Hans Platschek Prize

Hans Platschek Prize
Prize conferral Hans Platschek Prize 2020, prize winner: Helga Schmidhuber

The Hans Platschek Foundation, which the attorney Kurt Groenewold founded in Hamburg in 2005, which has annually conferred its art prize at art KARLSRUHE for more than a decade, commemorates the painter and author Hans Platschek, who passed away in the year 2000 and surely ranked among the foremost pioneering and reflective thinkers and critics of artistic positions after the Second World War.

The Berlin-born artist last resided in Hamburg after having lived in cosmopolitan cities such as London, Paris and Rome. He fled to South America with his parents as a teenager because daily life under the National Socialist regime in Germany had become unbearable for the family (his mother was Jewish).

Award ceremony: Thursday, July 07, 2022, 5 p.m., at the ARTIMA art Forum in Hall 3

Prize winner 2022: Osmar Osten

Hans Platschek Prize winner 2022 Osmar Osten, Foto: © Franziska Kurz
Hans Platschek Prize winner 2022 Osmar Osten, Foto: © Franziska Kurz

The Hans Platschek Prize 2022 goes to the painter Osmar Osten.

Osmar Osten studied painting and graphic arts at the Dresden University of Fine Arts from 1980 to 1985, after completing training as a landscape gardener. From 1991 to 1995 he held a teaching position at Westsächsische Hochschule Zwickau für Angewandte Kunst Schneeberg and in 2010 at the Bilbao Arte Centre. Since 2002 Osmar Osten is a full member of Sächsische Akademie der Küsnte, Dresden.

In 2010 and 2020 he was awarded the prize of the graphic biennial 100 Saxon graphics.

In addition to a long-standing collaboration with the gallery "Salvatore e Caroline Ala" in Milan, he exhibited in numerous galleries and museums in Germany and abroad, last year under the motto "Afrika ist für alle da!" in the Neuen Sächsischen Galerie Chemnitz.

Currently on view are the exhibitions: "Edelsinn" at Galerie Adlergasse, Dresden (November 26, 2021 to March 4, 2022) and "Tagesschau" (group exhibition) at Galerie Mountains, Berlin (February 4 to March 6, 2022).

On April 4, 2022, an exhibition opens at Sächsische Akademie der Künste, Dresden.

Previous winners of the Hans Platschek Prize include Michael Kunze, Monica Bonvicini, Helga Schmidhuber and Monika Baer (2021).

Juror 2022 Dr. Ulrike Lorenz, President of Klassik Stiftung Weimar, Foto: Candy Welz, © Klassik Stiftung Weimar
Juror 2022 Dr. Ulrike Lorenz, President of Klassik Stiftung Weimar, Foto: Candy Welz, © Klassik Stiftung Weimar

As every year, the Foundation’s board of directors selects an individual juror to nominate a prizewinner for the award ceremony. The board currently consists of Kurt Groenewold, Prof. Bettina Steinbrügge from the Kunstverein in Hamburg and Dr. Sebastian Giesen from the Hermann Reemtsma Foundation. The individual juror and thus also the presenter of the laudation in 2022 is Ulrike Lorenz.

She has been president of the Klassik Stiftung Weimar since August 2019, following positions as director at Kunsthalle Mannheim, Kunstforum Ostdeutsche Galerie, Stadtmuseum Gera, and Kunstsammlung Gera, where she built one of the largest Dix collections in public hands. She later curated the first Otto Dix retrospective in Latin America, "Otto Dix: Violencia y Pasión" at the National Gallery of Mexico City (2016).

In 2008, she received the Friedrich Baur Prize from Bayerische Akademie der Schönen Künste in Munich. In 2018 she was awarded the Frauenbrücke Prize for Inner Unity of Germany.

List of works Osmar Osten

Osmar Osten, Die Beliebigkeit in der Kunst ist zwar kein Fluch aber auch kein Vorteil, 1996, Öl auf Hartfaser, 97 x 77 cm

Osmar Osten, Die Beliebigkeit in der Kunst ist zwar kein Fluch aber auch kein Vorteil, 1996, Öl auf Hartfaser, 97 x 77 cm

Osmar Osten, Wissenschaftler sind Menschen zweiter Klasse!, 2016, Öl auf Leinwand, 30 x 24 cm

Osmar Osten, Wissenschaftler sind Menschen zweiter Klasse!, 2016, Öl auf Leinwand, 30 x 24 cm

Osmar Osten, Wie nun?, 2020, Öl, Sprühlack und Münzen auf Leinwand, 107 x 86 cm

Osmar Osten, Wie nun?, 2020, Öl, Sprühlack und Münzen auf Leinwand, 107 x 86 cm

Osmar Osten, ohne Titel, ohne Jahr, Acryl und Sprühlack auf Hartfaser, 161 x 103 cm

Osmar Osten, ohne Titel, ohne Jahr, Acryl und Sprühlack auf Hartfaser, 161 x 103 cm

The Interview

Karlheinz Schmid, author and publisher of KUNSTZEITUNG, talks about Hans Platschek.

