slideshows und musikalischen veranstaltungen vorgeführt ,habs ins internet gestellt , schreibe gelegentlich briefe an potentielle förderer. zu allen bildern LEBENSWORTE verfasst, als sinn-matrix für LEBENSTON und LEBENSKLANG.

jezt hab ich alle diese energetiscehn investitionen in einem print- on-demand buch zusammengefasst.damit wieder was weitergeht.

hier ist der buchtext : basis sätze, die meine intentionen, soweit das möglich ist, auf den punkt bringen.

LEBENSLICHT : BILDER FÜR DEN FRIEDENSDOM

Der hier ausgebreitete Bilderzyklus mit dem Titel LEBENSLICHT ist als unteilbares Ganzes konzipiert. Er besteht aus hundert 2x2 Meter grossen Ölbildern, die von 1980 bis 1990 in New York und Wien entstanden sind.

Inhaltlich und stilistisch knüpft LEBENSLICHT an die Steinbilderperiode (1972-1979) an. Durch die Verwandlung des Steinmenschen in den Licht- menschen , sein Eintauchen in die Elemente, durch Auffächerung des Einen in das Viele und dem Wechselspiel von Natur und Struktur , entfaltet sich ein kosmisches Panorama menschlicher Grundvorstellungen vom Sein als Ganzem.

Der Lebenslichtzyklus ist für das Gesamt-kunstwerk FRIEDENSDOM bestimmt. In einem Glaskuppelbau , in dem sich die Besucher, von Bild zu Bild schreitend, auf einen meditativen Rundgang begeben, offenbart sich ein zur Besinnung und Verwandlung einladendes Weltbild.

Der FRIEDENSDOM ist Ort der Stille. Ort des Klanges, Ort des Wortes, Ort des Tanzes, Ort der Feier, Ort der Versöhnung und des Neuanfanges.

Der FRIEDENSDOM Ist HAUS DER INSPIRATION für Welteinheit, Weltfrieden und Weltkultur, gewidmet allen Erdbürgern.

Gestalt und Bedeutung des Friedensdomes haben sich in langsamen Schritten seit 1977 entwickelt. Der damals geschaffene LEBENSPOLE- TRIPTYCHON erwies sich als sein visionärer Grundstein .

Der LEBENSLICHTBILDERKREIS (Durchmesser mehr als 60 Meter) verlangte nach einer lebendigen Mitte, die nun als stufenförmiges FORUM

DER MENSCHHEIT angelegt ist. Die grossen Themen der Menschheit werden hier durch vielfältigen künstlerischen Ausdruck kontempliert.

Die aus vier Halbkreisen bestehende Grundform des Domes kann Politik, Religion, Wissenschaft und Kunst zugeordnet werden, der mittlere Kreis repräsentiert sowohl die GEEINTE MENSCHHEIT als auch den GANZEN MENSCHEN.

Der Friedensdom ist ein Haus der Inspiration für Welt- einheit, Weltfrieden und Weltkultur. Ein lebendiges Zeichen der Zeit. Richtungsweiser zu einer menschenwürdigen Zukunft überall auf unserem Planeten .

Die Welt braucht nicht nur einen, sondern viele Friedensdome, in allen Ländern der Erde. Die Kunst kann neuen Sinn und neue Aufgaben ganz gut gebrauchen. Möge der LEBENSLICHTDOM ein Beispiel sein !

Wien, 11.Mai 2010 De Es Schwertberger

da ich die gedichte zu den bildern nicht in englisch schaff, wirds so schnell nicht LIGHT OF LIFE, PICTURES FOR THE DOME OF PEACE geben. SORRY

http://www.blurb.com/books/1350550

D E E S L e b e n s l i c h t by De Es Schwertberger | Make Your Own Book

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D E E S L e b e n s l i c h t by De Es Schwertberger | Make Your Own Book

die macht der phantasie

2010-04-09T12:06:00.005+02:00

1. ich beteilige mich and der ausstellung DIE MACHT DER PHANTASIE im BAROCKSCHLOSS RIEGERSBURG im norden von wien, von anfang mai bis oktober.

http://www.macht-der-phantasie.com

2. in der zeitschrift INTEGRALE PERSPEKTIVEN , ausgabe 15-märz 2010

oute ich mich als INTEGRALER KÜNSTLER in einem zweiseitigen beitrag.

3. neues kurzes video über die neueren arbeiten, mit dem titel ENERGY SURFING

http://vimeo.com/9909980

4. BILDERBUCH FÜR PLANETARIER siehe anderen blog von heute.

bilderbuch für planetarier

2010-04-09T11:24:00.006+02:00

seit fast 30 jahren wünschte ich mir ein buch über meine STEINPERIODE 1972 bis 1979, das alle STEINBILDER zeigt. für verleger war das zu teuer und zu riskant, jetzt aber mit print on demand ist es möglich, ich hab das buch selbst gemacht. vorerst auf deutsch. es sind aber ohnehin nur wenig worte drin, es ist eben ein bilderbuch, BILDERBUCH FÜR PLANETARIER man kann hier darin blättern.

auf anfrage kann das buch bei mir in english bestellt werden. (e-mail)

wenn jemand ein STEINBILD besitzt das hier nicht abgebildet ist so bitte ich um vergebung. einige bilder verliessen mein studio bevor ich noch ein professionelles foto machen konnte.

die bilder aus dem STEIN DER WEISEN und die in HEAVY LIGHT abgebildeten sind im BILDERBUCH FÜR PLANETARIER inkludiert

DE ES bilderbuch für planetarier | BOOK INFO

All my images are now available as fine art reproductions

2009-11-05T18:49:00.008+01:00

dear friends and lovers of my art

recently i discovered a very professional service

that allows the spreading of my paintings

in the form of high quality reproductions,

on paper or canvas, framed or unframed

any size you wish

please check this out

i have uploaded a selection of "classics"

http://de-es-schwertberger.fineartamerica.com

but if you prefer a print of any of my other images (which you can find of my homepage)

it will also be available through this service.

