About

"The fact that things are not what they appear was an enlightenment for me then, it was like opening the door to a mysterious world - a universe that can explore step by step and gain insights." Manfred P. Kage about the moment when, as an eight-year-old, he looked through a microscope for the first time during the war. Kage has not let go of this idea since his first look into the microscope. The result was the curiosity and the spirit of discovery to discover and express what holds the world together at its core, which complex networks exist - a vision that reaches far beyond our world and which drove him in his life and work. He was impressed neither in the scientific nor in the artistic area of supposedly existing borders. Nevertheless, he seldom saw himself as a frontier worker, with a special focus on disciplines and a comprehensive claim to his artistic and scientific work as well as the visualization of sensitive and complex natural systems. Manfred P. Kage's goal was to push the boundaries of what is thinkable, tackle boldly complex challenges, advance into new areas of knowledge and hidden worlds and, in particular, not be restricted or constrained by the limits of the theory or in some desired definitions. He fought combative for his convictions and for a multi-layered view of our world and pursued consistently and empirically his artistic and scientific path as well as the processing of the transitional field between science and art. In this form, he worked and worked as a pioneer, thought leader and as one of the few contemporary "all-round geniuses", the world's u.a. was recognized by numerous scientists, artists and curators. Until shortly before his death, Manfred P Kage created inventions, ideas and visions for artistic and scientific projects and devices.

Statement

As early as the late 1950s, Manfred P. Kage recognized the possibility of using aesthetic elements of microphotography to create "art forms". They led him to the astonishing discovery of the shape quality of natural forms and new fields of vision. With innovative techniques for the representation in the artistic photography as well as the multimedia and video art, he penetrated into new visual worlds of vision and reached an aesthetics of its own dimension with its microphotographic and apparative art works. Kage saw it as a fantastic challenge to look at and depict intelligent and aesthetic nature design - and thereby fantastically expand the perspective of man and his place in a larger system. Within the artistic work of Kage, the microscope was often at the center of the mystery of the living, which in different ways can overcome the limits of different dimensions. The microscope is complemented by the imagination and imagination that make sense of exploration and discovery. Imagination can permeate space and time dimensions: The goal of Kage was to open up his space-time dimensions to spectators in a phenomenological consciousness with his multimedia concerts and performances: the "work of cosmic design from the boundaries of cosmic matter to the incredible diversity of microstructures" - the fusion of the micro, meso and macrocosm. As a photographer, multimedia and video artist, Manfred P. Kage visualized the invisible, in particular the complexity, sensibility and beauty of nature in the transitional field between science and art that he empirically worked on (see "Photography informal" and "Science Art", terms he coined with other terms and coined as art direction for his art). With this vision, he manifests his individual interpretation of the synthesis of science and art ("Science Art"). The diversity of his fields of activity, the pioneering work, his inventions and visionary ideas encompassed his life's work. Kage's ambition was not to create a pure image of scientific content, but to fuse the maximum of aesthetics and knowledge. An outstanding example in this context is the "optical concert". The first proclamation took place as a manifesto in connection with the group ZERO ("To the realization of the optical concert" 1961). As a groundbreaking idea, Kage played his effects in real-time and interactively like a kind of piano keyboard as a synaesthetic performance. Intention Kages it was u.a. To present natural processes in the micro range in a color noise concert. This realized Kage u.a. with home-made projectors and unique inventions, such as a self-built eight-channel light organ and reprokaleidoscopes, crystal projectors with unique color filter systems as well as film and photo recordings of microscopic structures. and specially built for him video synthesizers. Nowadays, the "Optical Concert" by the family artist collective "K4i" (Manfred Kage, Christina Kage, Ninja-N. Kage, Oliver Kage) is used in a modern implementation as a medial, abstract lightroom, as a large-scale projection on dome roofs, in natural spaces and in architectural buildings as well performed as a synaesthetic interactive performance with live music by different music artists. In this way, astonishing visual worlds open up to viewers, who allow the most diverse dimensions and realities in space, matter and time to merge together. Manfred P. Kage's original idea of playing the optical effects live like a keyboard is still a key component of the performance today.

