Nicola Samorì, Dargilla, 2013, oil on bakelite, 29 x 22cm

Nicola Samorì, Vincent, 2020, fresco, 400 x 200cm

Nicola Samorì, Leprosario, 2013, oil on wood, 90 x 75cm

Nicola Samorì, L’Abietto venerabile, 2012, oil on wood, 75 x 50cm

Nicola Samorì, Vicario (ecorchè), 2011, oil on wood, 70 x 50cm

Nicola Samorì, Il veleno nelle ombre, 2010, oil on wood, 40 x 30cm

Nicola Samorì, La Storia, 2009, oil on copper, 100 x 100cm

Nicola Samorì, L’Imperterrito, 2013, oil on wood, 100 x 100cm

Nicola Samorì, Lode della lingua, 2017, oil on copper, 100 x 100cm

Nicola Samorì, Against the Orrery, 2016
fresco, 200 x 100cm

Nicola Samorì, La Spada, 2012, oil on wood, 200 x 150cm
See here the peeling down action of “La Spada” (min. 2:57)
from “Studio Visit – Alberto Mattia Martini incontra Nicola Samorì”

Nicola Samorì, Jan’s Horizon, 2013, oil on bakelite, 28 x 68cm

Nicola Samorì, A.F.P., 2010, oil on wood, 55 x 55cm

Nicola Samorì, The Mine, 2013, oil on wood, 40 x 50cm

Nicola Samorì, Quadro Italiano, 2012-13, oil on wood, 100 x 100cm

Nicola Samorì, Tantalo, 2012, oil on copper, 100 x 100cm

Nicola Samorì, Huerto, 2010, oil on wood, 19 x 27cm

Nicola Samorì, Kirche, 2013, oil on copper, 50 x 70cm

Nicola Samorì, Nimbus, 2011, oil on wood, 40 x 30cm

Nicola Samorì, Balthazar, 2010, oil on canvas, 200 x 150cm

Nicola Samorì, L’ombra sottile
2011, oil on wood, 44 x 15cm

Nicola Samorì, Untitled, 2016, oil on wood, 55 x 38 x 6cm

Nicola Samorì, G.M.C., 2010, oil on wood, 27 x 19cm

Nicola Samorì, Giardino anatomico, 2007, mixed media on paper
39 x 52cm

Nicola Samorì, Giardino verticale, 2014, oil on wood, 45 x 34 x 4cm

Nicola Samorì, Tavola per l’ospite, 2011, oil, silver, emaille on wood
40 x 30cm

Nicola Samorì, Gli occhi nel petto, 2014-15
silver leaf on alabaster plaster, 40 x 30 x 5cm

Alexander Tinei, Game, 2010, oil on canvas, 120 x 100cm
Published in: “Vitamin P2”, Phaidon 2011

Alexander Tinei, Dream, 2012, oil on canvas, 31 x 28cm

Alexander Tinei, Yellow Hair, 2007, oil on canvas, 120 x 100cm

Adam Magyar, Stainless A 13316 (Paris), 2011, silver gelatin print, framed
80 x 168cm, #3/6

Radu Belcin, Along the Way, 2018, oil on linen, 170 x 198cm
Exhibited at “Disturbing Narratives”, Parkview Museum, Singapore

Radu Belcin, Waiting for a Beautiful Day, 2020, oil on linen, 50 x 65cm

Radu Belcin, Sweet Hope, 2020, oil on linen, 50 x 65cm

Radu Belcin, Seeding Light, 2020, oil on linen, 60 x 74cm

Radu Belcin, A Secound like any Other, 2020, oil on linen, 71 x 65cm

Radu Belcin, Return to the Floating Forest III, 2019, oil on linen, 60 x 50cm

Radu Belcin, Loneliness, 2017, oil on linen, 115 x 143cm

Radu Belcin, The Speech, 2017, oil on linen, 115 x 142cm

Heiner Altmeppen, Felsnadeln im Mondlicht I, 2015, acrylic on paper
mounted on wood, 15 x 15cm