if you send me a mail specifying your wish

i will then upload the image to FINEARTAMERICA and you can purchase it there.

if you are looking for a special gift of art

or if you want to turn someone else on to the art of de es

now it is easy!

with loving greetings

de es

please forward this to your art-interested friends

http://fineartamerica.com/shop/de-es-schwertberger.html

THAT ART

2009-03-05T16:53:00.004+01:00

this was a piece i wrote some time ago for jon beinarts mega-site

THAT ART

Jon invited me to make a comment in the forum about visionary art.
I said this term is really overdefined and becomes self evident by scanning through the long list of links. But he overcame my reluctance by saying it should be less intellectual, more personal. So i take this gratefully as an opportunity to align my relevant experiences.

My story starts in the mythical age of the glorious emergence of THAT ART, Vienna 1964 in the gallery of Ernst Fuchs with my first one man show, shortly after being initiated into the Old Masters Technique by him. The famous five of the Viennese School of Phantastic Realism ( Fuchs, Brauer, Lehmden, Hausner , Hutter ) had gathered a large following of younger artists , called THE SECOND WAVE OF THE VIENNESE SCHOOL OF PHANTASTIC REALISM. (needless to say that there came many more waves) There were about lets say thirty artists who showed mainly in this gallery within the following years, encouraged with the fatherly love of Ernst Fuchs to aspire to reach up to the stars in art heaven.
Ernst introduced me through books and catalogs which one could find only in his studio to other artists who worked also in this manner in other countries.( eg Klarwein, Escher, Johfra) I realised soon that there was a simultaneus appearance of other phantastic painters as a world wide phenomenont that stood in sharp contrast to the attitudes of modern art.
Fuchs was teaching the old masters technique privately and Hausner later became professor on the Viennese Akademie. Paetz, Helnwein , Hechelmann and Jochen Wahl became my closest friends . We all had had very differnt ideas but the fine illusionistic technique was the common denominator of our works. The book Manierismus by Gustav Rene Hocke was our bible.

When i moved to Switzerland in 1968 i met Giger and had a show together with him , he did not yet work with airbrush then. Here i also learned about the existence of Psychedelic Art. I did not work anymore in the Old Masters Technique and was basically interested in content and strong concept- not so much in the beautiful-and-fine. The roots of my stone-period are in Switzerland.

Back in Austria in 1972 I was assistent of Professor Ernst Fuchs at his seminar in the magical castle of Reichenau. His genius attracted artists and visitors from all over the world , many are wellknown today and have also become teachers of the oldmasters approach to inner vision. (Hanna Kay, Olga Spiegel , Phil Jacobsen Rubinov, Wolfgang Widmoser,Bob Venosa...)

I moved to New York in 1974 and lived there in the legendary artist district Soho till 1986. I teamed up with my new friends from Reichenau , discoverd more kindred spirits, got acquainted with the Visionaries and Psychedelic Artists from east and west, taught the old masters technique together with Phil in the large basement of my studio in Green Street and realised soon that the New York art scene had absolutely no taste for THAT ART
I felt strongly that it was my mission to fuse the European branch of inner vison with the American, that this type of art was the first truly international art movement and so I organised a group exhibition in the Studio Planet Earth Gallery ( Isaac Abrams, Olga Spiegel, Hanna Kay ), an effort that led later to the formation of the New York Visionaries.
I was happy to discover the art of Alex Grey in a gallery not far from the studio, as a sign that the art scene was maybe more open than I thought and I met Antonio Peticov, who added the special South American touch to THAT ART . Unforgettable are also my meetings with Ingo Swann under the umbrella
of parapsychological art. (PSI ART)

Nevertheless the movement stayed underground. But there were a few individuals like Mikl Bell and Christian de Boek who had the strong intention to gather the spirits . Boeks website later became like a Who is Who in the World of Strange Visions.

1982 I published a booklet called SHARING LIGHT where I also made some statements about my artistic position and what i thought THAT ART is. This was my view:
Surrealism had developed into Phantastic Realism through natural evolution and Phantastic Realism changed into Transformative Art through the agens of the spirit of theNew Age . Furthermore, on the future level Planetary Art was already starting to emerge.
In all this was an underlying visionary current of inspiration, leading from the darkness of the Middle Ages to the coming bright Planetary Age

Personally I was not fond of being called a surreal painter, Surrealism is a historical place for me, and i didnt think of myself as being a visionary artist either because visions come and go and i wanted to formulate solid states of the human condition.
I remember many very entertaining brainstorming sessions where we tried to come up with the absolut perfect name for a group project of THAT visionary- manieristic- surreal- phantastic-realistic- psychedelic- new-age- psi--transformative-planetary ART.

At my return to Vienna in 1986 the phantastic realists were considered of no interest for the contemporary art scene, but the founding fathers of the movement had established parallel art worlds and were successfull in their own terms .
The remains of the Second Wave of the School of Phantastic Realism had dissolved into two groups: some were still working in the absolutely meticulous manner and the others had changed their stiles in various ways.
I belonged to the second group , worked on large formats quite loosely and confused my former collectors ( who suffered because i didn paint stones anymore). Obviously I had manoevered my self out of the main stream of THAT ART into unknown territory, from where watched its rapid growth.

The two books of Michel Random on Visionary Art introduced me to quite a number of artists especially from France which i had not seen before.
James Cowan , publisher of Morpheus Int. handed another handfull of remarkable artists over to the eyes of the public. It is e.g his merrit that the influence of Beksinski has impressed the younger generation.

