Sam Francis

Untitled, 1984

106.7 X 73 inch

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Sarajewo 17

Günther Uecker Sarajewo 11 screenprint with dense black overlapping strokes resembling nails and chaotic destruction on pale background

Published by Hermit Press, Düsseldorf. Special edition to accompany the book "Sarajevo 96" from 2001. Sarajewo 11 (2005) by Günther Uecker is one of the most visually intense entries in his Sarajevo series, created as a special edition for the 2001 book Sarajevo 96. Known for using physical materials like nails to express trauma and resilience, Uecker translates that visceral energy into this two-dimensional screenprint with urgent and chaotic black marks. The composition is a dense tangle of lines and impressions, evocative of nails, slashes, and smears, filling the central field with violent rhythm and movement. The layering of brushstrokes and shapes suggests impact, fragmentation, and the residue of destruction—an abstract record of violence embedded in memory. Despite the abstraction, the work communicates a powerful emotional narrative, inviting the viewer to confront themes of war, suffering, and endurance. Published in an edition of 60 by Hermit Press in Düsseldorf, each print is hand-signed and numbered, offering both a meditative object and a historical witness to the pain and legacy of Sarajevo.

Artwork Copyright © Gunther Uecker

Sarajewo 11, 2005

form

Medium

Edition

Published by Hermit Press, Düsseldorf. Special edition to accompany the book "Sarajevo 96" from 2001. Sarajewo 11 (2005) by Günther Uecker is one of the most visually intense entries in his Sarajevo series, created as a special edition for the 2001 book Sarajevo 96. Known for using physical materials like nails to express trauma and resilience, Uecker translates that visceral energy into this two-dimensional screenprint with urgent and chaotic black marks. The composition is a dense tangle of lines and impressions, evocative of nails, slashes, and smears, filling the central field with violent rhythm and movement. The layering of brushstrokes and shapes suggests impact, fragmentation, and the residue of destruction—an abstract record of violence embedded in memory. Despite the abstraction, the work communicates a powerful emotional narrative, inviting the viewer to confront themes of war, suffering, and endurance. Published in an edition of 60 by Hermit Press in Düsseldorf, each print is hand-signed and numbered, offering both a meditative object and a historical witness to the pain and legacy of Sarajevo.

Artwork Copyright © Gunther Uecker

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What is kinetic art?

Kinetic art is an international movement that emerged in the 1920s and gained prominence in the 1960s, referring to art that involves both apparent and real motion. It encompasses any medium that includes movement, either relying on actual motion for its effect or being perceived as moving by the viewer. Early examples include canvas paintings designed to create optical illusions of movement. Today, kinetic art often refers to three-dimensional figures and sculptures, such as those operated by machines or those that move naturally. The movement covers a variety of styles and techniques that frequently overlap.

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