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position within art especially, not only as a visual artist, but also, very effectively, as a theoretical author and performer. Experts regard him as a silent, however important artist of his generation, whose "visual metaphors” in the public space formulated a philosophical and aesthetic reflection of human existence, like for example, the neon sculpture
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Ludger Gerdes worked in a dual way within the realms of fine arts and philosophy: His large scale-painting pursued questions of the surface and picture reality, his sculptures explored the degree of reality of objects as well as their public function. Gerdes dealt with this ultimately political
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190:. At the beginning of the 1980s Gerdes stood out in exhibitions and actions with his criticism of the link between modern art, the museum and the temporary exhibition. At this time he exhibited among others along with
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in: Dan Graham: Two-Way Mirror Power. Selected
Writings by Dan Graham on his Art, ed. by Alexander Alberro. Cambridge, Mass. 1999, p. 62–83.
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was a particularly important historical model of this to him. At this time he was regarded as the intellectual head of the artist-group of
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combined literary and philosophical texts with photography. His last great public project was the design of Walter
Sedlmayr square in
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After his school-leaving examination (Abitur) at the secondary school
Antonianum in
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and the aesthetic quarrel with public space, documented by a photo series of 140
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in 2003. Ludger Gerdes died on
October, 17th 2008 in a car accident.
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238:. Parallel to his professorship he lived and worked as an artist in
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Academic staff of the
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in Europe. A new group of works consisting of conceptual
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266:(1989) in the garden of the Museum Haus Esters in
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253:Ludger Gerdes, Klaus Bahlsen-fountain in
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214:(Ein Schiff für Münster) for the show "
222:. From 1990 to 1992 he taught at the
150:) was a German painter, sculptor and
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332:interviewed by Ludger Gerdes (1991),
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365:and Julian Heynen. Cologne 2010.
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