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Austrian painter Ernst Fuchs dies aged 85

The Austrian painter and sculptor Ernst Fuchs has died at the age of 85. Speaking to the Austria Press Agency his son, Tillmann Fuchs, said that his father died early on Monday.

Published: 9 November 2015 10:45 CET

Austrian painter Ernst Fuchs dies aged 85

Ernst Fuchs in 2007. Photo: Tsui/Wikimedia

He died peacefully in hospital in Vienna, surrounded by his family. According to the artist's wishes, he will be buried in Vienna's Hütteldorf cemetery.

Fuchs, who was instantly recognisable by his bushy beard and trademark patterned caps, was married three times and had 16 children.

He was born on February 13th 1930 in Vienna, the only child of a Jewish antiques dealer and a Catholic seamstress.

He was just 15 when he was accepted to study at the Academy of Fine Arts in Vienna. There he met fellow students Anton Lehmden, Arik Brauer, Wolfgang Hutter and Rudolf Hausner, with whom he went on to found the Vienna School of Fantastic Realism.

Fuchs was known internationally for works that combined clear lines and bright colours with allegorical and later religious themes.

He moved to Paris in 1950 and lived there for 12 years, travelling during this time to Italy, Spain, England and the US and befriending artists such as Salvador Dali, Giorgio de Chirico and Jean Cocteau.

In 1972 Fuchs bought the derelict Otto Wagner Villa in Hütteldorf, which he restored and transformed. The villa became the Ernst Fuchs Museum in 1988.

Since 1988 Fuchs lived in Monte Carlo and would stay at a hotel when he came to Vienna.

The Otto Wagner Villa in Vienna. Photo: Welleschik unter cc by-sa

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African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old told AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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