Rolf Glasmeier
Kaufhaus-Objekt Strahlregler, 1973

"I’m really looking forward to this exhibition with works by Rolf Glasmeier, Christian Megert and Ludwig Wilding in our houses", said Robert Ketterer, owner of Ketterer Kunst. He continued: "With their works, these important artists jeopardize our common viewing habits. With their immense plasticity they enable us to make fascinating cognitive experiences - a tremendous enrichment of the way we feel, think and act".

Rolf Glasmeier’s (*1945-2003) artistic creation was geared at the combination of apparent contrasts. Crossing limits, a will to be courageous and to enforce changes, as well as freedom, were essential to him. In his "Kaufhaus-Objekten" (Department Store Objects), which make for his part in the current Berlin exhibition, the artist uses mass-produced objects of utility as elements of his art. Things we are familiar with get a completely new meaning because of the new context. The observer is encouraged to open his eyes, to sharpen perception, to change the conventional view.

Christian Megert
Scherbenbild, 1962

Christian Megert (*1936 in Bern), who worked closely together with the artist’s group ZERO, goes beyond the limits of artistic genres simply by means of the materials chosen for his works. As early as in 1968 he showed a walk-in room that was entirely cased with mirrors on the documenta IV. The observer becomes part of the work of art because of the reflections. Megert’s credo is one that asks for an open and democratic art. In his 1961 manifesto "A new room" he wrote about his vision to create a room without neither a beginning nor an ending: "If you hold one mirror in front of another mirror, you get a never-ending room, a room without limits and unlimited opportunities, a new metaphysic room".

Ludwig Wilding
Single 8b,
Objekt mit Scheinbewegung, 1968

Ludwig Wilding (*1927 in Grünstadt, Pfalz) counts among the most important representatives of OpArt in Germany.
His occupation with perception and his explorations of the effect on the observer is of a rare consequence. He decided to employ the line as an artistic means at an early point: "The opportunities of variation are unlimited. New and unimagined opportunities unfold in the overlapping line structures", said Wilding.
From initially two-dimensional overlapping structures he developed an optical art with a visual effect that went far beyond the accustomed art experiences. .