Since I know Ernst Fuchs he spoke of his cherished dream to organise a museum for THAT ART and so it was not surprising that he managed to organise the Venice Art Fair for Phantastic Art where one could discover even more of the never seen before. ( Claude Verlinde, Judson Huss,...)
Damian Michaels gets the movement rolling in Australia and publishes a visionary art paper and organises a travel exhibition.
Phil , my dear friend since Reichenau came to Europe almost every year to give painting seminars which always included a visit with his students to my studio. In turn I visited him at his course locations and enjoyed to spend time with him, Michael Fuchs and the students . In this way I met more and more very gifted members of the tribe, who now make their mark in the web.

Phils book Drinking Lightning brought back wonderful memories from
our common times in Studio Planet Earth, New York. His profound insights into the relationship of art and spirituality and his discovery of the invisible tribe as the genetic pool of the artists of THAT ART are certainly plowing the grounds for a meaningful art of the future.

Three years ago i got my self a computer and plugged myself into the collective mind. Lawrence Caruana surprised me with his thorough investigations and evaluations of visionary art and the development of its network.

Morpheus establishes a museum for the Fantastic Arts in the net. His crew is also growing. For years i was thinking it cannot get darker than Giger, but here comes Barlow and prooves me wrong.

I met Peter Gric who also lives in Vienna , his stunning works his, computerskills and his links show me where the tribe might move to in the future. Through the net i make contact with other artists from his generation.

In the local gallery of Hanno Karlhuber old and young members of the tribe come together at openings to celebrate THAT ART

Brigits Marlins Society of the Art of Imagination and its presence in the internet unleaches an hitherto unimaginable flow of image-force.

Visits to the Netherlands with Phil reveal the outstanding genius of Johfra and the existence of a community of tribe members who have not been known here till now, with connections to France and to Eastern European countries . Rardy van Soest is in the process to create a museum für phantastic realism, Gerrit Luidinga is compiling names and images since years.

This summer i met Phil again and he showed me his recent magnum opus Eyes Of The Soul which collects 150 ! artists from all over the planet in one monumental volume. It took me three hours just to look through the color plates,so much was there to discover !

Okay, and here comes Jon Beinart and switches on the link cluster in the visionary art forum , where i find almost all assembled who passed through ---- this pages- plus more to discover-----isn´t THAT ART?

Vienna, november 11 th, 2005 D E
E S

i

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MESSAGE TWO from march 1982, new york

transformation in art : transformative art

transformation is the key koncept for the understanding of the current world-condition

transformation is the process of fundamental change from the "old world"
to the " new world “

transformation is a process of continual creation, the flow of evolution

transformation moves consciousness, through liberation, growth, expansion, self-realisation and transmission of the energy of transformation

transformative art is a mirror of and an instrument for transformation. it is the expression and transmission of the energy of transformation

transformative art transports awareness beyond the limitations of old belief systems-it transforms.

transformative art 1. reveals the limitations of the "old world"
2. leads back to the source and real values of life
3. tunes into the harmonic order and full potential
of the whole
4. expresses new possibilities, new ideals, new reality
models and the self-image of the new man

TRANSFORMATIVE ART CREATES IMPACT THROUGH THE BALANCED PRESENCE OF IDEA AND BEAUTY, MYSTERY AND MEANING. IT TOUCHES, INSPIRES AND ENERGIZES THE WHOLE BEING

note:
transformative art developed indepently at the same time as many modern and postmodern "isms".it stands in sharp contrast to pure formalism as well as pure photorealism.in its methods it basically continues the traditions of the old masters yet applies it to the subjects of our time. it integrates and brings into focus artistic phenomena that have been labeled mystic, spiritual, transcendental, metaphysical , symbolistic, manneristic, visionary, surreal, fantastic, fantastic-realistic, magic realistic, psychedelic, psychic, consciousness, cosmic, science fiction, space, new age, and so on... art.
-------------------------------------------------------------------------------------

in addition i want to greet all members of the tribe which i met personally
on my journey , mentioned or not , and those i have not met,
with love and affection

IM SINNREICH "soul-update"

2008-10-15T18:59:00.007+02:00

almost one year passed since my last exhibition and before it gets too cold in my ample studio i open my doors to the public.

i show a selection of ten of the100 LIGHT OF LIFE paintings in the hall ( as i still have not found an opportunity to show the complete cycle i intend to make a series of ten shows, each time showing a sequence of ten.)

in the gallery upstairs some new ARCHITEXTURES are for sale.
the large diptych LIFELINES: (WAVELINE -SNAKELINE) brings the current themes to the point.
.

