MANFRED HEINZE
 

Cells 2019

Cells  2016–2018

Cells  2010–2015

Cells  2000–2009

Cells  1977–1999

Objects

All the Rest ...

Spacetime  2017–today (selection)This group of works is based on a dream of 18 May 2017, 02:27 hrs in Badenweiler (DE):On sales slips, trace all digits "7" and underline the date of the sales slips. The sales slips are glued in the middle of a 21 x 21 cm cardboard box. Depending on the length and width of the slips, the black cardboard box remains visible on the right, left and bottom. Interesting is the time factor: on the one hand, due to the date imprints of the slips at an early stage, and on the other hand, due to the fading of the usually used thermal paper of the slips and the resulting matrix of numbers "7" and a horizontal line in the later course of the project.(Original note from 18 May 2017 - 02:43 h.)


02.10.2017 | 02-10-17 (2017) - 07.554 - two sales slips, staples, ink, cardboard - 21 x 21 cm

 

22.09.2017 | 25.09.2017 (2017) - 07.549 - two sales slips, staples, ink, cardboard - 21 x 21 cm

 

14.09.2017 | 14.9.2017 (2017) - 07.545 - two sales slips, staples, ink, cardboard - 21 x 21 cm


 

30-05-2017 | 01/06/2017 (2017) - 07.386 - two sales slips, staples, ink, cardboard - 21 x 21 cm


 

16Mai ´17 | 16.05.2017 (2017) - 07.373 - two sales slips, staples, ink, cardboard - 21 x 21 cm




EiBrot 2010–today
EiBrot website: eibrot.jimdo.com
All my Eibrot 
(egg sandwich) photographs will be published on Instagram: eibrot

    
The only thing that is important is the aesthetics, the colors, the proportions
and the composition of the EiBrot. Apart from that the EiBrot will not change
anything, it will not criticize anything and it want´s no discussion.
In this project the egg is not a symbol of beginning life, the bread is not a symbol
for the human being or man-made things or even a divine symbol, the eating of
the EiBrot is not a vanitas motif. It´s not erotic and it´s not political.
An EiBrot is a bread with an egg on it, a little piece of artwork,
beautiful and delicious - and nothing else.


Performances  2008–today
The performances by Manfred Heinze are an ironic criticism of the inflationary phenomenon
of artistic performances in contemporary art.

Factory33 / RaumZeitKunstKarton (2018) - KunstQuartier, Osnabrück - 08.365

 

 Eating the EiBrot, live performance StadtGalerie Osnabrück, May 2017


Kuchen essen - Kunst vergessen [eat cake - forget art] (2015) - 06.733 - live performance

 

Idleness (2015) - 06.731 - live performance

 

Duran Pussy (2013) - 06.236 - live performance

 

Abdominal Implant [23.9.2000] (2013) - 05.907 - live performance (belly enlargement surgery)

 

I´m getting richer/poorer every day (2013) - 05.888 - internet performance

 

Promenade (2013) - 05.755 - live performance


Eating the EiBrot (2011) - 05.447 - live performance / video

 

 

Ness-Eg-Attim (2008) - 02.786 - live performance

 

Iks-Nip-Mek (2008) - 02.782 - live performance (tv still)

Dichotomy  1983–2014 (selection)
With approximately 2,000 works, this is Manfred Heinze's second largest group of works. In it, free abstraction and geometric abstraction are confronted. Here it is mostly monochrome geometric forms that overlap free painting. Later on, it is also ornaments, more complex geometric shapes, which determine the image instead of rectangles and squares. Since about 2004, the work group "Cells" has dominated again Manfred Heinze's work. Due to numerous overlaps between the groups of works, one could certainly say that the group of works "Dichotomy" has become or always was a part of the group of works "Cells".


