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 CV_UliSchaarschmidt_listE 91.69 Kb CV_UliSchaarschmidt_listD 90.37 Kb Corporate Design concept. Fine Arts Commission and Propaganda. - Corporate Design Konzept. Auftragskunst und Werbung.Did you ever walk this land surrounded by freedom. Onni Nordman and more Onni Nordman and enjoy Neil Young's Prairie Wind for a while... Gedanken zur Genetik Computer und Programme sind schnelle Kopiermaschinen string+copy - string+paste. Mit ihrer Gestaltung wächst rapide die Anzahl der Dinge (Müll), die in der ganzen Welt gleich ausschauen (verschmutzen, geklaut werden). Im selben Moment, wo sich Millionen Nutzer beobachten lassen, wird massenhaft Geist (Werbung) ausgetauscht. Aber Leben, wie Craig Venter (Genetikanmelder) und GoldmanSachs (Geldverleiher) behaupten, lässt sich damit nicht erzeugen. Leben ist viel mehr als ihr neuer Gott technology. Leben ist wie ein kleiner Biber unberechenbar... Lebende Wesen können wachsen, sich selbst vermehren, geordnete Strukturen erzeugen und die Energie des Sonnenlichts verwenden. Der kleine Biber erschien auf einer Wanderung mit Dan Ennis - Micmac Indianer in Tobique Reserve. Bemerkenswert war seine Frage, ob ich die little fellows – die kleinen Leute kenne, die im Wald hausen? Ja, bei uns waren das die Heinzelmännchen. Tüchtig, wie die Deutschen waren, an Arbeit gewohnt. Für Arbeit haben die Indianer kein Wort. Aber für den kleinen Biber, der am Ufer des Sees hauste viele, weil er wie alle Vierfüssler unberechenbar ist. Dann haben ihn Zweifüssler gejagt und getötet - wie die Indianer. Kunstsammler nutzen Bildende Kunst um sich selbst zu repräsentieren. - Art collectors use fine arts for self representation. 2010 Beteiligung mit W. Seehaus an "Begegnungen" in Korneliuskirche Karlsfeld b. München mit "Margie" und "Samariter" 2010 Beteiligung mit D. Bucher in VR Bank Fürstenfeldbruck 1Einladung_Volksb_Fut 133.70 Kb 1VR_Presssetext_kurz 70.43 Kb2010 Dunkle Seiten (Nachrichtendienst). Max Planck Institut für Biochemie Martinsried b. München 2bEinladung 490.72 Kb 1bPressetext_kurz 11.77 Kb Das Max-Planck-Institut für Biochemie gibt sich die Ehre und freut sich, Sie und Ihre Freunde zur Ausstellung von Uli Schaarschmidt bis 26. Februar 2010 einzuladen. Diplom Kunsthochschule Berlin; Altdeutsche Malerei und Zeichnung von Prof. Richter, Technisches Design von Prof. Hückler. 19 Bilder auf Süddeutscher und Neuer Zürcher Zeitung. 1Schaar_Display_MPG 67.36 Kb Arunachala India pilgrim 2007 2008 2009 2009 photos, watercolors, touch the spirit. - Fotos, Wasserfarben, die Energie berühren. 2008 CANADA Celtic Colors Indians Fishermen Coal miners 3 October-7 November CBU Art Gallery, opening reception 16 October 3pm 03CBU_poster 616.22 Kb and Uli_Press_Release 55.81 Kb and 2Uli_Title_Poems 46.10 Kb by Gladys M. Ross (Sheila Burchell); Prague spring uprising, Eastgerman rebellion 1968, 1969 ; in Sydney, NS, Cape Breton, Philosophical Cafe at Bunkers 17 October 4pm philos_cafe_1968 297.28 Kb more: Cape Breton Post2007 CANADA Inverness_Oran 375.37 Kb Halifax_Herald 101.45 Kb  Chronicle_Herald_web 526.02 Kb 2008 München Freistaat 2BVG_Ludwig13-10-08 468.90 Kb Sammler Ausstellung - collectors show Album: Zeitung 2008- SPIRIT Free Media project from 1968, 1989 and more; workshop Student - TU Chemnitz - Erik de Graaf - 2008- SPIRIT Freies Medienprojekt von 1968, 1989 und mehr; workshop - Studentenrat - TU Chemnitz Theodor Däubler definiert Expressionismus so: "Der Volksmund sagt: Wenn einer gehängt wird, so erlebt er im letzten Augenblick sein ganzes Leben nochmals. Das kann nur Expressionismus sein! Schnelligkeit, Simultanität, höchste Anspannung um die Ineinandergehörigkeit des Geschauten sind die Vorbedingungen für den Stil. Er selbst ist Ausdruck der Idee." Theodor Daeubler once said: "People say, if anybody is hanged up, he sees his whole life through last moment. That's expressionism! Simultanous fast in highest tension look, perceipt, paint is the condition