essay by philip rubinov jacobson

2008-01-03T00:25:00.000+01:00

This essay is published in ARCHITEXTUREN

The Promethean Integral Artist
Philip Rubinov Jacobson

The Calling

»Let the beauty we love be what we do.«
Rumi
I first became aware of De Es Schwertberger in 1971. It was a year after I had seen reproductions of the art work of his Austrian mentor, Ernst Fuchs. Not long afterwards, at the tender age of 19, I found myself at Castle Wartholz, in Reichenau, Austria, working under the tutelage of Ernst Fuchs and his assistants, De Es Schwertberger and Wolfgang Männer. In the 35 years that have passed since meeting De Es, our relationship has continued to grow, evolve, change and expand; not unlike the remarkable evolution of his multifaceted artistic life. I have observed the evolution of De Es' work and have become intimately acquainted with his creative process, artistic intentions, psychological, philosophical and spiritual transformations. Qualities that I personally value and highly admire in the artistic domain include versatility, artistic growth, creative courage and spiritual transformation. These are all qualities that De Es possesses in great abundance. Versatility and artistic growth have both become extremely rare and nearly vacant in the arid wilderness of contemporary art. There is a lack of change and genuine growth in self-awareness in most artists. And hardly any recognition and acknowledgement of evolutionary qualities in the administration and handling of finances in the contemporary art scene.
This lack of growth and creative courage can be found in all media of the fine arts, the fads and fashions that fly by overnight like the exhaust from so many passing automobiles on a road with a short destination to a stagnant pond. In addition, too many artists continue to produce the same imagery, decade after decade. The spiritual impetus and inspiration behind the initial intentions of artists are all too often abandoned, cashed-in, for the formulas and fads that serve as a carte blanche at the Bankomat, or ATM, of the Art Market Machine.
In contrast, De Es has remained true to his »calling« as an artist, as surely as the priest has been »called« to his faith. Perhaps, the most remarkable thing about the evolution of his work, despite the seemingly dramatic and radical changes in his art, is the continuity behind his artistic metamorphosis and that this is something that the public has been, in general, unaware of, which can finally be remedied through this premiere exhibition and catalogue on his latest works. His works of the past fifteen years, in particular, offer us a fresh vision, a beacon of light. His paintings assist in the melting away of the repetitive fall of acid snow of art that is all too often vulgar, violent, and vacant. The chilling scams of anti-art-»art« and the »art for art's sake« philosophy crumble alongside the work of De Es. When genuine truth and beauty is seen, the superficial is exposed and its inevitable decay and death gives way to the Tree of Life. As an artist, De Es, with his new paintings, bring us a nourishment of artistic light and life.

The Laboratory
The over-emphasis on becoming a »specialist« in the ever-expanding fields of human activity has also spilled over into the domain of art, encouraging an »icon-nomics« of style that generates artistic profits, instead of creative prophets. Underlying both the personal impulses to growth and creative enterprise are the fundamental impulses that seek a unity of consciousness. This integral impulse has been the very »terra firma« upon which De Es stands. The simple »secret« behind the diversity and creative courage that De Es expresses in his art is that there has always been this philosophical and spiritual quest that remains a constant matrix to his artistic motivation. It cannot be overstated that upon close examination of De Es' whole body of work, it becomes increasingly apparent how each of his so-called »periods« are truly integrated. The past, as it proceeds into the present and even announces the future of his artistic life, becomes obvious. For De Es, this creative process takes the form of a scientific-like laboratory of aesthetic experiments. I asked him about this lab-like approach that he engaged in his creative process, and he replied: »I always did this. As soon as I had found a new idea I did little sketches where I tried to find every possible placement of things and figures in relationship to each other; to find out the best way to express the essence of the idea.« In his pursuit of »essence«, there is a paradox: That which is »born of intuition« seems to almost contradict that which is a result of scientific method, or of »the rational«. In contrast to his earlier works, his recent work reveals a more fresh and free expression, and yet his inner creative process and production of aesthetic ideas remains relatively unchanged. The difference, in my view, is that his creative process has undergone a refinement, allowing more of the »moment« to take on a significant role in his creative productions. At such times, at its apex, even preconceived ideas may be abandoned altogether, or modified so much, that the original idea becomes swept away by a wind much greater than his personal breath of vision. For De Es, this artistic dance between will and surrender draws ever closer to a rhythm and musical flow, a visual language that is both personal and universal, indeed, an integral art of »essence«.
For example, in one of our informal discussions on art, I brought up his »Stone Period«, and conveyed to him that there was a wonderful methodology in his creative process. From my view, it seemed to come into play even when he was dealing with ideas and imagery that came from another realm, non-ordinary states of consciousness; or from invisible forces behind the visible planes of matter. This exquisitely grounded practice of painting, that also reveals an evolution in consciousness within De Es, and for that matter, any responder to art, was of particular interest to me at the time. In talking with De Es he responded very directly: »Once I have something I squeeze it very methodically and thoroughly.« He then mischievously, but innocently, laughed a little and so did I.
He had taken on a bird's eye view, an artistic perspective through scientific spectacles, and added: »… to find the optimal positioning of the light; the angle that would express my idea in the best way, I did hundreds of little sketches without any aesthetic purpose behind it. I just did experimental scribbling until I was absolutely certain that I was ready to begin the painting. Though this approach, I figured out the exact size and proportions of the painting ground. For me it was very important to have a clear-cut idea before starting a painting. I wasn't really interested in how it looks, just as I was not interested in flowers or still lives, or anything one would expect from a painter. I was not interested in the approach, to make something just for the sake of beauty. In the same way, I was not interested in painting something ›fantastic‹ just for the sake of creating beautiful or astounding fantasies. I actually wanted to get away from fantasy to bring it all back to the real ground of existence.«
Following this inner guidance and self-direction, his »fantastic« depictions of the underworld and the Jungian-like archetypal forces at work behind them, did not last long. This culminated in his triptych: The Lifepoles (which came at the end of his »Stone Period« he had started in Switzerland), and De Es added: »... I began to paint floating stones hovering above grassy fields. But soon the grass disappeared and my subjects became strange forces that acted within these barren landscapes. Mountain tops lifted off the ground and floating rocks were split into halves, and the earth underneath them too. The cut went through everything. This was an exciting idea because it could show something very basic about life, about the principle of duality that rules everything. This cut doesn't stop anywhere. Isn't human consciousness beginning when ›the One‹ separates itself into ›the Two‹? Also the phenomenon of the symmetry of the human body came into play at this point as well. At this time science was very preoccupied with researching the connections between the two hemispheres of the brain. When I moved to Switzerland I felt that my period of painting ›robots‹ …« (which came at the tail-end of his immersion in Fantastic Art) »… was also finished.
Looking at life's mechanical aspects couldn't yield more images about the human condition. I was reading a great deal from authors like Erich von Däniken, Timothy Leary, Louis Pauwels and similar stuff. Conceptual art appeared in the galleries and made a mark in my head. During this time of research I did about 150 works on paper. ›The cut that goes through everything‹ was a major discovery in my laboratory. There was ›the horizontal cut‹ and ›the vertical cut‹ and when the lines are crossing we come to ›the point zero‹. The subsequent paintings are metaphors about this ground-map of existence: We are always operating within these major fields of construction, these dualities within this grid of existence.«
For De Es, a mind-set advocating a hierarchical view is barely present in regard to the arts, instead, his paintings and writings express a holarchy that is inclusive of everything, where the realm of fantastic/visionary art is no longer »exclusive« in his search for the »essence« of life and creation. De Es remarks on this as well: »In my search for essence, the fantastic seemed limited for my pursuit, because fantasy usually is just about creating a new spectacle, adding more illusions to what we already have. In my own way, actually, I was opposing purely fantastic art. It was a search for an image that would show some truth; speak out from the ground of existence, reveal the way it is. It was in this manner, that I was finding my real personal content, my very own subject, my very own self. This was my primary motivation.«
To enter the »Realm of Essence« he had to learn to live without preconceived notions; of how art should look like, even how he should perceive life and how he should respond to it. Cast adrift from the »fantastic« dead weight of his past and without any anxiety over the future, he then could enter the Here and Now, the present moment of what was, for him, his »real personal content«, his »very own subject matter«. De Es' latest works of energetic and varied explorations are hard to categorize. They are a hybrid of abstract, expressionistic and multi-dimensional images of a dynamic architectural »Integral Art«. Whatever art-critics may have to say about these recent works, one thing is clear: We can begin to understand why De Es has not stayed in one single room of an infinitely large Creative Mansion. A place that many of us artists drift away from, even becoming »homeless«, and then spend a life-time searching for the essence of our true nature and home, our very own Creative Mansion.