Ozumme (2014) - 06.316 - acrylic, paper, tape, canvas - 50 x 60 cm

 

Pink (2011) - 04.088 - plastic, cardboard - 5 x 5 cm

 

Ealu B (2010) - 03.682 - oil, acrylic, paper, plastic foil, canvas - 50 x 60 cm

 

Point of no Return (2010) - 03.673 - oil, acrylic, plastic foil, kapa - 21 x 29,7 cm

 

Intupjion (2009) - 03.530 - oil, acrylic, ink, canvas - 50 x 60 cm

 

Gender (2005) - 02.051 - oil, acrylic, ink, canvas - 110 x 180 cm

 

Badenweiler Trilogie [Anton Tschechow] (2003) - 01.610 - acrylic, digital print, canvas - Ø 113 cm

 

Trias Politica [Legislative, Exekutive, Judikative] (2003) - 01.572 - acrylic, canvas - Ø 183 cm

 

schwarz-rot / hellblau (1991) - 01.084 - acrylic, canvas - 50 x 60 cm

 

violett / gelb / weiß / schwarz (1990) - 01.054 - acrylic, canvas - 50 x 60 cm

 

Nr. 1.044 (1990) - 01.044 - acrylic, canvas - 86 x 86 cm

 

Nr. 1.028 (1989) - 01.028 - acrylic, canvas - 50 x 60 cm

 

Komposition Nr. 405 (1984) - 00.405 - spray paint, dispersion, canvas - 190 x 140 cm

 

Freiheit & System Nr. 15-1/3 (1984) - 00.380 - oil, canvas - 80 x 60 cm

 

Seelenfenster (1983) - 00.200 - Gouache, Lumber - 50 x 71 cm



Empty  2011–2013 (selection)
Most of us live in a world of
abundance and can hardly imagine,
what it feels like when something is not there - when something is empty.
But many people lack the most necessary things.
Sometimes it is just annoying, but sometimes it is life threatening.

(installation with 68 empty objekts)



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var. empty things

 

empty artist color

 

empty toilet paper

 

empty website

 

empty rice

 

empty suitcase

 

empty first aid kit

 

empty baby bottle

 

empty caviar

 

Mono  1985–today (selection)
Manfred Heinze creates monochrome picture surfaces on different bases, which allow other colours to appear through the incoming light.



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Absorber (2006) - 02.475 - laminate plastic foil, kapa - 21 x 29,5 cm

 

3 orange (2005) - 02.288 - acrylic, lumber - 5 x 15 cm

 

Mono 4 August «schwarz» (1992 / 2008) - 01.121 - oil, canvas - 50 x 60 cm

 

Hommage a Kandinsky (1987) - 00.903 - oil, canvas - 77 x 81 cm

 

Mono Vier 3 (1985) - 00.721 - lacquer, lumber - 95 x 95 cm


Dispatch  1979–today (selection)
The word "dispatch" borrowed from diplomatic language can nowadays be translated as "news". In this sense, the paintings transport information that has been taken from and visualized in various media. It is not always possible to recognize the underlying event from the title.     


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Terrorist 1 (2011) - 04.114 - acrylic, ink, handmade paper - 21 x 21 cm

 

Wie von einem anderen Stern (2010) - 03.664 - acrylic, canvas - 30 x 40 cm

 

 

Flachdach 1 (1989) - 01.091 - ink, graphite, drawing foil - 15,2 x 9,7 cm

 

Der Höhrer (1979) - 00.006 - ink, paper - 27,5 x 21 cm

Backbone  1980–today (selection)
This group of works is based on a dream in which people could only be seen from behind. There was never a face to be seen.


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Backbone VIII. (1980) - 02.407 - b/w photo - 9 x 13 cm

 

Backbone II. (1980) - 02.401 - b/w photo - 13 x 9 cm

 

Backbone I. (1980) - 02.400 - b/w photo - 13 x 9 cm

 

Ku-Damm II. (1984) - 02.396 - b/w photo - 13 x 9 cm

 

Ku-Damm I. (1984) - 02.395 - b/w photo - 13 x 9 cm

Appropriation  2009–today (selection)
At Manfred Heinze, the appropriation of foreign works consists in the selection and the search for details in profane and qualitatively inferior paintings, which are usually hung for decoration purposes in apartments of older generations. Thus, small details of these works can have a certain quality that needs to be discovered.


