Optimus II

Sculpture by Günter Haese
Skulptur: Optimus II von Günter Haese
Photo: Nic Tenwiggenhorn, Berlin

Information about the sculpture


Günter Haese

Optimus II


Brass, stainless steel and phosphor bronze
ca. 7 x 5 x 1,50 m
Year of origin

2006 - 2007

Installation site

Park next to the municipal gallery


Firma Huiskens, Düsseldorf, (Peter Dömer)
Reason for the purchase
Skulptur: Optimus II von Günter Haese
Photo: Nic Tenwiggenhorn, Berlin
Skulptur: Optimus II von Günter Haese
Photo: Nic Tenwiggenhorn, Berlin
Skulptur: Optimus II von Günter Haese
Photo: Nic Tenwiggenhorn, Berlin
Skulptur: Optimus II von Günter Haese
Photo: Nic Tenwiggenhorn, Berlin
Skulptur: Optimus II von Günter Haese
Photo: Nic Tenwiggenhorn, Berlin
Skulptur: Optimus II von Günter Haese
Photo: Nic Tenwiggenhorn, Berlin

Günter Haese fashions filigree structures from wire. Using brass and phosphor bronze as materials, he designs a unique physical entity, cut and bent as a mesh or a spiral, soldered and conjoined to create 3-dimensional sculptures.

In the past, he made everything himself and his works have maintained moderate proportions (approx. 50-200 cm). Haese also manufactures the wooden transport crates used to house his objects.

Haese delivers everything complete, the finished work, its storage crate and also the title of the work. The formulation of the title is usually inspired by a poetic association which is sometimes altered.

Since 1963 he has been successfully achieved international recognition for his work, sustaining this position to the present day.

Thanks to a commission received for the Sculpture Collection Viersen Haese is adopting a different approach for the first time. Following lengthy consideration and several visits to the location together with intensive discussions, the possibility of creating a monumental piece of sculpture in the public domain within the context of an ensemble of entirely different kinds of contemporary works has presented him with an artistic challenge. It is a challenge which he is meeting with his customary caution. This is, of course, not simply a matter of enlarging the dimensions of an existing Haese work, but above all about bringing the artistic qualities of his previous work into a new setting: the delicate, filigree wire design, the spatial quality of the open work, the vibrant mobility of its individual elements and their ability to respond to movements of the air and reflections of light in the interplay between fixed and moving components of the structure, and the playful description of the air-filled space as an animated sphere.

A kineticism bereft of simple mechanics, which is transformed into an arbitrary form of movement that can almost be described as organic. The constructed framework as an organ - hence the continuous comparison with antennae and space probes, which is evoked by Haese's works. His works point to the expanse of space, and assert the possibility of crossing it. At the same time, they are cellular structures, in which it becomes possible to experience the sequence, regularity and separateness of an internal structure as through a transparent skin, in the form of possible mobility. The cellular format and tentacles, feelers and antennae, as well as the modular bodies of serial construction and regular in appearance, in which movement appears as one of its possible modes of existence, like a sporadic reflex or like a wafting breath - as an infinitely delicate sensation.

It is not easy for this subtle aesthetic to correspond to modified structural conditions and different weight relationships. A whole range of entirely new decisions had to be taken. The assembly of this sculpture in the public domain is even more complicated than that of its model.

The quality of the reality of the artwork has changed in the process. Are all of Haese's works now potential models for possible creations in a different dimension? The artist agrees in theory, but so far that does not bear any implications in individual cases. Optimus II is a first in the new environment, in a changed world.

Günter Haese

Biography and artistic career
born in Kiel
Visit of the private "Art School on the Steinberg" in Plön/Holstein
Studied at the State Art Academy in Düsseldorf with Bruno Goller
from 1951
with Ewald Matare
from 1958
Master student
from 1956
works as a freelance artist in Düsseldorf
from 1963
Recklinghausen, Art Prize "Young West"
from 1964
Ulm, Museum Munich, Galerie Stangl New York, Museum of Modern Art Kassel, documenta 3
London, Marlborough Fine Art Ltd.


Venice, XXXIII. Biennale, German Pavilion (Cat E. Trier) First prize of the David E. Bright Foundation at the 33rd Venice Biennale


Düsseldorf, Kunsthalle Cornelius - Prize of the City of Düsseldorf Prize of the Solomon R. Guggenheim Foundation, New York


Sao Paolo, X Biennale


Hamburg, Museum of Arts and Crafts Rotterdam, Boymans-van Beuningen Museum


Munich, State Gallery of Modern Art


Madrid, Biblioteca Nacional New York, Marlborough Gallery Inc.


Art Prize of the State of Schleswig-Holstein Lübeck, Overbeck Society


Mannheim, Art Association Nuremberg, Albrecht Dürer Society in the Germanic National Museum


Triennale Fellbach, Visitor Award


Düsseldorf, Art Prize of the Artist


Hannover, Kestner-Gesellschaft


Bottrop, Square Modern Gallery


Berlin, National Gallery, Art in the Federal Republic of Germany 1945-1984


Zurich, Lopes Gallery


and more often, Galerie Sfeir-Semler, Kiel


Kiel, art gallery Professor of the State of Schleswig-Holstein


Art Prize of the Schleswig-Holstein Economy, awarded by the Dr Dietrich Schulz Foundation Schleswig, Landesmuseum Schloß Gottorf


Krefeld Art Association
Günter Haese lives and works in Düsseldorf


Kunst-Publikation Wang Du

Publication "Günter Haese"

Optimus II in the "Sculpture Collection Viersen"
Joachim Peter Kastner
In German and English
With the inventory catalog of the sculpture collection at the time of publication.
Viersen 2007
Selling price: 10 €
ISBN 978-3-9805339-6-1
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