Move_Hartwig Mülleitner

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2008 “Engel für Tibet” – Angel for Tibet – Stahlpark Riedersbach (Austria) 2010 Stone Symposium Rauris (Austria) 2011 Steel Symposium Riedersbach (Austria) 2012 Steel Symposium Riedersbach (Austria) 2012 Steel Symposium Riedersbach (Austria) 2013 Stone Symposium Feistritz (Austria) 2013 Steel Symposium Riedersbach (Austria) 2015 Stone Symposium Antenal (Croatia) 2016 Symposium Kunstinsel Hallein (Austria) Performance 2005 Auf der Couch – On the Couch 2006 Santa 06 2007 Eierpecken – Egg Peck Awards 1991 First prize Überdachung Gaswerkgasse Salzburg, (Austria) 1991 Eutanasiemahnmal Salzburg Recognition award (Austria) 1992 Special Prize of the City of Krems, Lower Austria (Austria) 1993 First prize for the design: “Eine Stadt – drei Kulturen” – One city–Three Cultures – / Maalot (Israel) 1993 Second place second tender Gaswerkgasse Salzburg, (Austria) 1998 Salzburg State Prize for Fine Art (Austria) 2003 Purchase by the state of Salzburg (Austria) 2020 Public tender Heilbrunnen Altenmarkt fifth place Salzburg (Austria) Design 1998 E-Business Manager Award 2007 Wellbeing Award for Carpe Diem 2007 Keyring for General Motors 2007 Waschbecken “Wave” for the Gusswerk Eventfabrik Salzburg 2009 Frosch Award for Erdal 118
TRANSLATION Monumental and playful In a time characterised by digitality and conceptual art, steel sculptures seem to have fallen out of time – or put more positively, they are ‚timeless‘. The long-established sculptural position of steel sculpture is in fact constantly reinventing itself. Metal artists know how to create site-specific sculptures for public spaces. Freely imagined, mathematical-constructive variety and multiplicity often flows into the design as a thought construct. Iron sculptures are an essential part of Hartwig Mülleitner’s work complex. The artist spends a great deal of time and labour dissecting steel segments – often large-dimensioned tubes – with defined cuts and formally assembling them into a new shape. In a playful way, what doesn’t fit is made to fit and transformed contextually. Cuts, arches, individual parts connect and join to form an organic whole. Sculptures, which are mostly created for outdoor areas (and are therefore large in size), define the space around them, creating open space, expansion and extension. An interesting interplay and a penetration of the space are created in a materially appropriate and contemporary way. If you follow the shapes, you notice that the vision of movement is materialised by the motionless form. The possibility of an imagined permanent movement becomes visible. For years, Mülleitner’s work complex has been producing series in which formal concepts are processed in multiple perspectives with different cuts and combinations. Visions and associations of mobility – versus the extremely heavy steel weight - are included in the design and find their counterpart in the formal. Shapes and spaces can be experienced here as the interaction of surfaces with each other as well as powerful energy spaces. Curved shapes in the sculptures, made of rusty patinated steel or weathered steel, are laid out and positioned to capture and reflect sunlight, which illuminates the surface of the sculpture throughout the day and brings picturesque surfaces to the fore. The surfaces appear to tap into the space outside the object, open it up and continue to resonate in the surroundings. At the same time, playful poetry is meeting concrete form and setting. The material language created here offers the limits, hardness, the stable-brittle as potentials or even as a possible starting point for reversals, re-sightings. Looking and allowing the inner image to emerge are the tasks that sculptures like this pose to the viewer. All of this promotes communal art experience and conversation, dialogue and debate about it. In this way, an artistic creation is manifested, which also indicates that in a society trapped in self-created material and survival constraints, creative-individual otherness is necessary as a form of hope and self-expression. By no longer positioning art far away from everyday life as something extraordinary, but by moving it into everyday living spaces and helping to shape it, the perception of art may increasingly become a component of the living world. HS-PROF. MAG. MAG. DR. Rolf Laven, Vienna, March 2022 About the artist Hartwig Mülleitner meets steel. Hartwig Mülleitner has created steel sculptures. Powerful yet playful. With an incredible gift for breathing life into the simple, raw material — transforming something so heavy into something seemingly light, making steel look fragile and delicate, making steel dance