From November 22, 2017 to January 20, 2018
Galerie Tanit, Munich, Germany
Key aspect is the manifold interaction between light and color, from a rather hermetic to a more open, even translucent work concept.
For Adrian Schiess, a picture is successful when the painter accomplishes both nature and a representation of nature. Within his oeuvre, the paintings are variations of what his other works -, the photographs enlarged beyond recognition – have always dealt with: the emergence of the real. Within contemporary art, they show a commitment to abstraction, which, according to Adrian Schiess, is the only way to show that which is not subject to any determination extrinsic to itself.
John Armleder thrives on contradictions and has always been interested in letting what he has called “the great whatever” have full rein. He also claims that his paintings are “inevitable.” If this is a paradox, it is one he cultivates by offsetting paintings made by spilling color down tall canvases as well as those with hard-edge patterning. Common to both idioms is repetition. The incisive, geometric order contrasts the less controlled process of the other.
The works by German painter Herbert Hamak do not fit into one of the traditional categories of art, like painting or sculpture, but cover both at the same time. Hamak’s work concentrates on the purity of colour as it is intensified by the intentional use of resin-filtered light that is the essence of his body of work.
Eckart’s paintings have articulated a dialogue with sculpture since he came to prominence in New York in the 1980s. “I consider my work to be a kind of philosophy of art articulated through the creation and manufacture of objects that embody particular sets of concerns.” For Eckart, “beauty” may be a necessary function in gaining access to a deeper property: the sublime, or what he often refers to as a “meta-sublime.” His oeuvre’s considerable force and simultaneous simplicity is being created by its strong, but pure presence.
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