DAS ROTE BILD, 7. Abendausstellung der Gruppe ZERO, Dusseldorf, 1958

Artists: Bartels, Beckmann, Benrath, Bleckert, Boers, Brenken, Brüning, Brust, Busse, Clüsserath, Dahmen, Engert, Epple, Erb, Faigle, Fischer, Fürst, Ceccelli, Geiger, Graubner, Hoehme, v. Huendberg, Junghans-Grulich, Kaufmann, Klapheck, Kleint, Kreutz, Lückeroth, Mack, Mathieu, Mavignier, Neuenhausen, Overcott, Piene, Ritzert, Salentin, Schultze, Serpan, Siepmann, Spiess, Teilen, Thieler, Uecker, Yves. Introduction speech by Klaus J. Fischer

Venue: Studio Otto Piene, Dusseldorf

Opening: April 24, 1958, 8 p.m.

Dimensions: 10.8 x 15.1 cm (folded out 10.8 x 43,5 cm)

Further Information: Otto Piene and Heinz Mack were previously members of the Gruppe 53, and founded the group ZERO in 1957, as a reaction to the lack of exhibition spaces that were willing to show the young artists. At the exhibition Das Rote Bild (The Red Painting) only works with a red dominant color were shown, including loans from Galerie Schmela, Galerie 22, and Gesellschaft der Freunde Junger Kunst. Accompanying the exhibition, the first issue of ZERO Magazine was launched and published by Otto Piene and Heinz Mack. Citing Georg Wilhelm Friedrich Hegel with “Rot ist die konkrete Farbe schlechthin” (Red is the concrete colour par excellence), the magazine asked the question: What does color mean in contemporary painting? Answers were given by Rupprecht Geiger, Klaus J. Fischer, Hermann Bartels, K.F. Dahmen, Jürgen v. Hündeberg. In 1964, Otto Piene recalled this event as following:

“The first exhibition which followed a certain theme was the seventh night exhibition, entitled “The Red Painting” (paintings the dominating color of which is red). Encouraged by the publicity which the previous events had raised, we (Mack and I) published a catalog-magazine called ZERO 1 (April 1958). It contained articles written by some critics and statements of the artists who took part in the exhibition. The main tendency was the purification of color as opposed to the informel and neo-expressionism; the peaceful conquest of the soul by means of calm, serene sensibilization. The leading articles in the catalog came from Yves Klein, Heinz Mack, and myself. Yves wrote on his monochrome painting, Mack on vibration, and my statement was concerned with the value of color as light articulation.”
(​Otto Piene, The Times Literary Supplement, London, September 3, 1964; read full article under the following link.)

The second issue of the magazine accompanied the 8th exhibition in October 1958.

HR

Images: Images of the invitation and the catalogue are part of the online collection of Archiv der Avantgarden, Staatliche Kunstsammlungen Dresden. Photos of the ZERO Poster in the box on the right have been taken at Sammlung Marzona, Kunstbibliothek, Staatliche Museen zu Berlin.

Albert FürstGerhard HoehmeGünther UeckerHeinz MackOtto PienePeter BrüningYves Klein


“Ich schlafe ZERO, Ich wache ZERO, Ich liebe ZERO”


Another invitation, printed as a poster by ZERO at GALERIE DIOGENES BERLIN, March 30, 1963, 8 p.m. (UNTIL April 30, 1963), in the Marzona Archive at the Kunstbibliothek by Staatliche Museen zu Berlin.