PHILIPP LACHENMANN, MATTHIAS MEYER, YIGAL OZERI, STEFAN HUNSTEIN, JAN DAVIDOFF, ANNA KRAMMIG, ROLF WALZ, DIETER REHM, JULIO RONDO, ANNA NAVASARDIAN,
GERHARD RICHTER and SIGMAR POLKE
Opening: Thursday, February 4 2016 at 7.00 p.m.
Duration of the Exhibition: February 5 to April 2, 2016
Interestingly, photography became a reference point for contemporary painting with respect to ways of how to confront a possible reality; Jan Davidoff’s and Yigal Ozeri’s work would be unimaginable without the technique of automatic photography. Namely, while Yigal Ozeri chooses an unknown female in front of an empty background as the subject in on one of his photo-realistic paintings and refuses to reveal the secret in adverting to the fact that we live in a realm of shades and that art just further serves this illusion, Jan Davidoff ‘s play between alleged perception and subjective coloring of the world is way more subtle. He chooses photography, the ``better picture memory”, as template for his work, and creates with this a subjective image of a dissolving world, in which the deindividualized and anonymous man seems to dissolve in the mass.
Anna Krammig’s naturalistic illustration of an unpopulated reality demonstrates in its technique and in its motifs that not everything is as clear as it seems at first sight. The motif of palm, which we already encountered in Hunstein’s pictures, emancipated itself from its bad reputation as kitschy postcard-motif and raises as the shadow of what is represented questions about the actual reality, about the perspective of viewing, and about the background of the scene.
Even the abstract works of Gerhard Richter and Matthias Meyer are not exhausted in interpreting the showings by the postmodern anchored feeling of contingency, that is, of an arbitrariness of what is represented. Rather, here are shown works, which cannot be interpreted wholesale by a hostile discourse about autonomous art as a medium for distinction. Thus, the monochrome painting of Richter devotes itself to the artistic medium of color and broaches the issue of the recognition of the lost indweller in a world of deceptive simulation.
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