The present is more uncertain than it has been for over 20 years.
So how could one then say what painting “could precisely now” be or what it is? Paint and canvas? Recorded real-time material or one’s own experience? Are the gestures, symbols, statements that we see ‘genuine’? What is relevant? And does any of that play a role at all now?
In the digital media world “echo chambers” describe communication situations in which existing attitudes and convictions are emphasized by constant repetition or taken to their extremes to polarize.
In this setting, the ECHO CHAMBERS show is a polyvocal enquiry into painting’s current possibilities. No one-dimensional judgements are served up, and instead viewers are offered open questions:
THOMAS ARNOLDS' images strike an especially keenly calculated balance between tectonics and the immediate physicality of the paint, between Hard Edge, Cyber Informel and figurative, thematic set pieces.
The abstract cyphers and basic geometrical shapes of his early images have morphed in PEPPI BOTTROP’s new works in a blend of ornamental exuberance and flattish power into almost vegetable-like and landscape constellations.
As if seen against the light, the objects in ANDREAS BREUNIG’s images take a back seat to the radiant colors. One is placed after the other, but their character first evolves from their interplay.
ANDRÉ BUTZER has enriched his painting with the 20th century’s extremes. In his images, colors, lines, surfaces, figuration and abstraction meld into a whole.
In the everyday glut of images, ALBERT OEHLEN’s latest watercolors are truly provocative. They are not driven by a structure, theme or message. Only we ourselves can weave their loose ends to find orientation.
DAVID OSTROWSKI challenges us by muting the exhibited gestures and references, the materiality of the canvas, applied fabrics and types of paper, until all that is just there is ‘image’ – a narrative in as subtext.
The gestural signs in JANA SCHRÖDER’s images embody traces of human presence. As expressive as they are conceptual, she inscribes her corporeal experience into the formless color.
HENNING STRASSBURGER places the discontent and hopes of his generation at the center of his painting. He seeks with fragmented to grasp a fracturing reality.
ECHO CHAMBERS presents a consciously exaggerated, trans-generational selection. The exhibition fosters synchronicity and allows comparability. Common ground and references emerge, extreme opposites and individual approaches become all the clearer. ECHO CHAMBERS shows that individuality and a new image of ourselves arises from precisely such relative proximity and are both still possible.