RAMBOW/LIENEMEYER/VAN DE SAIY. Eckhard Neumann hsd )1 fo{ GUNTER RAMBOW GERHARD LIENEMEYER MICHAEL VAN DE SAND Gunter Rambow and Gerhard Lienemeyer began to work jointly as visual designers while they were still studying at the Hochschule für bildende Künste in Kassei, where they founded the Rambow Lienemeyer Studio in i960. After working for a while in Stuttgart they moved in 1967 to Frankfurt am Main and at once embarked on a publishing venture there, the Kohlkunstverlag. Michael van de Sand joined the group in 1973. Since the following year Gunter Rambow has also been Professor of Graphic Design and Photography in Kassei. Photography as a form of artistic expression is a focal point in the work of the team. They have used 'photo-graphics' to create new types of theatre posters that have won wide recognition and awards at national and international levels. Editor m Gunter Rambow und Gerhard Lienemeyer haben ihre gemeinsame Arbeit als visuelle Gestalter schon im Studium an der Hochschule für bildende Künste in Kassei begonnen und dort i960 das Atelier «Rambow Lienemeyer» gegründet. Kurz in Stuttgart tatig, übersiedelten sie 1967 mit ihrem Atelier nach Frankfurt am Main und starteten gleichzeitig den Kohlkunstverlag. Michael van de Sand kam 1973 als Partner in diese Gruppe. Gunter Rambow ist zudem seit 1974 Professor für Graphik- Design und Photographie in Kassei. Ein Schwerpunkt in der Arbeit dieses Teams ist die Auseinandersetzung mit Photographie als künstlerischem Ausdrucksmittel. Mit «Photo-Graphik» haben sie neue Formen von Theaterplakaten geschaffen, die national und international stark beachtet und vielfach ausgezeichnet worden sind. Redaktion Gunter Rambow et Gerhard Lienemeyer ont fait équipe en tant que créateurs visuels dès leurs années d'études a l'Université des Arts plastiques de Kassei (RFA), oü ils fondent en i960 l'atelier «Rambow Lienemeyer». De la, ils passent a Stuttgart, puis, en 1967, a Francfort, oü les Editions Kohlkunst viennent s'ajouter a leurs activités graphiques. Michael van de Sand s'associe a eux en 1973, et un an plus tard Gunter Rambow devient professeur d'art graphique et de photographie a l'Université de Kassei. L'équipe s'explique surtout avec la photo considérée comme moyen d'expres- sion artistique. Sous le vocable de «photo-graphique», les trois artistes ont créé de nouvelles formes d'affiches théatrales qui ont été remarquées et primées tant en Allemagne fédérale qu'a l'étranger. Im Redaction Poster design was a central concern at the Hochschule für tiende Künste in Kassei by the end of the fifties, when Gunter R ibow and Gerhard Lienemeyer were studying there. In the meanti.; this concern has led to the growth of a tradition usually referred t|is tire 'Kassei school' of German poster art. The school does not of coup turn out only poster artists, but thinking in terms of the poster, as inc. cated by such teachers as Hans Leistikow and Hans Hillmann, has beche for many of its alumni a dominating technique for visualizing ideas All the posters of Rambow/Lienemeyer/van de Sand r'ect a consistent opposition to whatever is ordinary and traditionalist 0 the everyday working methods that are aimed at the quickest at least laborious execution of a commission with a view to being able tc rite a bill for it. This attitude, together with the force and pithiness their visual ideas, was clearly manifest for the first time in the coherent coups of posters for their publishing ventures, the so-called Kohlkun' eriair and the literary magazine Egoist, which came into existence at thnd of the sixties. These posters are a clear statement of the wish trnake something better out of the real world, or at least to contribute) that endeavour. The use of the poster in this context as a critical so* 1 and cultural medium is an expression of their sense of responsibly, in intention humanist, agitatory and in the final analysis also egoistfl hey want to do only the things they are convinced of, that their com tier tell them they must do. And to do them uncompromisingly or w orih very narrow tolerances. The three Frankfurt designers faced a challenging task in the d' gn 01 all the communications for Schauspiel Frankfurt, a theatre direid hv Peter Palitzsch, Karlheinz Braun and Peter Roggisch, beginnii with the 1977/78 season. They wanted to emphasize the presence the theatre in the city scene. They wanted to get away from the singlehstei as they saw more efficacy in groups of bigger, more forceful >sterss focused on the same idea and using recognizable signals. The ,.fdii j thought in the first programme posters was that of the 'poster wi poster': photomontages of theatre bills on all imaginable, often ing supports, but in a recognizable Frankfurt setting. Horst Lau: was chief stage director at the time, said: 'The posters Rambovt i meyer/van de Sand have done for the theatre are of a kind we ne before. They are far from being a label, emblem or graphic syrr.i literature, as is now the fashion. Instead they mostly carry ex yd\- realityin newsy black-and-whiteinto the theatrical context, t ing 1 story that is compounded of the specific city world and the theatre orl<i- Sometimes they also do the contrary: [Continued on page 554] n th# prlSn whg ienc- 548

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