for the style. He comes out of the idea..." Von München kommt ein neuer blauer Reiter! - von Onni Nordman, South Bar Von 1911 bis 1914 war München der Geburtsort der Gruppe „Blauer Reiter“, eine Gesellschaft von expressionistischen Malern mit solch geschätzten Pionieren der Modernen Kunst wie Wassily Kandinski, Franz Marc, August Macke und Paul Klee. Sie alle teilten die gemeinsame Sehnsucht, geistige Wahrheit durch ihre Kunst auszudrücken. Vor Expressionismus wurde Kunst so gemacht: Das Auge sieht, die Hand antwortet, der Verstand urteilt. Expressionismus veränderte diesen Prozess dahin: Der Verstand sieht, die Hand urteilt, das Auge antwortet. Eine neue, nach innen gerichtete, übernatürliche moderne Kunst war geboren. Sie war nicht allein geistig, sie war aufregend. Sie regte das Auge auf eine völlig neue Art an, und geht weiter Betrachter mit offenen Augen zu bewegen und erschauern zu lassen bis heute. Um das expressionistische Zeitalter abzurunden, kommt Uli Schaarschmidt von München nach Cape Breton mit seiner emotional aufgeladenen gestischen Kunst. Er nimmt Dinge aus der Welt, aus dem Verstand, aus dem Himmel - welches auch Dinge von Cape Breton sind - und macht daraus ein kühnes bildliches Feuerwerk von emotionaler Tiefe und Kraft. Es wurde oft gesagt, Expressionismus deutet Angstgefühle an - die Anzahl heiterer expressionistischer Werke ist relativ klein. Uli‘s Arbeit steht standhaft im Sonnenschein. Schlag etwas Sonnencreme ins Gesicht und stell dich in die Wärme und das Licht der Kunst von Uli Schaarschmidt. From Munich comes a new Blue Rider! - by Onni Nordman, South Bar From 1911 to 1914 Munich was the birthplace of the Blue Rider Group (Der Blaue Reiter), a fellowship of Expressionist painters which included such esteemed pioneers of modern art as Wassily Kandinsky, Franz Marc, August Macke, and Paul Klee. They all shared a common desire to express spiritual truths through their art. Before Expressionism art was made like this: the eye sees, the hand responds, the mind judges. Expressionism changed the process to this: the mind sees, the hand judges, the eye responds. A new, inner-directed, transphysical modern art was born. It was not just spiritual; it was exciting. It excited the eye in a brand new way, and it continues to thrill and move the open-eyed viewer to this day. To round out the Expressionist century, Uli Schaarschmidt arrives in Cape Breton from Munich with his emotionally charged gestural art. He takes the things of the world, the things of the mind, and the things of heaven --which are also the things of Cape Breton Island-- and he makes of these things bold pictorial fireworks of emotional depth and power. It has often been said that Expressionism implies emotional angst -- the number of cheerful expressionist works is relatively small. Uli's work stands firmly in the sunshine. Slap some sunscreen on your face and stand in front of the warmth and light of the art of Uli Schaarschmidt. American's: 60 pieces 21x30" 60x80cm; 20 pieces 8x12" 24x30cm Uli Schaarschmidt has a conservative, traditional background of painting. When you enter his show, you are totally involved in his painting. It is not a how can I understand that or so. You see immediatly the story behind. The full of feeling, the bright colors and movement. It is a kind of music, what you see, you get the rythm. It is a kind of German expressionism, but he creates or brings up a totally new style. US has made a tremendous work with incredible intense. It is like jumping in a moving train... It is also interesting, that he has that old German balance between energy in his bigger pieces and calm in his lovely watercolors. Uli Schaarschmidt: German artist shows recent Cape Breton works at ICCA Gallery -by John Gillis German-born artist Uli Schaarschmidt, who’s been spending a considerable amount of time recently in Cape Breton, attended the official opening of his show at the Inverness County Centre for the Arts on Sunday afternoon, June 