The Creative Mansion of De Es
In the confusing maze of modern art and life, we all long to return »home« to the Creative Mansion within from which we suffer the illusion of separation. For the integral artist, the Creative Mansion must be built to rejuvenate the soul and ultimately serve to inspire others. When one is »called« to do this, to navigate and pass through the wilderness of a contemporary art world, that is, generally, indifferent to an art of the soul, such a calling requires that the artist reconnect to the mansion of creative powers. The artist must »move in«.
The petrified pillars supporting this superficial and often soul-less forest of contemporary art are crumbling, as they rarely contain the Plotinusian strength of Beauty, Truth and Goodness. In his book, The Birth of Tragedy, Nietzsche spoke about what he called »the myth-less man« of the industrial West, who was fired up by the energies of material progress but at the same time troubled by an immense nostalgia:
»And now the myth-less man stands eternally hungry, surrounded by past ages, and digs and grubs for roots, even if he has to dig for them among the remotest antiquities.«
Thrown into this contemporary myth-less-mindscape and irony, De Es has demonstrated a remarkable tenacity from the very beginning, which has nourished the growth of his artistic spirit. This has been (and continues to be) creatively expressed in an artistic spectrum that has gone from a mystical precisionism to a devotional abstraction. His accomplishments have resulted from visiting every nook and cranny of the Creative Mansion on the inside, while never turning his eyes away from the world and the stars above, to which man, mansion and mission is interconnected. De Es' work constantly reminds us of this, even aids us as wayward souls in returning home. In his capacity as a »consciousness-cartographer«, he is navigating the myth-less man back home to the Creative Mansion. Here the view outside the windows widens a connection to the Web of Life, the very fabric of energy and matter that weaves its way on to the canvas of his paintings.

In the Lion's Den
Approaching the Absolute of the »Uncreated« involves the courage to move through one's deepest fears. Such an undertaking, as evidenced in the evolution of this artist's work, expresses this journey of consciousness, ever widening one's view from its egocentric point of origin. Through the spiritual imagination, illusion is destined to unveil enlightenment. We have the opportunity, in this exhibition, of seeing it unfold, and that is a very powerful and contagious thing. Knowing that his art reveals this potential experience within all of us is inspirational. Art has always been a guide toward integrating and inspiring higher forms of beauty, truth and goodness. As a responder to the art of De Es, it is my sincere wish that his work become as much a blazing Promethean fire of inspiration for you, as it has been for me. When I spoke to De Es about this he said:
»Basically everybody stands there in life as the artist, groping creatively into the unknown future to find a shape according to his or her own taste. This is the everyday lesson of art: Finding out what there is tomorrow and how it fits our very own taste. Groping into the Void – if this existential urge is blocked, people just buy into other stuff, and if this continues they suffocate creatively and get buried under the stuff made by others. Today there is so much pressure to consume and the creative self must fight very hard to shake it all off, to find out what it really wants and to establish and secure its own creative space. I think it is very hard in our days to become an artist who really says something in the voice of Spirit, in which the creative spark stays alive and the visions in motion«. This is an art of significant transcendence; it marries prior and present experiences with future-vision. It is embodied in a medium of expression that enlarges, raises, inspires and transforms the awareness of both artist and community. An integral art is none other than a fusion of experience; a transformation that expresses the spontaneity and novelty arising from a more integrated individuality meeting collective purpose. The artist's work aspires to awaken the enlightened mind, stir the divine heart and to reconnect with a greater Reality. Such creative workers help us to recognize the fact that we have no future except for what we envision.

