GERHARD RICHTER, ANDY WARHOL, MARKUS LÜPERTZ, MATTHIAS MEYER, YIGAL OZERI,
STEFAN HUNSTEIN, JAN DAVIDOFF, ANNA KRAMMIG, HAYING XU, JOEL GREY, TIM MAGUIRE,
IZIMA KAORU, GIOVANNI CASTELL, LUZIA SIMONS, THOMAS STIMM, TINA BERNING und
Opening: Wednesday, February 7, 2018 | 7pm
Exhibition: February 8 April 7, 2018
If one looks at the works exhibited in EDEN NOW, it quickly becomes clear that a renewed change in art has taken place since then. Figurative landscape paintings and floral still lifes are found here in harmony with photographic images of natural and animal worlds. Anna Krammig's detail of a palm tree, Haiying Xu's flowers, the ever-recurring motif of water lily, among others by Tim Maguire, Matthias Meyer and Thomas Stimm or Stefan Hunstein's endlessly working sunflower field: it seems, that at a time, in which technology and art everything is possible, led to seek and depict beauty in nature. This tendency is also illustrated in different ways by Jan Davidoff's and Yigal Ozeri's paintings, which are dedicated to the wild nature of the jungle as a place of longing and a symbol of a paradisiacal state beyond the constraints of civilization. At the same time, when looking at the photographic works, it is noticeable that the documentary rendering of the natural phenomenon moves beyond the artistic focus. Just as Adam and Eve lost their innocence by being driven out of paradise, we have the ability to look at pictures unpredictably as well. Our knowledge and our experience always determines what we see. In this respect, Izima Kaoru's photo series, in which models are artfully draped as bodies in landscapes, Giovanni Castell's digital photo collages depicting the fictitious ruins of an ancient garden, Dieter Rehm's photographs from the Museum of National History in New York or Luzia Simon's scanned plants can be understood as a reference on the manipulability of the image. At the same time these works are creating the utopian picture of a world, in which technology could put an end to natural vegetation, transience and decay. It almost seems as if, in the face of virtual illusory worlds and the ubiquitous acceleration of all spheres of life, art has found in the anti-avant-garde motif of the flower a supposedly authentic place of paradise. The artist becomes a vicarious agent of the unfulfilled visions of the Garden of Eden and a critical observer of bioethical, urbanistic, technical and social developments.
EDEN NOW thus becomes the projection screen of the deep-rooted desire for a life in unity with nature and for an artworld, in which the sensuous beauty of nature becomes socially acceptable again.
TEXT: Leni Senger