3rd. “From 1911 to 1914 Munich was the birthplace of the Blue Rider Group, a fellowship of Expressionist painters which included such esteemed pioneers of modern art as Wassily Kandinsky, Franz Marc, August Macke,and Paul Klee. They all shared a common desire to express spiritual truths through their art. Before Expressionism, art was made like this:the eye sees, the hand responds, the mind judges. Expressionism changed the process to this: the mind sees, the hand judges, the eye responds. A new, inner-directed, transphysical modern art was born. It was not just spiritual; it was exciting. It excited the eye in a brand new way, and it continues to thrill and move the open-eyed viewer to this day,” says Uli Schaarschmidt’s friend and fellow artist, Onni Nordman. While Nordman notes the Expressionist influences in his friend’s work, Schaarschmidt is quick to point out that his style comes from a direct response to his subjects. Anyone familiar with the Expressionist style of painting would know that many of the great masterpieces in this style are often angst-ridden works. Uli’s works are brighter, however, and speak a more positive message. His subject matter for this show includes Native people, miners, fishing boats and harbours, flowers, landscapes and portraits in black and white and bright colour. Many of the works in the show incorporate hand-written text or quotes from Biblical or other personal sources. He often includes notes, sketches, or snapshot photographs to provide a wider context for the subject. “I come from a big city, and I studied traditional painting and the great masters. We live in an age of computers, the Internet and information overload and the work you see here is a response to what I see here in Cape Breton,” says Schaarschmidt. “For me, the main thing is to glorify the Lord. Take strength, healing and excitement from my work with you. I came from another country, from another mother tongue, but Cape Bretoners gave me their hands and made me feel at home,” headded. The Uli Schaarschmidt show runs at the Inverness County Centre for the Arts until July. While you’re there check out the hallway gallery show of prints, the Art Gallery of Nova Scotia’s Art Bank collection, which features works from a number of distinguished Canadian artists. The Chronicle Herald.ca Published: 2007-06-30 No nice postcards German artist Schaarschmidt gives own style to Cape Breton’s natural beauty By TERA CAMUS Cape Breton Bureau INVERNESS Your eye is quickly pulled into the ruggedness captured underthe glass, held tightly in place by faded wood borrowed from a100-year-old barn. Brightly coloured acrylics and pastels or watercolours fill what wasformerly white or brown paper with images that could easily be snapshots in time of life captured in Cape Breton Island, the key inspiration for German-born artist Uli Schaarschmidt since he first visited the area in 2003. Dozens of his paintings, on display at the Inverness County Centre forthe Arts until Tuesday, also depict other common themes from NovaScotia including the adventures of fishermen at sea, majestic lighthouses, or the sorrow and blackness and death caused when Westray exploded in the late 1990s. "Last year was one of the best times in my artist life," says ever-smiling and friendly, classically trained artist, talking in the centre where his framed and unframed works sell from several hundred to several thousand dollars. "This is more than Impressionism . . . or Expressionism," he said. "This is something from reality of what I have looked at, and what my mind sees and some are fantasy." In fact, Onni Nordman, a fellow artist from Cape Breton who is known for transforming life and concept into abstractions, considers Schaarschmidt, who is from Munich, a "new Blue Rider." "From 1911 to 1914, Munich was the birthplace of the Blue Rider Group (Der Blaue Reiter), a fellowship of Expressionist painters which included such esteemed pioneers of modern art as