Earth Sciences

The work by Hans Mayer, created in 1974 from a boulder of Flossenbürg granite, was the first art object erected on the future campus of the University of Bayreuth.

Granite is not only a natural material but also a symbol of steadfastness and durability, often used in architecture and sculpture to convey stability and timelessness. The choice of this material lends the work a certain dignity and closely connects it to the natural environment of the campus.

The boulder covers the foundation charter of the University of Bayreuth and bears the inscription "Universität Bayreuth – 23. März 1974." This gives the work a dual significance: it is both an artistic object and a historical document. The stone symbolizes the cornerstone of the university and marks the beginning of its history. The inscription refers to the founding date and firmly anchors the work in the institution's history.

The artwork blends with the natural environment due to the chosen material, making it difficult to spot. This integration into the landscape underscores the idea that the university is an organic part of its surroundings. It suggests that knowledge and education are natural and fundamental components of human society.

Mayer himself has a tumultuous history marked by displacement and new beginnings. This personal experience may be reflected in his work, particularly in the choice of materials and how they are integrated into the environment. The boulder could be interpreted as a symbol of resilience and new beginnings, themes that play a central role in Mayer's life and work.

Hans Mayer, also known by the artist name "Mayan," has a remarkable artistic career. His works, particularly his large-scale stelae and ceramic pieces, show a preference for monumental and expressive forms. The boulder on the University of Bayreuth campus is an early example of his ability to transform natural materials into artistic statements.

The mural by Heinz Altschäffel from 1975, located in the entrance area of the Geowissenschaften I building at the University of Bayreuth, is an impressive example of the artist's development and work. To interpret the piece, it is helpful to consider both Heinz Altschäffel's artistic training and creative influences, as well as the specific elements of the painting.

Heinz Altschäffel began his artistic career at the art school in Würzburg and continued his education at the Academies of Fine Arts in Munich and Nuremberg. This training laid the foundation for his later artistic development, which is characterized by a constant search for new challenges and experiments with various painting techniques.

The mural features an abstract, supra-representational depiction. The use of vibrant colors and geometric shapes suggests an influence from the modern art movements of his time. The composition is dynamic and plays with contrasts and color fields, indicating an emotional and intuitive approach to painting. The image is reminiscent of famous works by the Spanish painter Joan Miró through the characteristic use of simple, childlike forms and symbols.

The abstract nature of the painting leaves much room for interpretation. The use of geometric shapes and vibrant colors could be seen as an expression of the energy and dynamism often associated with scientific discoveries and the pursuit of knowledge. This fits well with the context of the geosciences building where the painting is displayed.

Udo Kaller's wall installation "Geologischer Geländeschnitt zwischen Fichtelgebirge und Bamberger Becken" is a remarkable work that can be interpreted both artistically and scientifically. Created in 1979, this installation consists of tempera on steel sheet and is treated with clear lacquer, giving it a durable and glossy surface. Measuring 15 x 1 meters, it dominates the space in the foyer of the Geosciences II building at the University of Bayreuth.

The use of tempera on steel sheet is unusual and demonstrates Kaller's willingness to experiment with different materials. Tempera offers a vibrant color palette, while the steel sheet provides a robust and modern base. The clear lacquer protects the work and gives it a smooth, reflective surface that captures light and intensifies the colors.

The piece depicts a geological cross-section showcasing the landscape between the Fichtel Mountains and the Bamberg Basin. The representation is abstract yet precise in its rendering of geological layers and formations. The use of colors and shapes conveys a depth and complexity that reflects the geological processes and the time that shaped them.

The installation is situated within a scientific context, emphasizing its significance as a bridge between art and science. It serves as a visual explanation of geological phenomena while simultaneously inviting reflection on the beauty and complexity of nature.

Kaller's background as an artist, active in both painting and graphic design, is evident in the precision and detail of the work. Udo Kaller, born in 1943 in Gleiwitz/Upper Silesia, has had a remarkable artistic career. His training at the Academies of Fine Arts in Munich and Nuremberg, as well as his membership in the Ulm Artists' Guild, have shaped his artistic development. Kaller's works are often inspired by nature and landscape, which is reflected in this installation.

In the courtyard of the adjacent building section, Geosciences II, is the wire tension installation by Alf Schuler from 1977. This work by Alf Schuler is a remarkable example of Minimal Art, an artistic movement characterized by its reduction to fundamental forms and materials. This particular installation, consisting of stainless steel cables in V4A steel eyelets and spanning a wall area of 18 x 6 meters, is an excellent example of Schuler's focus on spatial perception and physical properties.

The use of simple, industrial materials such as steel cables and eyelets emphasizes the minimalist aesthetic. This choice highlights the beauty and significance of the materials themselves, without additional ornamentation or complex forms. The wire tension creates a dynamic interaction with the space. The cables appear to penetrate the wall surface, creating a sense of depth and movement. This invites the viewer to explore the relationship between the cables and the wall surface, and to reassess the spatial relationships.

A distinctive feature of this work is its interaction with sunlight. The cables cast intriguing shadow patterns on the wall when the sun shines, which change throughout the day. This adds a temporal dimension and makes the artwork a living part of its environment.

The installation makes physical forces such as gravity and tension visible. The taut cables convey a sense of balance and stability while simultaneously displaying the tension and energy within them. The spacing of the cables is related to the basic joint dimension of the wall, which is 1.20 meters. This demonstrates a conscious integration of the artwork into the architectural context of the building. It creates a harmony between art and architecture and emphasizes the structural elements of the building.

Alf Schuler, born in 1945, is a significant representative of Minimal Art. His works are often characterized by their clear formal language and emphasis on physical properties. Schuler has participated in renowned exhibitions such as documenta 6 and 8 and has received several awards, including the Kunstpreis der Böttcherstraße in Bremen. His appointment to the Kunsthochschule Kassel underscores his importance in the art world.