Incremental Abstractions

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The exhibition “Incremental Abstractions” presents contemporary non-representational ways of seeing and working in sculpture, painting, grafik and photografie. On the basis of six exemplary positions from Berlin and Hamburg, possibilities of artistic positioning in the field of tension of non-representational art are shown. The development of their pictorial language is
The development of their pictorial language through the continuation, supplementation and linking of certain lines of tradition, their handling of the primacy of the material, their focus on colour and form, the absence and presence of the gesture and the legibility of the process, as well as questions of reduction, repetition and seriality.

Katrin Bremermann’s finely balanced coloured pictorial bodies on unprimed “shaped canvases”, i.e. canvases that suspend the classical rectangular form, reflect questions of pictorial space and the image in space. They subtly question the relationship between figure and ground, creating a surprising pictorial spatiality.

Martim Brion’s sculptures of industrially painted geometric forms and his digitally modelled photographs of the surfaces of everyday objects explore synergies between sculpture and photography through specific optical, material and media qualities.

Through seemingly casual actions and hand movements, Ilona Kálnoky shapes everyday and industrial materials into sculptures. The sculptural strategies of compression, compression and stretching, the processes of refinement, decomposition and decay as well as the human body play a central role in the abysmally humorous creation of form.

In her large-format works layered from coloured plastic foils, packaging and adhesive tapes as well as canvas, Michaela Zimmer links intuitive gestures, physical actions with the visual language of abstraction and the effective power of the material.

In Pedro Boese’s square modular pictorial assemblies, the focus is on the relation of colours, the property of the monochrome surface in relation to light, the permeability and opacity of the paint application. Reduced to elementary forms, he varies the spatial appearances and effects of line, form and colour.

Jaakov Blumas’ works captivate with polychromatic lineatures that visually set in motion the perception of the geometric forms they outline. Situated between sculpture and painting, their constellations in space are variable, virtually thematising the recipient as co-creator.

The multifaceted exhibition provides an overview of current positions in non-representational art without attempting to draw up a balance sheet. However, it is connected to those concepts of contemporary art production that thematise colour, material and gesture as an object.

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