and fly. Following “Hartwig Mülleitner – Divide Set Join”, which documents his first phase working with wood and stone, “MOVE” is the artist’s second book, showcasing the works that have emerged from his involvement with steel. This latest creative period of the Salzburg artist makes it clearer than ever that we are in the presence of one of the greats: an artist who combines an intense yet unobtrusive artistic language with the highest level of craftsmanship. He has the ability to playfully manipulate the rawest of materials in a way that is both extraordinary and deeply moving. In his new creative chapter, Mülleitner is exploring a subject that leaves no one indifferent: the complexity of relationships between individuals as well as between humankind, nature and the environment. However, provocation is not his style. The sculptures do not alienate the viewer, rather they engage and enthrall. His focus is on the proportions, on a natural harmony that is almost calming, so that one enjoys looking at the artworks. It is only when you delve deeper and open yourself completely to them that the totality of the work becomes evident — the heaviness and urgency, but also the discomfort that some topics can cause. Mülleitner leaves it to the viewer to decide how deeply they wish to become involved with the subject. But while Mülleitner expresses himself with a powerful, often humorous and restrained sensibility, he nevertheless does not shy away from taking on the most urgent issues of our planet and in silent revolution has sounded a rousing call to action: MOVE! Steel Sculptures: the Artistic process Hartwig Mülleitner deliberately chose steel for this second creative phase. Whereas stone can only be given shape and expression by removing the material, steel can be shaped almost infinitely through both subtractive and additive processes. This opens up completely new artistic possibilities for the artist. With his trademark lightness, he has formed precisely-designed objects from the heavy material. Some he has broken through, creating an interplay between their interior and exterior spaces. For others, he only uses steel tubing or steel wire, shaped with a spellbinding virtuosity. The dynamic surface of the material also has a special significance for the artist. Over time, the smooth, shiny, cold finish of the steel is transformed through corrosion into a textured surface of warm reddish tones, blending with nature in stark yet complementary contrast to the green. Moreover, Mülleitner is fascinated by the inherent transience of steel. While rust is generally regarded as something negative and unattractive due to its symbolic association with mortality, he sees it as an expression of the beauty of an intensely-lived life. In the context of Mülleitner’s work, the oxidation of steel can represent transience and decay, but also the exploitation and destruction we inflict on the earth’s natural resources. Fresh rust is light orange in colour. Orange is the color of the rising sun and symbol of the eternal cycle of nature and the beginning of life. As it ages, the rust takes on an earth-brown color - a symbol of Mother Earth, which always brings forth new life. CUTTING The steel components are cut with plasma cutters, flame cutters and angle grinders. For Hartwig Mülleitner, dividing materials is a creative, conscious act. Cutting represents injury, loss, and separation, but at the same time it provides fertile ground and the basis for a new beginning. WELDING IS CREATION The steel components are joined with welding beads and „stitched together“. The coarse beads are not ground down. They give the sculpture structure and rhythm. Welding forms scars that are evidence of injuries but are also a symbol of healing. „DIVIDE SET JOIN“ The concept of separation as a starting point for new creation is a continuous thread in Hartwig Mülleitner‘s artistic process. His works in wood and stone grew out of this same guiding principle. It is no coincidence that this was also the title of his first book: “divide set join”. Preamble move! The earth nourishes us humans. The earth gives us food and water. It gives us materials to protect us, to make our lives easier. It gives us a bright sea of shapes and colours that bring joy to our eyes, our hearts. We can take what we need, from everything. The earth nourishes us. But we are disrupting the balance of the hand that feeds us. We are taking more than we need. We are destroying the atmos- 119
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Seite 128 und 129: Dank an Tom Frank Petra Hartl Alfon
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Move_Hartwig Mülleitner

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