Ab 8. September 2016 präsentiert die GALERIE LISTROS die Ausstellung "DUALITY" der in Berlin lebenden schottischen Künstlerin Margret Hunter, eine vielschichtige Auswahl von Malereien, Skulpturen und Zeichnungen zum Thema Dualität. Hunters künstlerisches Schaffen verhandelt die verschiedendsten Dimensionen von Wechselbeziehungen: oben-unten, nah-fern, innen-außen, hier-dort, Schottland-Deutschland.

Die Ausstellung DUALITY schliesst an den langjährigen Ausstellungszyklus "VON DORT BIS HIER" der GALERIE LISTROS an. Zugleich setzt sie den kontinuierlichen Dialog zwischen der Künstlerin Margaret Hunter und der Weltöffentlichkeit fort. 

Donnerstag 08. September 2016 
Von 19:00 – 02:00 Uhr nachts

Impressionen DUALITY


An Article by Margret Hunter

It had been a long road from Ayrshire to Berlin, from the time I’d fulfilled a lifelong ambition and attended the Glasgow School of Art in my early thirties; just divorced and a single mother of two children, we were, in essence, starting anew.  If we were to survive I had to take my art as far as I could.

My desire to undertake postgraduate study with the renowned German artist Georg Baselitz, professor in the Hochschule der Künste in Berlin, was fraught with obstacles; unreasonable age limits, official intransigence, finance and language.  I made it, against the odds but my naïve sense of triumph was short-lived.  I didn’t know anyone in Berlin, had never been separated from my children, had little knowledge of the language and no accommodation.  Initially I stayed in a hostel - and panic began to set in.

However, I managed to get a room in a student flat with two German men, who threw me into West Berlin life at the deep end; they shared their stories and gave me insights into this island life of capitalism surrounded by communist East Germany.

There was a great feeling of personal liberty in West Berlin at that time; politics and social issues of the day would be discussed in the pubs till the early hours.  There was an edgy creative atmosphere in the city, decadence and subculture in the clubs - alongside exhibitions, theatre, music and intellectual life.  However, the sense of freedom belied the concrete reality; no matter in which direction you travelled you always came up against the Wall. 

Most Germans are willing to speak English for a couple of practice sentences - but serious discussions were in German and I felt dumb, self-conscious and alone.  Yet these situations benefitted my work; as the outsider I became the onlooker and ideas in my art developed.

In the Art School the Meister’s teaching method was in the manner of a hospital consultant: walking around with a group of students in tow, pausing at the work of one student, asking questions which led to group discussion.  In contrast to Glasgow, criticism was direct and hard.

During my study with Baselitz, the influence of Berlin gradually became more important for me.  Increasingly I felt an identity with the divided city, split as I was from my family in Scotland.  Still struggling with the language, drawing became my main means of expression.  Duality was a recurrent theme: the double head and the concept of inside-outside.  I would build up oil colour on wooden boards in order to scratch back, to uncover, hack into and then fill the gaps with wax and colour.  The idea of disintegration, splits and drawing together became major themes.

I started to exhibit my paintings and sculptures in London and Berlin but an especially memorable exhibition in which I took part was in 1988 in the Roman Catholic Cathedral in Przemysl, Poland.  It was organised by the Solidarity movement and showed the work of some  thirty Polish artists.  The paintings were hung with all sorts of wire retrieved mainly from electric cable and using few tools. But this meagerness belied the sociopolitical importance of the event.  When I arrived at the Cathedral for the inauguration it was full to bursting and my translator dragged me to the front where the Archbishop was already on the raised platform waiting to start his speech surrounded by cameras.  I’d underestimated the importance of my appearance as a Scottish artist; I was presented with a prize and invited by the Archbishop for a meal served later by the nuns in the gardens of the monastery.  Visits around the city were organised where I heard about the town’s history and was given insights into the current political situation.

Mandatory Credit: Photo by Sipa Press / Rex Features ( 999410p )
Berlin Wall East Side Gallery.
East Side Gallery restoration for 20th anniversary of the fall of the Berlin Wall, Berlin, Germany. - 01 Sep 2009
As the 20th anniversary of the fall of the Berlin Wall approaches, 91 artists are working to restore their original contributions to the famed East Side Gallery. The 1.3km wall, a.k.a. the world's biggest out-door art gallery, runs parallel to the River Spree between Kreuzberg in the West and Friedrichshain in the East.