Violence and terror
Already in his early work, Nauheimer has dealt socially critically with topics such as the military, war and violence of the conflict. These will stay as one of his main topics along his whole artistic career.
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 Ohne Titel, 2009100 cm x 130 cm Acryl auf Leinwand |  Ohne Titel, 2003170 cm x 130 cm Mischtechnik auf Leinwand |  Ohne Titel, 198228,5 cm x 27,5 cm Tusche auf Papier |
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 Kreuzzug ins 21. Jahrhundert, 2002120 cm x 160 cm Mischtechnik auf Leinwand |  Ohne Titel, 197971 cm x 98,5 cm Acryl auf Holz |  Kreuzzug ins 21. Jahrhundert, 2002120 cm x 160 cm Mischtechnik auf Leinwand |
 Ohne Titel, 1984102 cm x 73 cm Tuschezeichnung auf Karton |  Frozen Meat Medal, no date110 cm x 81 cm Öl auf Leinwand |  Ohne Titel, 198229x29 cm Tusche auf Papier |
 Trauer, 197126,5 cm x 27,5 cm Tusche laviert auf Papier |  Ohne Titel, 2003170 cm x 130 cm Mischtechnik auf Leinwand |  Ohne Titel, 1976100 cm x 178 cm Bleistiftzeichnung |
 Ohne Titel, 197792 cm x 149,5 cm Bleistift auf Papier |  Ohne Titel, 1980100 cm x 121 cm Mischtechnik + Collage auf Leinwand |
On September 11, 2002 - one year after the horrific terrorist attacks of September 11, 2001 - the ceremonial opening of the 4-week exhibition of his installation will take place in Mainz Cathedral. "11.09." is his most expressive work.
It is a memorial in morbid color scheme of ocher, green and gray. 5.20 meters wide and 4.50 meters high.
It consists of 5 cross-like arranged 1.30 m x 1.70 m pictures. Each of the 5 plaster images weighs about 25 kg. In front of the picture cross lies a floor plate covered with burlap on which 16 stylized gravestones are arranged in rows of four, each with a wire mesh head.
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To the right is an accumulation of shoes, reminiscent of the piles of shoes in the extermination camps of the Third Reich. As a point of contrast, a bright white dog sits to the left in front of the artwork, contemplating the horror.
Nauheimer's installation combines personal dismay, national confusion and global horror and motivates a return to normality.
Nauheimer deliberately omitted the year when naming his installation. "Art should not instruct, it should provide impetus, enable thinking in any direction. And it must transcend the time frame, retain validity, like Picasso's Guernica!"