Wassily Kandinsky, Franz Marc, August Macke and Paul Klee. They all shared a common desireto express spiritual truths through their art." Nordman explains that before Expressionism, art was made after the eye sees, the hand responds and the mind judges. "(But) Expressionism changed the process to this: the mind sees, the hand judges and the eye responds," Nordman said. "A new inner-directed, trans-physical, modern art was born. It was not just spiritual, it was exciting." Schaarschmidt admits God and spirituality play a big role in his artistry. Humour also helps, he says with a laugh. "The Lord guided me in," he said. "My mind sees . . . the normal hardworking people, they don’t talk so much. They have all the skills and experiences, and know how to do the job. I draw and paint and portray that in the same way as Cape Breton’s natural beauties . . . my style follows the way like it is, rough to rough, smooth to smooth. I don’t paint nice postcards. My work is like a mirror to be here." His impression of Cape Breton during various visits obviously was one that included the rough or rugged faces of friendly people, the wind and the wavy seas all depicted in bright, clean, contrasting colors and wild lines. One of the influences in his work is the Impressionist Claude Monet. "Cape Breton influenced me with its people, its ocean, the wind, the sunshine and the rain," he said. His work often involved stopping and pulling out his paper and painting or drawing on the ground when he spotted Eskasoni children playing last year, or an old man in Baddeck who walked up Main Street with a cane to share a few yarns with the artist. "My mind sees and I go around, and I see you. My hands and feet work, I work with my body," he said, bending over and sashaying his hips left to right to illustrate how he’d use his feet and hands to paint on the ground. "I like to do it outside." His work also includes images from Lunenburg, Peggys Cove, Brier Island and Halifax. The Picton Castle is shown in one piece on a wild voyage at sea and from top to bottom beside it are the words of the 10 Commandment scetched faintly alongside it. He says the words are there to illustrate how life’s wild ride can reach safe journey. "In my fantasy, I made it in full surf," he said. The yellows, blues, greens and browns of the ship, sky and sea mix to transport you onboardin that wild sea. Schaarschmidt’s website is www.schaarschmidt.it. ( This e-mail address is being protected from spam bots, you need JavaScript enabled to view it ) © 2007 The Halifax Herald Limited More comments... Bhakti,Australien: "Deine Kunst ist eine Kunst auf sich, fuer sich. Hoer nicht auf. Mach einen Museum voller Uli 's art. Die feine Art von Kunst." -Wes, Sydney Mines: "Thank you for all your beautiful paintings. I admired them all. Keep up the good and your faith and what the Lord has planned for you." - Pat, Tobique: "Uli, thanks for sharing these things with us, just wonderful!" - Doug, Grace Youth: "Uli, I am pleased to hear that you are coming back!!! And soon!" - Lois, Halifax:"Congratulations! I'll definitely come to see the show." - Audrey, Toronto: "Excellent. I wish I could be there." - Alex,Chicago: "Uli, You are amazing! You have developed a style all of your own. Now, I don't even need to see who did the painting to know it is yours." - Jimmy, Atlanta: "Thanks for sharing your drawings. I enjoyed especially the countryside paintings." - Rusty, New York: "I wish you good luck on your exhibition, The work looks really nice, good colors and soothing." - Ron, Canning: "I hope your show is a big success." - David, Boularderie: "Uli, your show is looking very wonderful." - Peter, Halifax: "I like the landscape images and the broader website. It puts a lot in context." - Larry, Baddeck: "God bless you on your new endeavor." Ralf, München: "Schöne Grüße an Ihre anscheinend geistesverwandte Frau!" - David, Toronto: "Like the canoe pictures." - Anne, Chicago: "I wish that I could come to your show! But it's good to at least see the pictures." Onni, South Bar: "These new paintings -- Belong to One, Barque Decalog Dark, Ocean Waves - there is great power here. You go from strength to strength. It's clear that you are very centered when you paint them. They're fast and clear, but at the same time architectural and full of complex paint handling."