Exhibition view Galerie koal
2 x "o. T."
2010 / 150 x 150 cm
Mischtechnik auf Leinwand/Holz
Statement on the exhibition by Nicola Graef:
there it hangs, the canvas, all but entirely white, almost nothing, seemingly nothing. for in the paintings by the berlin artist daniel biesold (*1964) everything is concealed in nothingness. the viewer is left to his own devices in tackling this nothingness, if he engages, he will be able to see all, if he is rushed, he will quite possibly see nothing, if he queries the point to all this, it will already be too late,… when figures dissolve, disquiet ensues. the type of disquiet that demands quick understanding. however, ready-made explanations are not to be had from the nuremberg-based painter kai klahre (*1981), either. on his tiny pictures of up to 10 centimetres, figures struggle free from the paint while equally being devoured by the same paint. what appears here is the eternal strife between being and nothingness, between devotion and surrender. klahre's figures seek the support of form to reassure themselves - but this, in turn, implies doubt, the search for and vanishing of any trace of identity; what remains is a struggle for affirmation in the image space, wrestling for the guardianship of meaning between person and form…
berlin photographer ingo mittelstaedt (*1978), by contrast, captures form, stages it. there is much to see, layers of colour, as though stacked one above the other, distortions of form. yet the meaning of what has been seen is loath to clarify itself. there is something, it might be a figure or is it an abstract arrangement or even a mere shadow? a stack of paper bundled off beyond recognition? nothing is what it seems and yet everything seems plausible in these photographs… all or nothing, or even both, is also lurking in the canvases held in black by the berlin painter niels sievers (*1979). a dark landscape peels itself from the frame, emerging with a glow which resides only in the nuances in order to conceal itself once more behind the apparently identifiable. siever's paintings are a dance between disappearing and gleaming. not soft and intuitive, rather ominous and fickle are the moods that become visible in these obscurities and render much invisible-uncertain…
the berlin sculptor dennis feddersen (*1979) is, by contrast, direct and confrontational. his wooden sculptures are parasitically eating into the rooms, in order to usurp them. everything spatial in this form has been shifted, a form which makes scrawly demands on everything, winds its way, confident, purposeful and inexorable. form, here, marks out a language of its own, turns into controller and dominator in a moment, all is form all of a sudden, space is altered, has become organic. the viewer has to comply… and is being watched to boot, by the three women from hamburg. the artists ergül cengiz (*1975), henrieke ribbe (*1979) and kathrin wolf (*1974). they, too, conquer space, are larger than life in their presence on the wall, which is the ground of their paintings. not shy or reticent, but mostly imperious, ironic and with a confident gesture of "here we are", the artists stage-manage themselves. they know they are at risk of disappearing, one day they will vanish into the white wall again, return to nothing, but while they are there they are everything to themselves, to the viewer, to the space…
alles/nichts/oder (all/nothing/or) inquires after what becomes visible in form, what might become visible, what options the abstract holds, if the de-objectified confronts the re-identifiable in figuration. how does gaze change when the unknown encounters the seemingly familiar? allegedly two worlds and yet so many common features. wherein lies meaning, how does it get there and what do we see: all in nothing? nothing in everything, or is everything all there is - it will not be as complicated as the german language, but the exhibition in the rooms of the gallerist stephan koal makes a wish: permit everything, believe nothing, or simply look.