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 Gregor Hildebrandt  (1974 - )

About: Gregor Hildebrandt
 

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Lived/Active: Unknown Country      Known for: painting

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from Auction House Records.
Faith (triptych)
Artwork images are copyright of the artist or assignee
Biography from Ketterer Kunst, Munich:
Please note: Artists not classified as American in our database may have limited biographical data compared to the extensive information about American artists.

Born in Bad Homburg 1974 Gregor Hildebrandt studied from 1999 to 2002 at the University of the Arts Berlin and others with Dieter Hacker and spends funded by a grant from the German Study Centre in Venice subsequent year. In his new adopted home of Berlin Hildebrandt, which together with the concept sculptor Alicja Kwade one of the most successful couples the Berlin art scene for years increases Represented by Galerie Wentrup to quickly become popular Shootig star. His artistic trademark is the exploitation and processing of art he - as in the present work - mostly involving in the form of audio and video tapes in his works. The self-auctioned as a musical little gifted descriptive artist as a kind of `Rohmaterial` his art on the internet regularly records, blank cassettes and audio or video tape recordings and explained that in the digital age already extinct technology in the music and film industry for substantive center of his artistic career. Not only Leinwänder pasted Hildebrandt in strictly geometrical arrangement with those uniform tracks on tape meters, but he creates sculptural also from old vinyl records spatial elements and also working since 2000 continuously at his tape boxes, on their face, as if by the puzzle-like juxtaposition of the cassette back portraits of theater icons composed about Romy Schneider under the title 'Songs for Romy`. Hildebrandt's art makes the Errungeschaften geometischen the abstraction of modernity on its own and extends them by the artistic fascination of pure imagination, because after all, we're the music video and tape recordings that run as brilliant tracks across the screen, not hear, even if they are still visible as a visual homage to the past to become Hildebrandt's poetic creations.

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