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untitled [tree] (2018 - 07.627 - ready made peinting, canvas - 18 x 13,5 cm

 

untitelded [flowers] (2018) - 07.626 - ready made painting, canvas - 20 x 14 cm


untiteled [trees] (2018) - 07.625 - ready made painting, canvas - 18,5 x 15,5 cm

 

untiteled [Hirsch] (2009) - 03.515 - ready made painting, canvas - 18 x 18 cm

 

untiteled [Wolken] (2009) - 03.514 - ready made painting, canvas - 33 x 27 cm

Numbers  2011–today (selection)
The painted numbers are directly related to events or results of world events. They are so irrefutable truths and objective quantifications.


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42.3 (2011) - 04.261 - acrylic, lacquer, fabric, canvas - 30 x 40 cm

 

21 (2011) - 04.259 - acrylic, fabric, canvas - 30 x 40 cm

 

0,0000000071512 (2011) - 04.199 - acrylic, lacquer, fabric, canvas - 30 x 40 cm

 

9.0 (2011) - 04.197 - acrylic, fabric, canvas - 30 x 40 cm

 

Vision Depesche 104 (2011) - 04.104 - acrylic, graphite, paper - 30 x 40 cm

Kurtz  2013–today (selection)
"Kurtz" is the name of a teddy bear, who is the main character in numerous four-line poems by Manfred Heinze.
This photo series accompanies poems like this:

Der Teddybär, der Teddybär
Der geht in die Kantine
Er trifft sich dort mit Gummibär
Der ist aus Gelantine


The Teddy Bear, the Teddy Bear
He goes to the canteen
He meets there with Gummi Bear
This is made of gelatin



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Teddybär A (2013) - 05.749 - photograph - 21 x 21 cm

 

Teddybär B (2013) - 05.750 - photograph - 21 x 21 cm

 

Teddybär C (2013) - 05.751 - photograph - 21 x 21 cm

 

Teddybär E (2013) - 05.753 - photograph - 21 x 21 cm

 

Teddybär F (2013) - 05.754 - photograph - 21 x 21 cm

Repetitio  2013–today (selection)
The aesthetics of repetition is the focus of this group of works. Similar to the works of Peter Roehr (1944 - 1968), Manfred Heinze collages a wide variety of found materials.   


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Kontrolle Schicht B (2013) - 06.242 - ball pen, paper, cardboard - 21 x 21 cm

 

@ (2013) - 06.233 - computer graphic, cardboard - 21 x 21 cm

 

Zack Zack (2013) - 06.232 - computer graphic, cardboard - 9 x 17,8 cm

 

Repetitio (2013) - 06.231 - computer graphic, cardboard - 21 x 21 cm

 

+ (2013) - 06.229 - transfer print, ink, handmade paper - 10,5 x 14,8 cm


Schroeder House  2013–today (selection)
These photos are an independent part of the performance staged as "The Schroeder House Reset" (2013). The wall works in the 1877 built Schroeder House were done monochrome and have been overhauled from time to time.  


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The Schroeder House Reset [6]

 

The Schroeder House Reset [4]

 

The Schroeder House Reset [2, The Klausing Wall]

 

The Schroeder House Reset [2]

 

The Schroeder House Reset [1] (2013/2014) - 06.263 - photographs - var. dimentions


Ossy Family  2013–today (selection)
Manfred Heinze's first and so far only street art project.


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Ossy A (2013) - 06.099 - doll eyes, photograph - 18 x 24 cm

 

Ossy D (2013) - 06.102 - doll eyes, photograph - 18 x 24 cm

 

Ossy J (2013) - 06.135 - doll eyes, photograph - 18 x 24 cm

 

Ossy K (2013) - 06.136 - doll eyes, photograph - 18 x 24 cm

 

Ossy M (2013) - 06.237 - doll eyes, photograph - 18 x 24 cm