A truly integral artist

Integral artists find inspiration through numerous methods and sources, visible and invisible. While De Es may touch on many aspects of the creative process, it is indeed an appropriate term that he uses in describing his own inventive arena as a kind of »laboratory«. He has that unique quality that few artists possess that combines the mind of an Aristotle with Platonic energies of exploration in the pursuit of truth through beauty.
His recent works reflect the great mystery through abstract architectural forms. His visions are reified through skill, expressing an art of the spirit. Here, »techne« serves as the handmaiden to »psyche«. He builds in pictorial layers of perpetual and conceptual visual-motion, waiting and then acting on an invisible guidance that comes in intervals. Some of his works move toward a more passionate and undeniably human expression where abstract forms and expressive color depend heavily on the artwork mixing together in the eye of the beholder. Then there are those pieces that take on a life of its own, literally guiding him toward completion and in the end, the work itself transforms the artist and – subsequently – the responders to his art, and that is simply a miracle.
I would add that the apex of immersion into the fine arts is, potentially, that the creative worker finally discovers, understands and acts in the service of nothing but Love, Beauty and Truth. Art can »cut in« at any point, or state, on the spectrum of consciousness regardless of the stationed-stage of consciousness of the artist. De Es is living proof of this and his imagery has gone from incredibly meticulous pictures, rising from the deepest recesses of the unconscious, to a playful, expressive, and sometimes purely abstract exploration of the forms, textures, colors, rhythms and layers of matter that is joyously born from Spirit. Indeed, one can see in these paintings a kind of probing into life, from the surface of matter to infinite space. He had been painting this all along, but now his recent works are »blow-ups«, energetic magnifications of the surface textures, qualities, mathematics, motions, music and scores of his orchestrated visual journey through an architectural space, a matrix that expresses the son of the infinite and the daughter of the eternal.
There is a sense of everything being inextricably interconnected. One can also see, almost hear, a musical symphony of the quantum physics behind the painted building blocks of atomically constructed patterns. These rhythm-like patterns begin to build forms, like superimpositions upon and through organic fields, a strata of space and time, ancient-future cities and concertos of color, scoring the composition of his works. Further, art can take on a profound noetic, hermeneutic quality. This ability is acquired not by way of observation, but by way of inspiration and the creative and active fusion between spirit and matter. The imaginer (the subject), does not stand over or opposite the screen of vision (the object); the two merge, subject and object unite. It is witnessed, at first, as something other than one's self, followed immediately with the experience of fusion, with the knower and the known becoming one. The artist has the experience of being that which she/he knows and knowing that which she/he is. Knowing and feeling become one. Like innocents, integral artists are mapping the sphere of consciousness, driven by aesthetic instinct, necessity and play. This mysterious integral power has its own will and ends, something is playfully at work inside the artist, or above him, and something comes which is, at times, even beyond his own understanding, and yet De Es, knowing that he cannot know the »All«, surely knows his »part in the All«.

The Integral Fire

If philosophy begins in wonder and ends in understanding, then art departs from what has been understood and moves towards wonder. In a state of »awe«, something is gained and we become larger, more inclusive and integrated with the great mystery of life. The integral dimension of art has its fount in what is the raw material of religion, science, philosophy, poetry, painting, music, indeed, in everything. There is only one Truth, one Reality, to be discovered by all humanity. There is not a distinct and different God, or Truth for each of the world's religions, any more than there is a different Sun or Moon for astronomers of various nations of the Earth under the stars. The unending religious differences of opinion, each religion believing they have the one and only »copyright on God«, has caused an unfathomable ocean of spilled blood, century after century. However, both De Es and his art reflect an awareness that celebrates what is common among all the wisdom traditions, and does not focus on the differences.
De Es' art genuinely inspires a unifying perennial vision. Whereas science emphasizes reason and experiment, and religion bases itself on faith and dogma, there are now more and more thoughtful people who consider the old dichotomies between art, religion, industry, and science, respectively, as faulty and unconstructive. De Es prefers to look at these approaches to reality as complementary, each in their own separate domains without one ruling over another. Such a new view calls for a methodology of introspection that provides direct experiential access to the inner reality of the creative process and consciousness, creative construction and solutions.
»This is the creative process as I see it. You don't even know what you want at first. There is just preparedness for creation and an openness to find something, but you do not know what you are going to find. You are not satisfied with what is already known, so you open yourself up to the unknown, with the expectation that you are able to bring something out of the dark and into the light of the world. Genuine creativity starts with this yearning in front of some kind of blackness. You want to bring something out of that blackness, get a hold on it, make it visible, give it substance, make it real and show it to others – so they can hold it. If you are successful then your art has the power to convince that indeed there is something in the Void! Art must convince! However, even when artists do find something they are always afraid they didn't find enough. That is the artistic position and emotional arrangement. The artist stands in front of the Void and he is afraid that he is not able to pull something out of it.«
The art of the integral creative worker, although often neglected by the mainstream, has had, and will always have, a life and Promethean light of its own. The genuine artist seeks the »wonder«, the »awe«. Humanity no longer regards itself as primitive but something has been lost along the way. The wonder has fled with the winds. This experience of awe has been succeeded by one of »sophistication«. Today, man worships no longer the moon and the stars but his own accomplishments, and either relegates the immensities of time and space to the background of his consciousness, or disregards them entirely, while integral artists use this as their veritable springboard to a new vision and understanding.
The art of De Es reifies an experience of the veritable web of life; the vision and understanding that the whole universe is alive! As our Earth, this tiny planet, rolls along its orbit in space within a universe composed of innumerable and brilliantly life-giving stars, human beings prefer to see only the busy anthill they scurry upon. They believe only in what is seen on the sod upon which they dwell. They are blind to the sacred, the invisible, and even to the beauty of their own immediate surroundings. De Es' body of work reveals an ancient-future of extraordinary places, particles, predicaments, presence and predictions.
From the first artistic expression by a child acting on the impulse to draw, up to the creations of a Michelangelo, the self is created, literally, through the creation of objects. This is the ground for De Es as an integral artist. Indeed, the artist must be so intimately acquainted with materials of the objective world that he, or she, can combine and transform them into an object of art, unique and expressive of both an individualized and collective life. On one of those long evenings of wine and conversation with my friend and philosopher, Ken Wilber, we were both elated by a profound statement by Goethe. Goethe had said that it was the literary character, Faust, that he created, that led him to the understanding of himself:
»The work in progress becomes the poet's fate and determines his psychic development. It is not Goethe who created Faust, but Faust who created Goethe«.
We envision what we will become and that vision draws us toward itself as our self. We become what we meditate on. We become what we create. The journey of art can thus be formed in the spiritual imagination as an integral part of a contemplative practice. The transpersonal and aesthetic experience synthesizes a constellation of traits and challenges into a unified whole. To do that, we must first integrate ourselves. In essence, an aesthetic practice heals the breach between the rational and the intuitive, between the individual and the universe, serving as a catalyst to expand consciousness from an egocentric identity toward that of an All-inclusive-One.
De Es aspires to awaken the enlightened mind, stir the divine heart, and to re-connect with the »essenc« that is creation itself. Within the gem of being genuine, there is a multifaceted extension of consciousness, a release of latent powers and a widening of vision. The »visionary« can include the naïve, the classical, the expressionistic, the fantastic, the abstract, actually anything with an illuminated consciousness behind the creation – with the skills matching the need.

