The first thing that strikes one about the six large paintings on display at the Kunstmuseum Basel and made over a span of 25 years, beginning in 1980, is that their scale feels American. Few artists paint this monumentally in Europe. Yet the sensibility of Helmut Federle’s work is also European, melancholic in tone and subtle in its application of paint. Even though these notions are generalised, they lead to an important transatlantic quality of Federle’s painting. The Swiss-born artist, based in Vienna and in his mid-seventies, has travelled the globe often and eagerly. He has absorbed notions about scale and colour, values and beliefs, from different cultures. A four-year stay in the US from 1979 onwards was important to his development, just as the discovery of postwar abstract American painting made an impact, during the 1960s, on the very museum in which his work is now showing.
You can spend a long time looking at these works without getting a clear
idea as to what they are ‘about’. In Untitled
(1990) a large dark circle appears against a background of grey brushstrokes,
half transparent. A tilted U-shape enters the right side of the painting,
delivering a second formal focus. A greenish-yellow light shines, as if the
work was lit from behind. Without any narrative or action, this and the other
canvases refuse to be boiled down to any specific subject matter or statement. They’re
just there, as presences you want to be with: complex characters with
conflicting parts. They are not necessarily pleasing or beautiful, most are
rather dark in atmosphere, but they appear sincere and dynamic. The uneven
paint application, as well as the play of layers, invite one to keep wandering
over the canvas. Some forms are clear and decisive, like the circle; other
areas are vague and unfinished. The division between yellow and grey in Untitled (1980) feels strict and firm,
while the repetitive pattern of lines in Death
of a Black Snake (1999) is subtle and mysterious. Collectively, with all
their contradictions, these seem like existential paintings: this is how it
feels to be conscious, to be human, to have fear and hope, highs and lows.
Asian Sign (1980) produces a push and pull between negative and positive form. Are the grey blocks in the foreground? Just as this appears to be the case, they recede, and disappear behind the yellow, meandering bands. The yellow is bright and enlightening here, more than in other paintings. The fact that the painting, acquired by the museum in 1982, created public uproar – it depicts a swastika – indicates that people did think there was a subject matter or statement in the work. More particularly, an evil one, even though the symbol is not presented clockwise, as the Nazis used it, but counterclockwise and thus, according to a Hindu interpretation, stands for the setting sun. Of course it can raise eyebrows to discover such a form, huge as a flag, that mirrors (not depicts) a symbol appropriated by fascists. The real question, though, is whether or not Federle’s work should be taken as symbolic at all. An auxiliary selection of works on paper shows further engagement with signs and symbols, but they are not about reproducing fixed meanings. Rather they spring from an interest in seeing form free from preconceived ideas. What kind of expression does this produce? Amid its push and pull, Asian Sign is a work concerned with the moment that form becomes meaning, just as Federle’s work in general is about the moment that form becomes a manifestation of inner life.
This text was first published in ArtReview October 2019