Education

  • Nach 1955 | Privatstudium der Malerei
  • 1953-1955 | Ausbildung zum Chemieingenieur, Chemisches Institut Dr. Flad, Stuttgart (DE)

Institution (Work Experience)

  • 1992 - 1993 | Gastprofessur an der Hochschule für Gestaltung in Karlsruhe (DE). Manfred P.Kage entwickelte dort ein Studienfach für wissenschaftliche, experimentelle Fotografie im Bereich der Medienkunst.
  • Über 20 Jahre war Kage zudem freier wissenschaftlicher Mitarbeiter im Institut für leichte Flächentragwerke (IL) bei dem Architekten Frei Otto und bei „Bild der Wissenschaft“ in Stuttgart. IFL: ab 1970 BDW: ab 1975

Selected Awards

  • 2013 | Royal Photographic Society’s International Images for Science (GB)
  • 2012 | Kulturpreis der DGPh (Deutsche Gesellschaft für Photographie) (DE)
  • 2006 | 1. Preis Wissenschaftsfotografie, FOCUS Wettbewerb, München (DE)
  • 1994 | Beste wissenschaftliche CD-Rom des Jahres, Produzent Titus Leber, Institute Louis Pasteur, Paris (FR)
  • 1992 | Award Show your colors. Certificate of Exellence, Category: Photography&Illustration
  • 1987 | SAIBU Gas Museum (JP)
  • 1980 | “World best Photomicrographs”, New York Microscopical Society Rockefeller Center, Nikon-House, Fifth Avenue (US)
  • 1978 | Preis Fotobuch-Sonderschau, Stuttgarter Buchwochen (DE)
  • 1975 | Videofilm „Impressionen aus der Hohen Mongolei“ mit Salvador Dalí, (WDR), in England preisgekrönt (GB)
  • 1973 |Bestes Photo, Bereich Wissenschaft. Photowettbewerb Werbe-Mode-Industriefotografie, AWI´73 (DE)
  • 1970 | The best Colorphotographs of the world, Gottschalk Gallery Düsseldorf, Kamp-Hüs, Kampen, Sylt (DE)
  • 1970 | „EXPO 70 – Weltausstellung“, Osaka (JP)
  • 1969 | “Diploma di Partecipazone”, 1. Salone cine foto ottica, Pallazzo dell´Arte, Milano (IT)
  • 1967 | “Certificate Report 65´66”, New York, Denver, Toronto, ICTA (US / CA)
  • 1966/67 | 1. Jahreswettbewerb Graphic Design (DE)
  • 1966 | Obelisk für Verdienste in Photographie und Wissenschaft, Photokina Köln (DE)
  • 1964 | Kinofilm „Die Feder“ Ein Wunderwerk der Natur, ein 35 mm Film Kamera Manfred Kage, Kurt Hirschel, preisgekrönt mit Prädikat „Wertvoll“ von Filmbewertungsstelle Wiesbaden (DE)
  • 1962 | 1. Preis der Kunstbiennale mit Mitgliedern der Gruppe ZERO, Biennale Internationale d’Arte Rep. di San Marino, Verucchio (IT)
  • 1959 | Urkunde Farbige Papierbilder, Verband Deutscher Amateurfotografen-Vereine, Hannover (DE)
  • 1958 | Urkunde Bildmäßige Farbfotografie (Diapositiv), Verband Deutscher Amateurfotografen-Vereine, Reutlingen (DE)

