an extreme certainty and the possibility of variations that extend to infinity”4. _______Kuhnert recognized an affinity between his work and that of Bonalumi. For this reason, it is less surprising that Kultermann’s passage, faithful to the dialogue of artistic exchanges between Italy and Germany that intensified during the Sixties, also accurately identified some features of Kuhnert’s extroflexions.
John McCracken Installation view Yvon Lambert Gallery - Paris
1 Benjamin H.D. Buchloh, “Gerhard Richter’s Eight Gray: Between Vorschein and Glanz”, in Gerhard Richter: Eight Gray, catalogue of the exhibition edited by B. Buchloh and Susan Cross, Deutsche Guggenheim, Berlin 2002, pp. 13-28, quote p.19. 2 Gottlieb Leinz, “Elements of Construction”, in Horst Kuhnert. From surface to space. 1964-1994, Galerie der Stadt Kirchheim unter Teck, 1994, p. 8. 3 John McCracken quoted in the catalogue of the exhibition with the same name, Castello di Rivoli, 2011, p. 33.
The German Connection. Kuhnert, 1965 - 2015
75
Riccardo Venturi
4 Quoted from Udo Kultermann, “Synthesis of Space, Light, and Color (the work of Agostino Bonalumi)”, in Agostino Bonalumi. Extroflexions, with texts by Udo Kultermann and Vittorio Sgarbi, Scheiwiller Books, Milan 1989, pp. 8-9. The catalogue, however, documents only the paintings from the second half of the eighties. The German Connection. Horst Kuhnert: Nothingness as material?
Riccardo Venturi