Villa Huegel 17.01.2009 — 28.02.2009

17.01.2009 — 28.02.2009
The exhibition in the gallery Ruth Leuchter, Dusseldorf shows works of the artist Jan Vanriet on the subject: Villa hügel and the time during the 2nd world war.
Some works show Villa Hügel,- (in which Alfried Krupp von Bohlen und Halbach had lived-),in different light to the viewer. The halls of the villa Hügel and the splendid interiors of the villa, embedded in generously form park reminded in to another time.
This works adapt in a row of works with the title:
Cockchafer fly! We all know the child song which dates from the time of the Thirty Years' War:

Cockchafer fly!
The father is during the war,
The mother is in the Pomeranian's country,
And Pomeranian's country is burnt down
Cockchafer fly!

Maikäfer flieg!
Der Vater ist im Krieg,
Die Mutter ist im Pommerland,
Und Pommerland ist abgebrannt.
Maikäfer flieg!

In the Thirty Years' War two thirds of Pomerania burnt themselves down. The song has accompanied later, as a writer wrote, all world wars. It expresses the hopelessness and faint of all affected ones.
Jan Vanriet, born in 1948, has not seen the Second World War any more. Still he might have felt the results like few others; his both parents belonged to the survivors of the infamous concentration camp Mauthausen. Presumably they have also filed the Mauthausener oath in which all participant undertook to fight from the awful experiences for a better world, a world of the peace and the freedom all. Now the son paints pictures of historical and political contents. Are oppressive the big, almost totally black canvases, from which shine cold white torch lights. A threatening,ghostly drawing up.In the same kind - namely like a vision - a burning synagogue is returned. One has seen a Déjà vue, because somewhere already once had seen the photographic copy. These are pictures of setting and destruction, escape and expulsion. Vanriet also devotes itself subjects like propaganda or life in prison camps. His revue pictures are made after photos which took up prisoners of by itself straightened cabaret events. Joy of life, longing for culture, however, also the black shade of destruction and death lies eerily about these works.

„Abstammung" the titel of onother picutre, has other museum material makings of the object :
The bust of a woman. The gypsum downpour was made about 1936 by the head of a young germain woman. The pretty, serious face reminds the viewer of an antique marble bust, but it are to be found on it still numerous brownish spots by a coloured version which disfigure irregularly the surface like big birthmarks. - Traces of the transitoriness. However, the picture carries the name Descent. The title leads on the purpose of the manufacturing of that gypsum bust. It was taken from a student and was sent to Berlin, to the imperial Wilhelm's institute, so that could be found out there on the basis of pseudo-scientific "classification signs" whether the younjg student is of Jewish descent . The result was: aryan westerly type with northern impact. It protected the survival the young woman. However, one parent of Jewish descent was really. A personal tragedy in which the whole madness of the Hitlerschen racial policy reveals itself. Vanriet holds on this part of our history in his picture