What I Find Good
27 Apr - 08 Jun 2013
Friederiker Feldmann - PS Phtalogr?n / 2012, Pigmentierte Tusche auf gebleichten Nessel, 210x150 cm / Antje Majewski - Das Museum in der Garage / 2013, Oil auf Holz, Ma?e variabel / Henry Kleine - Untitled / 2012, Acryl,Lack auf Baumwolle, 200 x 140 cm
WHAT I FIND GOOD
Painting Today
27 April – 8 June 2013
curated by Carsten Fock
Carsten Fock
Henry Kleine
Paul Simon Krueger
Sarra Turan
Antje Majewski
Friederike Feldmann
Ulrich Wulff
Frankfurt am Main. While setting up an exhibition I met a young, extremely charming colleague. As we discussed our interests, preferences, the search for passion in art, and specifically painting, something became more apparent to me than before – that these artists alluded to art history completely differently, more adventurously, more unscrupulously. This surely has something to do with the fact that they are in a different generation. They make use of images, gestures, strategies, and discourses, for example from classical Modernism, Abstract Expressionism, Minimal and Concept Art. They do so pleasurably and experimentally, without pathos and reverence for a hallowed canon. To draw on topical and relevant images from this pool, they resort to all means imaginable.
.
Berlin – a gallery visit after an opening in Mitte/Kreuzberg.Two young talented artists seduce me with their allure, their presentation, their occupation with painting. Paul Simon Krüger and Sarra Turan, both of whom studied with Walter Dahn in Braunschweig, trigger a feeling of pure lightness in me, through their reduced rendering, their concentration on the seemingly formal in work which is actually chock full of tension. A short time later, I discover works by both artists in the Bonn Kunstverein. Paul Simon Krüger, who unlike myself was a real Graffiti Sprayer, lets the wind blow against painting with casually found materials, images, and carriers of meaning. In the context of Minimal painting, I always feel that Sarra Turan’s paintings are objects. But even though she hints at this, they are always also paintings due to fact that she draws quickly on what she finds and reworks towards pictorial space.
I met Friederike Feldmann at a company exhibition devoted to wall work to which we were both invited. Since then, I have followed her work with baited breath. Of all the participating artists, she achieved the most ingenious site-reflecting solution in the form of a wonderful abstract wall work. In the meantime, she occupies herself above all with typography; typographical elements in drawing in the form of painting are on both of our minds.
I encountered Antje Majewski for the first time at an exhibition entitled deutschemalereizweitausenddrei in the Frankfurter Kunstverein. In my opinion, only few artists managed in that exhibition to question the medium of painting and admit a development without paying homage to a certain style or preference but by committing themselves to the medium, calling it into question, and taking risks. Antje Majewski is a striking exception. She is completely dedicated to the medium of painting yet consistently scrutinizes it and takes risks. When I recently had the honor to admire her paintings in a museum exhibition, I was amazed by the freshness, the formal twists and the engagement of their content with painting, which is part of her process.
In his seemingly gestural work, Henry Kleine develops paintings that do more than just refer to art history.
Political and formal aspects implode into brushwork formations and renderings. His paintings seem almost romantically inclined yet at the same time convey a terse dryness in their focus on the material and painting ground. It's a suspenseful balancing act – due to the subjective stroke, the feeling that there is more to be found in the image.
Ulrich Wulff – an all-rounder whose painting I first noticed at a mutual friend’s place, is now showing abstract paintings in the September gallery. No concessions. Simply painting yet not simple. As opposed to the current reduced paintings, the exhibition will show paintings executed in 2008 –pastose versus pregestalt.
I am very happy to have been invited to this exhibition by Oliver Koerner von Gustorf and thank the participating artists for their singular work in the medium of painting, which has inspired my own art.
Carsten Fock
Painting Today
27 April – 8 June 2013
curated by Carsten Fock
Carsten Fock
Henry Kleine
Paul Simon Krueger
Sarra Turan
Antje Majewski
Friederike Feldmann
Ulrich Wulff
Frankfurt am Main. While setting up an exhibition I met a young, extremely charming colleague. As we discussed our interests, preferences, the search for passion in art, and specifically painting, something became more apparent to me than before – that these artists alluded to art history completely differently, more adventurously, more unscrupulously. This surely has something to do with the fact that they are in a different generation. They make use of images, gestures, strategies, and discourses, for example from classical Modernism, Abstract Expressionism, Minimal and Concept Art. They do so pleasurably and experimentally, without pathos and reverence for a hallowed canon. To draw on topical and relevant images from this pool, they resort to all means imaginable.
.
Berlin – a gallery visit after an opening in Mitte/Kreuzberg.Two young talented artists seduce me with their allure, their presentation, their occupation with painting. Paul Simon Krüger and Sarra Turan, both of whom studied with Walter Dahn in Braunschweig, trigger a feeling of pure lightness in me, through their reduced rendering, their concentration on the seemingly formal in work which is actually chock full of tension. A short time later, I discover works by both artists in the Bonn Kunstverein. Paul Simon Krüger, who unlike myself was a real Graffiti Sprayer, lets the wind blow against painting with casually found materials, images, and carriers of meaning. In the context of Minimal painting, I always feel that Sarra Turan’s paintings are objects. But even though she hints at this, they are always also paintings due to fact that she draws quickly on what she finds and reworks towards pictorial space.
I met Friederike Feldmann at a company exhibition devoted to wall work to which we were both invited. Since then, I have followed her work with baited breath. Of all the participating artists, she achieved the most ingenious site-reflecting solution in the form of a wonderful abstract wall work. In the meantime, she occupies herself above all with typography; typographical elements in drawing in the form of painting are on both of our minds.
I encountered Antje Majewski for the first time at an exhibition entitled deutschemalereizweitausenddrei in the Frankfurter Kunstverein. In my opinion, only few artists managed in that exhibition to question the medium of painting and admit a development without paying homage to a certain style or preference but by committing themselves to the medium, calling it into question, and taking risks. Antje Majewski is a striking exception. She is completely dedicated to the medium of painting yet consistently scrutinizes it and takes risks. When I recently had the honor to admire her paintings in a museum exhibition, I was amazed by the freshness, the formal twists and the engagement of their content with painting, which is part of her process.
In his seemingly gestural work, Henry Kleine develops paintings that do more than just refer to art history.
Political and formal aspects implode into brushwork formations and renderings. His paintings seem almost romantically inclined yet at the same time convey a terse dryness in their focus on the material and painting ground. It's a suspenseful balancing act – due to the subjective stroke, the feeling that there is more to be found in the image.
Ulrich Wulff – an all-rounder whose painting I first noticed at a mutual friend’s place, is now showing abstract paintings in the September gallery. No concessions. Simply painting yet not simple. As opposed to the current reduced paintings, the exhibition will show paintings executed in 2008 –pastose versus pregestalt.
I am very happy to have been invited to this exhibition by Oliver Koerner von Gustorf and thank the participating artists for their singular work in the medium of painting, which has inspired my own art.
Carsten Fock