Selected Exhibitions/Publications

  • Ausstellungen / Exhibitions:
  • 2018 | Stiftung Domnick, Nürtingen (DE)
  • 2016 | Gasometer Oberhausen, Oberhausen (DE)
  • 2015-2019 | Mikrofotografien für die Sonder-Briefmarkenserie „Mikrowelten“ der Deutschen Post AG, Herausgeber: Bundesministerium der Finanzen, (DE)
  • 2015 | ZKM Karlsruhe, Karlsruhe (DE)
  • 2015 | Martin-Gropius-Bau, Berlin (DE)
  • 2013 | Royal Photographic Society, London, Wanderausstellung durch Europa (GB/EU)
  • 2012 | Deutsches Museum, München (DE)
  • 2010 | Alfred Ehrhardt Stiftung, Berlin (DE)
  • 2010 | Museum für Fotografie, Berlin (DE)
  • 2005 | „Der Fischer und seine Frau“, Kinofilm von Doris Dörrie, München (DE) und Bühnenfilmbild auf Salzburger Festspielen (AT)
  • 1999 | BFF - Triennale der Photographie, Deichtorhallen Hamburg, (DE)
  • 1995 | National Museum for Natural Science, Taichung (TW)
  • 1995 | Staatliches Museum für Naturkunde, Stuttgart (DE)
  • 1987 | SAIBU Gas Museum (JP)
  • 1986 | ars electronica, Linz (AT)
  • 1982 | Museum of Modern Art, New York (US)
  • 1972 | XX. Olympischen Spiele, München (DE)
  • 1970 | EXPO 70, Osaka (JP)
  • 1967 | Weltausstellung, Montreal (CA)
  • 1964 | Kunstgewerbemuseum, Zürich (CH)
  • 1962 | Biennale Internationale d’Arte Rep. di San Marino, Verucchio (IT)
  • Publikationen / Publications
  • 2015 | Buch „KAGEs fantastische Wasserwelten” (DE)
  • 2013 | Buch „KAGEs fantastische Kristallwelten” (DE)
  • 2012 | Buch „KAGEs fantastische Insektenwelten” (DE)
  • 2010 | Buch „KAGEs fantastische Mikrowelten“ (DE)
  • 1985 | Buch „Chips - Die Technik in unserer Zeit“ (DE)
  • 1984 | Buch „Siliziumwelt“ (DE)
  • 1981 | Buch „Faszination des Lebendigen“ (DE)
  • 1978 | Buch „Kunstformen der Technik“ (DE)

Personal Website

https://www.kage-science-art.de

Galleries

Manfred P. Kage | Fotografie informell (since 1958)

Manfred P. Kage | Fotografie informell (since 1958)

Apparative art: from homogeneous images to dissolved formations - "From structure to form". "Fotografie informell" was launched in 1958 by M.P. Kage as an analogy to painting Informal. Since 1961, Kage has also participated as a ZERO artist in exhibitions, performances and multimedia presentations with his black-and-white series.

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Manfred P. Kage | Polychromatische Variationen (since 1957)

Manfred P. Kage | Polychromatische Variationen (since 1957)

Visualization of the invisible: In 1957, Manfred P. Kages invented the "polychromator", a kind of optical synthesizer, which he called "polychromatic variations". Kage later developed this special artistic line into the "Polychromatic [R]Evolution" from 2006 onwards.

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Manfred P. Kage | Science Art (since 1966)

Manfred P. Kage | Science Art (since 1966)

Manfred P. Kage was the first person in Germany to own a scanning electron microscope as a private individual and invented the world's first color image directly on the scanning electron microscope. From 1977 he founded "REM Science Art" for his scanning electron microscope imagery and the representation of the aesthetics of natural forms.

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Manfred P. Kage | Kristalloptische Bildwerke (since 1956)

Manfred P. Kage | Kristalloptische Bildwerke (since 1956)

As early as the late 1950s, Kage recognized the possibility of using aesthetic elements of microphotography to create "art forms". They led him to the amazing discovery of the design quality of natural forms and new fields of vision. From 1967 Manfred P. Kage developed repro kaleidoscopes for the Mikrofotografie and projectors for his multi-media installations and performances, which complemented his artistic work. Moon rock (corresponding to an earthly element) Pyroxene with shock lamellas. First coloured publication in a magazine (world exclusive "Bild der Zeit" 1971).

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