Philip Rubinov Jacobson is an artist, author, educator, philosopher and traveler born in Rochester, New York. An international and central figure in both the Fantastic and Visionary genres’ of art, he holds degrees in Painting, Printmaking and Sculpture , with studies in Psychology, Philosophy and Comparative Religion. His paintings have been exhibited internationally in more than 90 exhibitions. He is the author of "DRINKING LIGHTNING - Art, Creativity and Transformation" , and the forthcoming publication in 2008, from Betty Books in Bologna, Italy; "PROMETHEAN FLAMES - Rekindling and Re-visioning the Creative Fire". The artist/author's culminating finale' in this Trilogy of Art and Spirit will be "EYES OF THE SOUL - Exploring Inspiration in Art", with an extensive Foreword by Ken Wilber books about art, inspiration, creativity and transformation. In 1981 he co- founded and directed the School of Extended Studies at Naropa University in 1991 in Boulder, Colorado, where he served as the 'rector', or Dean, from 1991-1997. He has been holding his renowned summer painting seminars: "Old Masters - New Visions" since 1997 in Austria, Bavaria, Italy and the USA.
www.rubinovs-lightning.com

red dots

2007-12-13T22:32:00.001+01:00

position

2007-12-08T19:44:00.000+01:00

grundsätzlich geht es in der malkunst
um die art und weise wie die farbe aufgetragen wird.
die skala der machart reicht von ganz grob bis ganz fein.
zwischen diesen malweisen liegen welten.
die feinen maler sehen im groben ein zuwenig,
die groben sehen im feinen ein zuviel.
ich benutze die gesamte skala des farbauftrages.
ich webe das feine ins grobe
und unterlege das feine mit kraft.

kunst als dialog der versöhnung
von zeitgeist und ewigem geist.

kunst bewahrt
einheit und vielheit im gleichgewicht

kunst fasst unfassbare fülle - in eine form.
frei fliesse die fülle in dem einen licht !

exhibition views

2007-12-03T21:42:00.000+01:00

wonderful opening

2007-11-25T12:35:00.000+01:00

einladung invitation

2007-11-05T09:50:00.000+01:00

Ausstellung
De Es Schwertberger
ARCHITEXTUREN
Arbeiten aus den Jahren 1992-2007

Palais Palffy, Wien 1, Josefsplatz 6.
Geöffnet Fr. 23.11. bis inkl. So. 2.12.2007 täglich von 10-18 h.
Eintritt frei

Eröffnung Do. 22.11. 19 h , durch Dkfm. Dr. Siegfried Sellitsch
Anmeldung zur Vernissage erbeten beim Veranstalter
GEORG FOLIAN unter georg.folian@warimpex.com

architexturen katalog

2007-10-22T11:33:00.000+02:00

Der Katalog wird bei der Eröffnung der Ausstellung am 22.November 2007 präsentiert .

Der Katalog zur Ausstellung "De Es Schwertberger. Architexturen: Malerei 1992-2007" gibt nicht nur die 51 Bilder der Ausstellung wieder, sondern dokumentiert auch die Entwicklung des Künstlers vom Phantastischen Realisten zum Maler von Architexturen.

Mit Textbeiträgen der Malerkollegen Gottfried Helnwein und Philip Rubinov Jacobson, des Kulturwissenschafters Dieter Schrage, der Musikwissenschafterin Irene Suchy, des Architekturtheoretikers Jan Tabor sowie der Schriftsteller und Kunstpublizisten Gerhard Habarta, Hans Janitschek, François Loeb, Gerrit Luidinga und Rainer Tramin.

De Es Schwertberger. Architexturen: Malerei 1992 bis 2007. Katalog zur Ausstellung Architexturen, Wien 2007, Palais Palffy
Broschur mit Fadenheftung, Format: 24 x 29 cm,
ISBN: 978-3-9502272-6-0

Bestellinfos:
Erhältlich im deutschsprachigen Buchhandel oder direkt beim Gezeiten Verlag (zuzüglich Versandkosten):
Tel. +43/660/34 94 024
bestell@gezeiten-verlag.com
www.gezeiten-verlag.com
Auch Im Internet unter "architexturen" bei www.amazon .de
Preis: 33,- Euro
----------------------------------------------------------------------------------------------------

The catalog will be presented at the opening of the exhibition , november 22 nd.
"De Es Schwertberger. Architexturen: Malerei 1992-2007" not only reproduces the 51 paintings of the show, but also documents the development of the artist from a "Phantastic Realist" to the painter of "Architextures"
With german text-contributions by Gottfried Helnwein , Dieter Schrage, Irene Suchy, Jan Tabor, Gerhard Habarta, Hans Janitschek, François Loeb, Gerrit Luidinga und Rainer Tramin.
The essay by Philip Rubinov Jacobsen is in english.

