Havekost depicts conditions that he layers in his head, equalises again in perception as a sequence of images and de facto makes them arbitrary. His motifs of nature, caravans, balconies, portraits, etc. are no longer the indications of a civilisation lived by humans, but only fragments of a past memory of images before the transition to the digital laboratory – surfaces for the Gameboys of tomorrow. The fact that Havekost ascribes a function to painting in this context places his work in an intermediate space. This maintains the competence of painting, but at the same time underlines its disengagement from the genius-suspicious handmade authorship. Havekost’s paintings have been subjugated to the visual machine of the media age to a greater extent than collage and montage. This makes his paintings as indifferent as they are temporary, as seductive as they are subversive.
Ostdeutsche Sparkassenstiftung im Freistatt Sachsen (Hg.): DruckDruck. Eberhard Havekost. Leipzig 1999
Eberhard Havekost: Flexibel, 1999
Format: 30 x 21 cm