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21/3/2003

same same but different

Galerie Max Hetzler, Berlin

same same but different follows the programmatic group exhibitions about: blank [2000], new minimal [2001], and Berlin/ London/ Minimal [2002], in which the gallery presented a new generation of artists who in the broadest sense work with minimal and abstract-geometric approaches. While in the preceding projects the emphasis was on object, installation, and sculpture, this time painting will above all be featured. The "grand discipline" has never played a central role in the gallery's program. This will also not change in future.
Nevertheless, the "return of painting" is pres-ently the subject of a number of large exhibitions at museums and art galleries (including Painting on the Move, >Kunsthalle< and >Kunstmuseum Basel<, 2002; Lieber Maler male mir (Dear Painter Paint Me), >Schirn< Frankfurt and >Kunst-halle< Wien, 2003; deutschemalereizweitausenddrei (Germanpainting-twothousandthree), >Frankfurter Kunstverein<, 2003). These museums and art galleries are particularly interested in panel painting and new figurative painting. We, on the other hand, would like to present non-representational positions that depart from panel painting or that inter-pret it in new ways.

In the center is a large mural painting by the Berlin artist Renate Wolff [*1956], who works with the striking architecture of the gallery. The artist studied at the Düsseldorf Academy and has, since then, repeatedly returned to doing room-related painting. This year she received the renowned grant of the >Pollock-Krasner Foundation<, New York. Roland Geissel [*1965] has also emerged in the past few years as an artist who does large room-related paintings. But in our exhibition we focus on the groups of works of the Melusinen, wall objects that have been formed using a complex mixing technique involving oil paint and wax layers. The artist has held exhibitions at the >Kunstverein KasseGalerie Breitengraser<, Berlin [2000], and the >Kunstverein Schwerte< [2002], to name just a few. Coco Kühn [*1971] was already represented at the group exhibition new minimal with her installation Dosierung (Dosage). This time we are showing the 24-piece paperwork Auflösung (Disintegration) [2001], in which the artist draws a permanent marker "to its end." Using the gesture of writing, Coco Kühn places line after line on fine Japanese paper, page after page, until the pen runs out of ink: fading out. The Dutch artist Ronald de Bloeme [*1971] combines the handed-down medium of panel painting with prefabricated industrial material. In place of the canvas, de Bloeme stretches mailbags from all over the world across his frame. The material has its own color, story, and way of using forms: the material is the content. The mailbags are sewn onto pieces of canvas that function as dynamic color surfaces. De Bloeme combines these materials with very shiny lacquered forms whose images are borrowed from sewing patterns and road signs.

Image: Abwicklung, 1999, wool from bag of wool on wall. Installation view Museum Liner, Appenzell (CH), 2002

Galerie Markus Richter Schroederstrasse 13 10115 Berlin

Hours:
Tue - Fr 1 - 7.00pm Sat 12 - 5.00pm Also by appointment

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