Although Claes Thure Oldenburg as an artist seems to be conceivable far away from his father, a senior Swedish diplomat, took over the son of something Important from him. The sculptor, of the districts, with its monumental sculptures in the Interior of many of the large cities of this earth to the embodiment of Pop Art, was always conciliatory Diplomat in terms of an art that does not want to work through abstract strangeness intimidating, but rather by the immense augmentation of everyday objects, the mediating communication with their affected is looking aft.

Stefan Trinks

editor in the features section.

F. A. Z.

If, for example, in front of a high-rise building is a huge well-trodden cigarette butts interferes with the glittering world of facades, sensitive, understands the work of each child – what needs to be per se not a Bad thing. Similarly, in 1982 for the Documenta 7 in Kassel, Germany, formed a twelve-Meter-high pickaxe is part of the Fulda-shore up today’s most popular photo opportunities, because there’s always the Grimm’s fairy tale story of the artist is caught, the Kasseler Herkules, myself, have thrown this Symbol of post-war reconstruction from the mountain up to this point.

giant and tools

the screw was The first of these Vinyl sculptures and Soft Sculptures manufactures, Oldenburg, Germany, lives since 1956, after studying art at Yale and at the Art Institute of Chicago and working in New York, from the year 1963. To this date they are still normal size and in the Lofts of their New York owners, as have been a household item made of plastic accidentally too long in the heating and unintentionally deformed. The as-melted-acting toilet pans, pieces of cake, pies and ice cream cones transform the aseptic White cube of the galleries and send Loftinterieurs instant and anarchic in dingy waste-heaps of the American consumerism.


Starting in 1965 with the passage in the outer space of the sky towers the skyscrapers of New York, the monumentaIisierende Blow-up effect of its French fries and hamburgers, his curved giant screws and tools, basically the logical consequence of this giant Omani backdrop, before each the “only” life-size plastic simply would overlook – the American life-style is just not only since Trump’s “larger than life”. Oldenburg ultimately translates into the Salvadore dalí’s soft boiled beans and watches to the three-dimensional-giant, which created something Sinister, because the viewer expects the naturalistic illusion effect in a human-sized object at the same time, something Solid and Hard. This is also why you should. in German, knowledge of the precise linguistic distinction between a hard Block of chiselled sculpture, and often a core in the space of modeled plastic, usefully, speak not of the “Soft-Sculptures”, but of “Soft-sculptures”

a victim of sharp criticism

softness but makes it vulnerable. The flabby child is target of nasty attacks in the school, Oldenburg’s sloppy sculptures, the Chen mountain, have nothing of the unattainable Teflon-icons Warhol’s or the high-gloss images Out of repeated criticism of a victim of sharp: they were of pure Affirmation, a completely arbitrary Throw out childish Giant toy in the City as a refuge of the Rich. So a seemingly by the winds blown more than ten meters high giants tie, along with his 2009 deceased companion, Coosje van Bruggen developed the sculpture “Inverted Collar and Tie stands in Frankfurt am Main at the foot of a 208 Meter high skyscraper”.