- Jesus keep us exciting... - Nana, Kentucky: "now I have your painting at home!" - Kate, CB: "immediate energy; very present, very now, very alive; they wake me right up; simple presentation, no affectations; plain framing, simple bare wood, wow" - Sybil, CB: "You struck a match in Inverness when I walked into the gallery my spirit was ignited! You showed me your experience. The Truth=Your Own Experince. I saw through your eyes, felt with your heart - this is Art, this is Life, this is Manifestation." - Ulrich, München: "Danke für die wirklich inspirierenden Bilder! Ich weiß nicht, aber ich habe plötzlich Lust auf viel Urlaub..." 2007 LHT Hamburg 2010 Besenbinderhof 1Pressetext_LHT_Hamb 423.36 Kb 2007 Glauben BBK 2006 Kunstkreis Karlsfeld mehr: Münchner Merkur 2006 LTT Frankfurt Flyer_LTT 174.31 Kb mehr: Airport Center - Lufthansa - Presse - 2006 DSOB DJB Frankfurt of2-2006_47-50 821.73 Kb 2000-09 Organisation Pleinair Hotel Pragser Wildsee 1aKatalog-200x240sc 958.01 Kb und München2005 Carlyle Cape Breton Fishermen Nova Scotia Canada resume Their working is really hard for best wild Lobsters in the world. They are inside the weather anytime but sometimes dangerous. I stood with them, also with Indians and coal miners. Becoming friends because "you belong to the normal hard working people" they said. You can see fastball every morning at 4:30 am in my raw paintings. First time a fine artist appreciated their doing. These paintings and drawings are dedicated to Cape Bretoners who continue to encourage me and give my series a home. 2004 Judo paintings for "Throw down" by Johnny To - more: Vengeance - IMDb - 2003 Karate Europameisterschaften Bremen mehr: Budonews - Künstler - DKV - 2000 Karate Weltmeisterschaften München mehr: Karate Bayern - Karate Bilder - Kunst durch Disziplin Kunstkritik 29.36 KbAls uns während der Vorbereitungen zur Karate-Weltmeisterschaft 2000 in München eine Anfrage eines Künstlersauf den Tisch kam, der während der Wettkämpfe malen wollte, ging ich davon aus, dass es sich um einen Künstler handeln würde, der - wieviele andere vor ihm - einfach schöne Bilder mit schönen Karatetechniken zeichnen würde. Am ersten Wettkampftag lernte ich diesen Künstler - Uli Schaarschmidt - persönlich kennen und hatte in den folgenden Tagen oft Gelegenheit, ihn bei seiner "Arbeit" an der Matte zu beobachten, während ich mit meiner Kamera an der anderen Seite der Kampffläche auf gute Kampfszenen lauerte. Was machte dieser Mann da, der wie ein Besessener auf seinen Blättern zeichnete, voller Begeisterung immer wieder zu den Kämpfern blickte und auch nach dem Ende eines Kampfes bei weitem noch nicht fertig war. Neugierig geworden blickte ich Uli Schaarschmidt über die Schultern. Nein, das waren keine Karatebilder, wie man sie kennt. Das war etwas völlig anderes. Die Bilder zeigten eine furiose und geniale, neue Sichtweise des Kampfes. Wie Picasso es verstanden hatte, gewohnte Sichtweisen zu durchbrechen und Neues zu entwickeln, so durchbricht auch Schaarschmidt die Gewohnheiten. Er zeichnet nicht irgendeine brillante Karatetechnik - er schafft es tatsächlich, den Kampfverlauf im Bild festzuhalten, das Feeling, die Spannung und die Dynamik zu Papier zu bringen. Ich erkannte auf seinen Bildern die Kämpfe wieder,die ich mit meiner Kamera fotografiert hatte. Und ich war begeistert - ebenso wie auch alle anderen, die seine Bilder sahen, egal ob das nun Kampfrichter oder Funktionäre, Zuschauer oder die Kämpfer selbst waren. Für eine Karate-Weltmeisterschaft ist die Anwesenheit von UliSchaarschmidt - dem inoffiziellen Weltmeister für Karate-Bilder - nicht nur ein