The painting of Christine Reifenberger evolves the experience of nature into amorphous currents and figures. In Reifenberger’s work, real phenomena morph into poetic organisms. Her figures become streams of consciousness bordering on the surreal and approaching the grotesque. Alongside her two-dimensional work on paper and canvas, the painter uses paper to twist surface colours in space, changing their condition and that of their medium. Reifenberger arches, folds and twists her paper, fusing it with phosphor, neon, metal and dust pigments in different consistencies and combinations. The subject of the painting becomes gesture, light, space and material. The work deals with conditions, correspondences and the loss of control, investigating continuities, links, changes and exchanges among color, matter, and form. Reifenberger‘s work touches the world of baroque, the world of arabesques and the world of music, among others. The artist glides from one world to another, creating a cosmos in which all elements confront one another until they cool into a solid state of form and colour. In the tension between affinities and oppositions of material, and in her painting process — which works at once through development and intervention — Reifenberger’s pieces explore dynamics of closure and openness, movement and stillness, lightness and weight.
RAUMX is pleased to annouce the forthcoming show with Ulrich Wellmann, September 2014
12th – 20th of September 2014
Private view Friday 12th. of September 2014
Ulrich Wellmann will show his recent watercolours.
The Cologne based painter Ulrich Wellmann affected, shaped and extended the view on temporary colour-painting. He occupies himself with elementary questions on painting and offers solutions in image and paint. In this process, the substrate of the painting starts to play a more important role.
In his new watercolour works Wellmann allows the paper to be liberated from its usual, two-dimensional function. Like this, it easily catches anyone’s attention through individual form and striking material characteristics. These qualities are created by folding, scratching, cutting, twisting and tearing the paper. This is a process usually done before painting, which plays with the appeal of the reasonable. The features of touching the paper will always stay openly visible. They affect the process of a work by sending impulses that guide the artist in his way of painting. Ulrich Wellmann responds to these sensual notes with his colouring in a careful and sensible way, allowing an image to develop. These watercolours do not only refer to themselves. They make their wall, their light, their space and their social surrounding become an emotional quality. Now they belong here.
From 1975 – 80 Ulrich Wellmann (1952) studied painting with Prof. Stefan Wewerka at the University for Art and Design in Cologne. He supported Günter Umberg’s “Raum für Malerei” Cologne (27 shows with international painters of colour-painting ) Wellmann’s work has been shown in Basel, New York City, San Francisco, London, Madrid, Paris, Frankfurt and Cologne. His work is part of several museums and private collections.
Photography: Andreas Keil and Karin Hochstatter
The next presentation for spring 2014 will be the German painter Michael Jäger with ‘Bells”, a series of smaller format paintings. (From 23rd. of May)
Jäger’s works focus a vital point, in so far as the question of the individual painting is not simply declared obsolete (as would be easy and is indeed practised in many quarters) but raised in the context of an extended concept of painting – extended, that is, to include the painting as a space-related installation – and unfolded as an inquiry into the uncertainty principle. It is only in an oscillating equilibrium, where the idea of a consistent individual painting is simultaneously sacrificed and upheld, that the making of a painting will be made possible by balancing centripetal and centrifugal forces. This does also imply that the idea of purification of the painting towards a fictitious absolute zero – so essential to modern art – is no longer realizable for Michael Jäger. His own strategy could rather be described as following a principle of controlled ‘depurification’: meaning an approach where nothing ever occurs in a pure or unequivocal state; where things only subsist in a permanent process of crossing over and hybridization. In this sense the geometrical colour surfaces in Jäger’s paintings appear equally close to monochromes and to a denial of the idea of monochromatic autonomy. And the object-likeness of his oddly shaped forms turns out upon closer inspection to be the phantom of a perception preoccupied with identifying the familiar even where only the unfamiliar exists. The painting technique also abides by this structure of ambiguity: while the painterly passages occasionally show a synthetic coolness, the soberness of the plain paint coat in the more monochromatic parts is counteracted by intentional individualities. Purity, we are told, is the death of the picture. The consequence (itself paradoxical) which follows from this finding can be studied at length in Jäger’s works: conceptions which in their absolute, radical ambivalence contemplate depurification as a possibility of speaking of purity without depicting it.
Text by: Stephan Berg
View into the exhibition at the Artothek Cologne
9.01 -22.02. 2014