Just as a city is constantly on the river, so places of this city are constantly on the river. Buildings emerge, are torn down and replaced. Only the story lasted. Thus also in the works of the artist Leo Koenigsberg. Although the subject matter of his work groups is different, they have one thing in common: they all deal with the relationship of man - habitat - nature - decay.
It is not this rapidly changing environment that surrounds us, which is reflected in his work. Rather, he would like to point out the current situation, which is politically, historically and socially shaped. The ambivalence of his works is also based on the question of their own identity. Leo Königsberg wants to express his thoughts with abstract, surreal elements in his pictures.
In his work cycle Postindustreal Desease, the artist banned destroyed, industrialized landscapes that had decayed on the screen. He deals with the destruction of man and nature. As a witness, he thus acquires the past and describes his personal path painstakingly by capturing the essence of things with great accuracy. Its source material lies in its immediate environment (Oberschöneweide, Berlin). This industrial environment was once the cradle of the German electrical industry. Since his artistic activity in Berlin he has been living there. This environment has awakened in him an immediacy of feeling, which has the goal of exploring those places where social, economic and political activities have taken place. By visualizing these dilapidated buildings in his works, covering them with color accents, strokes, arcs and circles, he creates the atmosphere of a place that radiates a force field of energy. These are atmospheric compositions which Leo Koenigsberg conveys in his own analysis. His paintings are poetic creations with real content, permeated by surreal structures. It is much more than a mere rhetoric about industrial archeology in the works of the artist. There is a quotation Novalis, with which one can describe this:
"... to the ordinary a higher sense, to impart to the everyday the appearance of mystery, to the acquaintance the dignity of the unknown, and the finite the features of the infinite.
Leo Königberg's picture cycle Beyond The Time has a picturesque aesthetic. It is a moderate, domestizing variant of sublime decay. He presents the smaller works of this work group, painted in strong colors, with signs of the Porous. It is something destructive, something that decomposes the colors and makes the picture surfaces morbid, in the process of dissolution. It seems as if he could express his thoughts by means of a connecting element, the abstraction going into the surreal.
His large-scale painting, 9/11, is a staging of impaled, partly floating ice carriers in a surreal color scheme. As in the case of a trompe l'oeil, an illusionistic painting, the artist works here by means of skilful perspectives to simulate a non - existent spatiality. The surreal coloring of his work alienates the menacing aspect, lends the image something that is not perceptible at first sight. The picture contains a secret. It is the secret, which adheres to what is known and at the same time unknown. This work presents an archeology of recent history. It is the archeology of an atmosphere that is loaded with the dust of destruction. With this painting, he revises the current situation, which is historically, politically and socially shaped.
I would particularly like to emphasize his work In Between. It shows torn clouds, in all shades of color blue. These cloud formations, which appear partly threatening, partly peaceful, make the mythical figure of Aeolus and its many faces recognizable. He blows through the clouds, makes them break violently and then flow peacefully into each other.
In the middle of the image, this torn cloud layer, a shallow, calm, floating sea emerges. It gives the painting an infinite depth, into which one feels drawn. One would like to float in this center, enjoy the infinite freedom, let it fall and live in it. This portrayed a soothing openness, an exciting adventure.
The work of Leo Koenigsberg encourages them to get to know them and to encourage them to get to know the artist. They reveal amazing insights into his world of the creative and the human, and they convey an adventure of the mind and the heart. His production is based on both a playful and intelligent approach
Ectual structure, which is always characterized by the highest aesthetics. Leo Koenigsberg: "My works are ready when they begin to dance before my eyes". In his work alienates the threatening sight, lends the picture something that is not at first glance. The quotation from Paul Klee also applies wonderfully to the paintings of the artist Leo Koenigsberg: "Art does not reveal the visible Again, but makes visible "
„Von frühester Kindheit an war ich von Musik umgeben und lernte auch früh ein Instrument zu spielen. Es war die reinste Symphonie und alles durchwirkte meinen Geist und meine Seele. Die Großen Meister waren mir vertraut und ich dirigierte Gustav Mahler im Bett. Mozart war mir so vertraut, dass er mir wie mein Bruder war. (So empfindet man möglicherweise nur in Salzburg.)
Mit 16 Jahren war ich Meisterschüler der Universität Mozartheum in Salzburg, im Fach Violine. Später studierte ich neben Klavier auch noch Gesang. Später folgten Kunstgeschichte, Germanistik und Philosophie.
Doch mein Inneres zog es schon sehr früh zur Bilderwelt der Malerei und so entschied ich mich im Alter von ca. 14 Jahren Maler zu werden. Die vielen großen Meister vor Augen schafften in mir das Bewusstsein von unendlichen Möglichkeiten und einem phantastischen Leben in und mit der Kunst. Ich setzte oft dort an, wo andere aufhörten, bloß um den gigantisch großen weißen Raum zu gestalten. Es begann mit Chaos und mündete durch viele Lichtfrequenzen der Farbenwelt in die Harmonie kosmischen Bewusstseins. Die Schönheit des Raumes war geschaffen. Mir größte Freude und Glück.
Ich reiste durch die Welt um Menschen anderer Lebensräume und Kulturen kennenzulernen. 1990 führten mich von den Kanarischen Inseln über das Ruhrgebiet direkt in das wiedervereinigte Berlin. Hier herrschte Orientierungslosigkeit und eine unglaubliche Anarchie unter den Menschen und darin war das Potential für meine Freiheit als Maler. Mitten in dieser Situation war Zusammenbruch und Neubeginn. Diese Zeit des Umbruchs und großen Transformation wurde zur Geburtsstunde für den „Neuen Sensualismus“ - eine Hochfrequenzmalerei mit dem neuen Klang einer Symphonie - einer Symphonie des Lebendigen.“
Transform the world
"From early childhood I was surrounded by music and also learned to play an instrument early. It was the purest symphony, and everything permeated my mind and soul. The great masters were familiar to me and I directed Mahler in bed. Mozart was so familiar to me that he was like my brother. At the age of 16 I was a Master of the University of Mozartheum in Salzburg, a violin. Later, besides piano, I studied singing, art history, German philology and philosophy. However, my inner being drew very early to the pictorial world of painting and so I decided to become a painter at the age of about 14 years. The many great masters in mind created in me the consciousness of infinite possibilities and a fantastic life in the art. I am in art where others stopped to shape the gigantic white space. It began with chaos and culminated in the harmony of cosmic consciousness through many light frequencies of the color world. The beauty of the room was created. My greatest joy and happiness.
I traveled through the world to get to know people of other habitats and cultures. In 1990, I took me directly from the Canary Islands to the reunited Berlin via the Ruhr area. There was disorientation and unbelievable anarchy, and there was the potential for a redesign. In the middle of this situation was collapse and a new beginning. This time of upheaval and great transformation became the birth-hour for the "New Sensualism" - a high-frequency painting with the new sound of a symphony - a symphony of the living. "