Karlheinz Schmid: He had the rare gift of being able to combine high intellectuality and the most hedonic sensuality. His personality was dominated by these two forces. On the other hand, they also provided him with two escape valves through which he brought his thoughts and feelings into public view. Hans Platschek painted what he either could not or preferred not to describe in words. And he repeatedly wrote texts whenever his visual media threatened to fail and his thoughts stretched far beyond the limits of a picture frame. He utilized this interplay with characteristic virtuosity until his final hour.

Karlheinz Schmid: Naturally, Platschek was sufficiently smart and experienced enough to also be capable of working academically. But alongside his paintings on canvas or paper, he clearly preferred the opportunity to also be colourful with words. He was a man of letters and always dedicated to art, which was his lifelong theme. He also had no qualms about ruthlessly fouling the nest and launching personal attacks against individual colleagues when he was not convinced by their message. He was a polemicist of a breed rarely seen in the art business in the past decades.

Karlheinz Schmid: Joseph Beuys was his archenemy. I shall never forget the nightlong arguments we had about Beuys during the first half of the 1980s, before the untimely death of that ubiquitously courted artist. Fortunately, our disputes always ended in reconciliation! Some laymen claimed that Beuys was a charlatan. Hans Platschek strove to disseminate that view in an even more extreme form, which he naturally supported with ample and eloquent argumentation. I often thought Hans was only trying to impress the boys and girls “on the turf” in Hamburg. But soon afterwards I would find myself reading precisely the same words that he had declaimed a few nights previously. It was a wild time, a time when art seemed to be a matter of life and death, all or nothing.

Karlheinz Schmid: I miss my fatherly friend, who was a great artist. I am glad that Hamburg’s Hans Platschek Foundation annually commemorates him at art KARLSRUHE with a prize conferral and an exhibit which confirm that this painter and critic left an oeuvre which still deserves to be grappled with.

Hans Platschek: Role Model

There can be no doubt that Hans Platschek, who was born in Berlin in 1923 and died in Hamburg in 2000, numbers among the artists who strongly influenced the art after 1945 in Germany. Like many of his colleagues, he initially developed a nonfigurative style of painting, often restricted to dark, earthy tones. Afterwards, but already before the end of the 1950s, he broke out of Informalism and increasingly dedicated himself to a figurative way of painting. Some of his artist friends denounced this as treasonous disloyalty. For his part, Hans Platschek – who also provided plenty of explosive material in his books (e.g. “Über die Dummheit in der Malerei” [“The Stupidity of the Painting”] or “Von Dada zur Smart Art” [“From Dada to Smart Art”]) and articles – was one of the pioneering thinkers who never avoided a conflict and whose thought-provoking opinions always sparked lively debates.

Previous winners

  • 2021 Monika Baer, painter | Juror: Christina Végh, Director of Kunsthalle Bielefeld
  • 2020 Helga Schmidhuber, painter | Juror: Prof. Dr. Alexander Klar, director of the Kunsthalle Hamburg.
  • 2019 Monica Bonvicini, painter and performance artist | Juror: Prof. Bettina Steinbrügge, art historian
  • 2018 Michael Kunze,painter | Juror: Dr. Gregor Jansen, art historian, publicist and curator
  • 2017 Jonathan Meese, painter and performance artist. | Juror: Florian Illies, art historian and art critic
  • 2016 Justin Almquist, US Amercan artist. | Juror: Matthias Mühling, director of Städtische Galerie im Lenbachhaus
  • 2015 Rikuo Ueda, Japanese artist from Osaka. | Juror: Sebastian Giesen, art historian
  • 2014 Sandra Boeschenstein, Swiss artist, lives and works in Zürich. | Juror: Ulrike Groos, director of Kunstmuseum Stuttgart
  • 2013 GIOM (Guillaume Bruère), French draughtsman, painter, sculptor and performance artist. | Juror: Robert Fleck, Kunstakademie Düsseldorf
  • 2012 Rolf Bier, painter, author and object artist. | Juror: Ulrich Krempel, director of Sprengel Museum Hannover
  • 2011 Werner Büttner, publishes visual works and aphoristic texts. | Juror: Harald Falckenberg, art collector
  • 2010 Monika Grzymala, sketches and paper installations. | Juror: Axel Hecht, art critic and editor-in-chief of “art” magazine for many years
  • 2009 Friedrich Einhoff, painter and draughtsman. | Juror: Werner Hofmann, former director of Kunsthalle in Hamburg
  • 2008 F. W. Bernstein, draugtsman and satirical author. | Juror: Manfred Eichel, former head of “aspekte”