claus georg stabe
sundowner III
ball pen on paper, 2016
ab van hanegem
untitled
acrylic on paper, 2023
ruprecht von kaufmann
die tochter
oil on linoleum, 2021
iir_room_04
damage is done
the mistake as a chance
claus-georg stabe
ab van hanegem
ruprecht von kaufmann
upcoming spring 2024
when your childhood friend’s inglorious fall from the swing into the hedge is forever etched in your memory, a clumsy mistake becomes a symbol of childlike innocence and playfulness. there are said to be people who keep lists of the ten biggest mistakes of their lives, and choosing the wrong highway entrance could turn into something more than a gag you’ve often admired while streaming
it is our consciousness that makes the distinction as such in the first place – our judgmental value system distributes the good and the bad cards. the mistake is a proven and necessary counterpart in all major gaming activities, be it russian roulette or the bible. anyone who has ever been on the cross now has to cuddle up to the group 24/7, that can and will burn under everyone’s nails sooner or later. despite all the fun and frolic, the mistake is initially frightening, painful and above all one thing – annoying.
in an artistic vita, mistakes, misconduct and other aberrations are purposeful, at least for those who know how to deal with them. the now wiser artist has tested, learned and then proven himself. on his individually guided path, the flaws have been erased and the space he takes up has been cleared with plain handwriting. the content unambiguous, the form polished, the fresh work presented to a broadly interested audience sends out the good news – masterly, flawless. from the perspective of the unblemished work, it is initially difficult to understand the error as an opportunity. nevertheless, it is understandable how wade guyton, with the first misprints of his xerox series in his hands, dawns the realization of what wondrous new territory he is entering.
the artists represented in the exhibition ‚damage is done‘ must have lived through that very moment of the damaged, the wrong one and replaced the initial shock with understanding. the blotting tool and the use of its expansive trace is the starting point in the works of claus-georg stabe. ab van hanegem deliberately provides an insight into his working technique by exposing the masterful penetration of isometric spatial elements with informal gestures through obvious technical errors, and ruprecht von kaufmann passionately plows through his realistic-illusionistic pictorial spaces, making deep cuts or ornamental damage.
what they all have in common is the obvious mistake as a brashly used interface, which they cleverly use to connect them, but then release this straight back into their diametrically different positions. a drip here, a wipe there, then the cut. masterly despite the flaws, or precisely because of them.
upcoming
iir_room_04
damage is done
the mistake as a chance
claus-georg stabe
ab van hanegem
ruprecht von kaufmann
upcoming spring 2024
when your childhood friend’s inglorious fall from the swing into the hedge is forever etched in your memory, a clumsy mistake becomes a symbol of childlike innocence and playfulness. there are said to be people who keep lists of the ten biggest mistakes of their lives, and choosing the wrong highway entrance could turn into something more than a gag you’ve often admired while streaming
it is our consciousness that makes the distinction as such in the first place – our judgmental value system distributes the good and the bad cards. the mistake is a proven and necessary counterpart in all major gaming activities, be it russian roulette or the bible. anyone who has ever been on the cross now has to cuddle up to the group 24/7, that can and will burn under everyone’s nails sooner or later. despite all the fun and frolic, the mistake is initially frightening, painful and above all one thing – annoying.
in an artistic vita, mistakes, misconduct and other aberrations are purposeful, at least for those who know how to deal with them. the now wiser artist has tested, learned and then proven himself. on his individually guided path, the flaws have been erased and the space he takes up has been cleared with plain handwriting. the content unambiguous, the form polished, the fresh work presented to a broadly interested audience sends out the good news – masterly, flawless. from the perspective of the unblemished work, it is initially difficult to understand the error as an opportunity. nevertheless, it is understandable how wade guyton, with the first misprints of his xerox series in his hands, dawns the realization of what wondrous new territory he is entering.
the artists represented in the exhibition ‚damage is done‘ must have lived through that very moment of the damaged, the wrong one and replaced the initial shock with understanding. the blotting tool and the use of its expansive trace is the starting point in the works of claus-georg stabe. ab van hanegem deliberately provides an insight into his working technique by exposing the masterful penetration of isometric spatial elements with informal gestures through obvious technical errors, and ruprecht von kaufmann passionately plows through his realistic-illusionistic pictorial spaces, making deep cuts or ornamental damage.
what they all have in common is the obvious mistake as a brashly used interface, which they cleverly use to connect them, but then release this straight back into their diametrically different positions. a drip here, a wipe there, then the cut. masterly despite the flaws, or precisely because of them.
claus georg stabe
sundowner III
ball pen on paper, 2016
ab van hanegem
untitled
acrylic on paper, 2023
ruprecht von kaufmann
die tochter
oil on linoleum, 2021