Muss, sondern eine Auszeichnung. Text von Andreas Möhring, Mr.Rundbrief. Mehr... Karate Online Kunst durch Disziplin - Art of disciplin During the preparations for the Worldchampionship 2000 in Munich we received an inquiry from an artist, asking if he would be allowed to paint during the fights. I assumed at the time that that would be an artist like many others before him, who wanted to paint nice pictures of Karate techniques. On the first day of the Championships I met the artist, Uli Schaarschmidt. In the subsequent days I had frequent opportunity to watch him at his work at the mat, while I was on the other side of the mat, with my camera, waiting for suitable fight scenes.What was this man doing, drawing furiously on his sheets all the while, constantly looking at the fighters. Even when a fight was over he did not stop drawing. Having become seriously interested in what he was doing I decided to look over his shoulder while he was at work. No,what I saw were not pictures of Karate as I knew them. The pictures showed a new and ingenious way of looking at the fights. Something totally different from the usual and common pictures of Karate. Just as Picasso knew how to show completely new ways of looking at objects and to develop something new, so Schaarschmidt is doing the same: entirely new approaches to depicting Karate fights. He does not just show one orthe other Karate technique, he actually shows the fight in progress in his pictures. The feelings, the tensions, the dynamics reduced to afine art on paper. I recognized in his pictures the fights I had fotographed with my camera. I was enthused and inspired. Just like anyone else who saw his pictures, regardless whether they were judges, functionaries, spectators or participants. Schaarschmidt is without a doubt the world champion in creating pictures of Karate. Therefore his presence at a Worldchampionship for Karate is not just a must, but a honor. Andreas Moehring, Mr. Rundbrief, Bavarian Karate Club.Translation by Wolfgang F. Robinow. More... Karate Online Aggression - Dynamik - Harmonie von Tanja Jorberg Gedanken zu den Karate – Bildern Uli Schaarschmidts „So wie die blanke Oberfläche eines Spiegels alles wiedergibt, was vor ihm steht, und wie ein stilles Tal selbst den schwächsten Laut weiterträgt, soll der Karateschüler sein Inneres leer machen von Selbstsucht und Boshaftigkeit, um in allem, was ihm begegnen könnte, angemessen zu handeln.“ (Meister Funokoshi)
Uli Schaarschmidts Bilder suggerieren zunächst Dynamik, Wildheit, ja sogar Aggression. Als Maler nimmt er an Karate-Weltmeisterschaften teil, um deren Konzentration in höchster Energie einzufangen. Die Samurai – als asiatische Kampfkünstler – üben seit Jahrhunderten die Konzentration des Geistes im Körper. Selbst der besttrainierteste Körper kann von einem „schwächeren“ besiegt werden, wenn jener keinen trainierten Geist hat, denn dann ist er ablenkbar in seiner Konzentration.
Das eingangs erwähnte Zitat finden wir auf allen drei Ebenen realisiert: Der beste Karate-Kämpfer ist der, welcher seinen Geist so geschult hat, dass er sich leer machen kann von allen Projektionen und Emotionen – dann kann er am besten seinen Gegner wahr – nehmen und entsprechend reagieren. Parallel dazu gelingen Schaarschmidt dann seine besten Bilder, wenn er sich ebenso konzentrieren kann auf das Hier und Jetzt, ohne eigene Projektionen. Wenn er sich so „leer“ machen kann, ist es die wahr – genommene Dynamik, Energie und Konzentration der Karate-Kämpfer, die im schöpferischen Akt seine Hand zu führen scheinen. In den am besten gelungenen Werken ( z.B. „Fadi“, „Karate Kata“) erleben wir nicht die Emotionen des Künstlers, sondern durch ihn die objektive Ebene des noch einmal im Bild stattfindenden Kampfes. Der Künstler wird zum Spiegel, zum Maler – Samurai : Er bildet den Kampf nicht ab, sondern im Malprozess findet er in derselben Konzentration statt – mit Farben und Formen.
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