Broschur with Fadenheftung, Format: 24 x 29 cm,
ISBN: 978-3-9502272-6-0

Order information
Tel. +43/660/34 94 024
bestell@gezeiten-verlag.com
www.gezeiten-verlag.com

Also online under "architexturen" : www.amazon.de
Price: 33,- Euro

the return of de es

2007-10-12T13:47:00.001+02:00

Exhibition De Es Schwertberger
ARCHITEXTUREN
22. bis 30.11. 2007
Palais Palffy ,1010 Wien, Josefsplatz 6
Eröffnung 19 Uhr

Von 22. bis 30. Nov. 2007 sind im Wiener Palais Palffy Werke des österreichischen Malers und Künstlerhausmitglieds De Es (Dieter) Schwertberger zu sehen. In dieser Personale werden ausgewählte Arbeiten der letzten fünfzehn Jahre gezeigt, die der Künstler als „Architexturen“ bezeichnet.
Schwertbergers Motive sind Licht und Raum, die sich wie ein Leitfaden durch sein gesamtes Werk ziehen. Zu Beginn der 60er Jahre malte er surreale, utopische Räume und Szenerien, die formal zunächst eher dem Phantastischen Realismus zuzuordnen waren. Im Lauf der Zeit entwickelte Schwertberger daraus eine neue, sehr persönliche Bildsprache, die man als realistische Abstraktion bezeicnen könnte.
Nach einem längeren Aufenthalt in der Schweiz zog er Anfang der 70er Jahre nach New York. Seit 1986 lebt er wieder in Wien. Auch wenn seine Bildsprache sich über die Zeit grundlegend wandelte, so blieb er dennoch seinem Grundthema stets treu:

„Ich möchte mit meinen Bildern das Leben in seiner unbegreifbaren Fülle als etwas „Ganzes’’ durchleuchten, will in seinen scheinbaren Widersprüchen das Wesentliche sichtbar machen, Grundstrukturen und innere Zusammenhänge freilegen, .....“

Mit seinen „Architexturen“ verknüpft De Es dazu elementare Themen wie Struktur, Natur und Welle zu architektonischen Mustern, die uns allen in der Vielfalt natürlicher wie auch künstlicher Lebensräume vertraut sind.
Aus der Nähe betrachtet wirken die Arbeiten wie dichte, abstrakte Texturen. Tritt man jedoch einige Schritte zurück, so entsteht zum Beispiel der Eindruck einer dreidimensionalen Stadtlandschaft, aus Textur wird Architektur. Schwertberger experimentiert vor allem mit Raumtiefe, die für seine Bilder essentiell ist.
De Es Schwertberger ist kein naturalistischer Maler, die Natur in seinen Bildern ist vielmehr ein vertrauensschaffendes Mittel, um dem Betrachter virtuelle Räume zu eröffnen, die ihm seine innere Natur zeigen können.

Die von einem Wiener Kunstsammler initiierte Ausstellung wird von der Kunsthistorikerin und Herausgeberin Christine Janicek kuratiert. Diese Ausstellung ist der Beginn eines langfristig angelegten Kulturprojektes, mit dem die Veranstalter das Werk von hervoragenden, aber außerhalb der Fachwelt weniger bekannten Malern einer breiteren Öffentlichkeit zugänglich machen wollen. Zunächst ist jährlich eine Ausstellung geplant, die in einer anspruchsvollen Publikation zusammen gefasst werden soll.
Die erste Ausstellung dieser Reihe, „Architexturen“, wird am 22. November 07 im Wiener Palais Palffy eröffnet. Der Katalog dazu erscheint im Gezeiten Verlag & Kommunikation. (red)

„A r c h i t e x t u r e s“

D e E s S c h w e r t b e r g e r
Exhibition at the Palais Palffy / Vienna, Thu Nov 22 until Fri Nov 30, 2007

De Es Schwertberger, Austrian painter and member of the reknown Viennese Künstlerhaus-Artist-Society, shows his recent works at Palais Palffy in Vienna. The exhibition opens Thursday, Nov 22, 2007 and features selected paintings from the last fifteen years, which the artist calls himself „Architextures“

Schwertbergers themes are in principal light and space, which lead through all his works. In the sixties he painted surreal, science-fiction sort of spaces and sceneries, which could be classified as Phantastic Realism. Starting from there, Schwertberger developed a unique pictorial language, which could be described as „Realistic Abstractionism“
During the late sixties Schwertberger lived in Switzerland, before he moved to New York. During 1986 he returned to Vienna. Even though his pictorial language underwent fundamental changes, he stayed always true to his basic theme:
„... I want to x-ray life in its unfathomable fullness as a „whole“, I aim to make the essence visible within its seeming contradictions, I want to unveil basic structures and inner connections, ........“
In his „Architextures“, De Es merges rudimental subjects such as structure, nature and waves into architectural patterns, which are usually most familiar to us, both in our natural as well as in our cultural, rather artificial enviroment. From a close view, this works appear as dense, abstract spatial textures, but if one steps further away, three dimensional citylike-landscapes emerge: The texture turns into architecture. Schwertberger loves experimenting with the depth of space, which is most essential for the effect of his paintings. He is not a naturalistic painter, nature in his paintings is rather a medium, that encourages the viewer to enter a trusted yet virtual space within, that can gradually introduce him to his inner nature.

This show is inaugurated by a viennese art collector and curated by art historian and editor Christine Janicek. It will be the first of a series of similar projects, with which the organisers intend to introduce outstanding, though rather specialised fine artists to a broader pub¬lic. In due course it is planed to present one artist every year, with a comprehensive exhibition and the publication of a representative catalogue, which will include also reviews and introductionary contributions by leading experts and artist collegues. These catalogues will be published by „Gezeiten Verlag & Kommunikation“.