NIGHT ON EARTH


Heiner_Altmeppen_Haus_1979_OEl_auf_Papier_auf_Sperrholz_81x73cm
Heiner Altmeppen, Haus, 1979, Öl auf Papier auf Sperrholz, 81x73cm

Moholy-Nagy Galerie
Collegium Hungaricum Berlin
Dorotheenstrasse 12 / 10117 Berlin
Curated by Uwe Goldenstein
February 12 – April 12, 2015
Opening speech by Prof. Martin Deppner, Hamburg

catalogue download
exhibition view

nightonearth,view1

Heiner Altmeppen, Adam Magyar, Aron Demetz, Alexander Tinei, Nicola Samorì, Attila Szűcs, Gábor A. Nagy, Radu Belcin, Robert Bosisio, Adam Bota, Konstantin Déry, Joseba Eskubi, René Holm, Nikolai Makarov, Steffi Stangl, Stepanek & Maslin, Alexander Timofeev


Nicola Samori,La Spada,2012,200x150cm,oil on wood,BSA Collection Berlin
Nicola Samorì, La Spada, 2012, oil on wood, 200x150cm
SELECTED ARTISTS – Collection, Berlin

stangl_tropfen
Steffi Stangl, Tropfen, 2008-14, Metallspind / Kanister / Glasgefäß
elektron. Steuerung / Lichtschranke / Wasser / Schlauch, 230x30x50cm

“Die Welt ist, was zurück gewonnen werden kann.”
Hans Blumenberg, Höhlenausgänge (1989)

Unsere sich fortwährend affirmativ gebärdende, entgeisterte Zeit verlangt nach einem kontemplativen Gegenort, nach ihrer Schattenseite. Nach einem abgeschotteten, dunklen Ort einer Vernunft, die sich der künstlichen, dem Existentiellen entkoppelten Bild- und Emotionsproduktion zu entziehen vermag. Ein Ort des Unbestimmten, der rückbezüglichen Konzentration, der Raum schafft für die Besinnung auf regressive Prozesse, die notwendig verbunden sind mit Melancholie, Verlust, Alptraum, Zerstörung, einem Trance-Zustand. Diese Nachtseite der Vernunft verlangt nach einem Künstler, der die immanenten Bewegungen der Kunstgeschichte aufzunehmen weiß und gleichzeitig auf seine nächtliche, hoch reflektierte imaginativ-abseitige Welt beharrt.

Uwe Goldenstein

NightOnEarth,AronDemetz,AdamMagyar
Aron Demetz, Die Verlockung des Sichtbaren, 2014, lime wood
115x47x30cm / Adam Magyar, Stainless, video

“The world is that which can be recovered.” Hans Blumenberg (Höhlenausgänge)

NIGHT ON EARTH rejects a self-surpassing, nearly incapacitated present, and a production of art that is only capable of reflecting our time at the same levels in arbitrary directions, and which is thus happy to cite the falsely understood and all-devouring posture of “anything goes” that was once proclaimed as postmodern. Instead, the artists of this exhibition are united by a consciousness of the reflection of the tradition of European Realism. They deliberately update the arthistorical capacity to embroil of their motifs and styles, and ultimately the reception of time. They create a counter-world, a place for the indeterminate, for reflexive concentration that creates space for the consideration of the regressive processes that are of necessity allied with melancholy, loss, nightmare, destruction, a trance state. This night side of reason calls out for an artist who knows how to incorporate the movements of art history, and who at the same time insists upon his nocturnal, carefully reflected, imaginative and remote world. Insisting upon finding reality by establishing boundaries that also cannot be overcome by technical processes and thus proving themselves to be resistant against simulation and medial repurposing. The rejection of our constantly and brilliantly illuminated world thus strengthens us in the attempt to retire to the refuge of the night, into a forest full of the referential possibilities of art. Symbolically ramified, in a mood of contemplation, submerging into a mysterious silence, the protected gaze can lose itself in the unique imagination of the artist expressed in a work.

Uwe Goldenstein

tinei,blue nose copy
Alexander Tinei, Blue Nose, 2011, 40x60cm, oil on canvas, private collection

SONY DSC
Attila Szűcs, Living Room in the Kádár Villa, 2014, oil on canvas, 190x240cm

Rene_Holm_Das_Boot_2014_120x160cm_oil_on_canvas
René Holm, The Unknown, 2014, oil on canvas, 120x160cm

noe7
photo by Giampiero Assumma