Heiner Altmeppen, Felsnadeln im Mondlicht II, 2017, acrylic on paper
mounted on wood, 15x15cm

Teodora Axente, The Kiss, 2020, oil on canvas, 126,5 x 126,5cm

Teodora Axente, Annunciation, 2020, oil on canvas, 129 x 102cm

Teodora Axente, Silver Green, 2015, oil on canvas, 39,5 x 20,5cm

Teodora Axente, White Fox, 2018, oil on wood panel, 42,5 x 30cm

Teodora Axente, Polecat, 2018, oil on wood panel, 32 x 25cm

Sergiu Toma, Untitled, 2018, oil on canvas, 200 x 200cm

Daniel Pitín, Situations, 2015, acrylic on canvas, 185 x 240cm

Daniel Pitín, DNA, 2008, mixed media on paper, 36 x 25,5cm

Adam Bota, Rasterfahndung, 2014, oil on canvas, 170 x 270cm

Daniel Behrendt, Secret Places, 2010, oil on canvas, 140 x 190cm

Gregor Gaida, Echo Mulier, 2016
70 x 38 x 22cm, maple wood, fiberboard black, acryl glass

Maurizio L’Altrella, The whisper of the lizard III. The head inside the soft cage
2019, oil on cotton paper on aluminium, 120 x 90cm

Attila Szücs, Preparing for Darkness, 2015, oil on canvas, 190 x 140cm

Horst Waigel, Bert After Munch (van Gogh Version), 2011, oil on canvas, 44 x 42cm

Per Morten Abrahamsen, Lars von Trier, 2012, archival ink on Baryta paper
75 x 75cm, # 7/10, framed

Preparing For Darkness Or The Spirit Of The Melancholic Resistance

Black is the color of melancholy. It emerges from darkness and the accompanying dejection if it shows signs, endowed with the feverish dreams of an inflamed phantasy. If melancholy is said to affect the delicate tissues of the brain, it could also be stated, that it frees the imagination of its usual limits.

What is considered a diminution of the field of thought and the field of vision, is revealed in a dialectical twist. The melancholic state leaves behind it a shadow with which it maintains a connection as a bygone picture. The shadow play reveals as a character piece of a mirror image world, which absolves itself from meaning and becomes a void. This creates space for the imagination which results in configurations of a traversed blindness that render those lucid colours possible that are the blips along the paths through black nights of being. These are condensed into counter-images, which, like the impulse of the melancholic gaze, owe themselves to a reflective vision. The collection “Preparing for Darkness” corresponds exactly to the spirit of the melancholic resistance which still enables us to survive today.

Schwarz ist die Farbe der Melancholie. Sie entwächst dann der Dunkelheit und der sie begleitenden Schwermut, wenn sie Zeichen gibt, ausgestattet mit den Fieberträumen einer entzündeten Phantasie. Wurde der Melancholie nachgesagt, dass sie die zarten Gewebe des Gehirns angreife so konnte auch festgestellt werden, dass sie die Einbildungskraft aus ihren gewöhnlichen Grenzen befreit.

Was als Eintrübung des Denk- und Sehfeldes gilt, setzt sich in einer dialektischen Wendung frei. Der melancholische Zustand lässt den Schatten hinter sich, dem er zugleich verhaftet bleibt, als vergangenes Bild. Entblößt wird das Schattenspiel als Zeichentheater einer eingespiegelten Bilderwelt, die sich einer Bedeutung selbst enthebt und zur Leerstelle wird. Diese öffnet den Raum für Imaginationen. Daraus entstehen Konfigurationen einer durchschrittenen Verblendung, die erst jene Farbklarheiten ermöglichen, die auf den Wegen durch schwarze Nächte des Befindens Leuchtzeichen sind. Diese verdichten sich zu Gegenbildern, die sich als Impuls des melancholischen Blicks einem reflektierenden Sehen verdanken. Die hier vorgestellte Sammlung „Preparing for Darkness“ trifft dementsprechend genau den Geist einer melancholischen Widerständigkeit, der uns heute noch das Überleben ermöglicht.

Prof. Dr. Martin Roman Deppner, Hamburg