Bianca Laura Petretto – Filigree of Desire

The experience conveyed by Jonas Burgert’s work is as real as standing in front of a mirror. It reflects the deepest inner workings of our being, allowing us to glimpse another place, opening up – or rather, ripping open a whole new universe.

The German artist primarily works on large-scale paintings inhabited by objects, animals, people and whimsical entities that disintegrate and constantly mutate. Tiny people and gigantic creatures spill out of cracks, perish between petals or sink into dull sheets; scraps of clothing without bodies to wear them; eyes staring into the void. Burgert’s paintings elude straightforward interpretation, they explore a higher reality and invoke the end of the world through personalities with multiple inner lives. The subjects are painted such that they are perfectly recognisable – albeit on a symbolic level. There are people who carry the paint on their skin, women with elongated bodies, frayed clothes made from plant fibres and rags. A constant need to portray hope and failure, beauty and confusion, prevails. Through his paintings, the artist strives to create spaces dedicated to the spiritual representation of ourselves – so that the observer is transformed into a creature, a figure within this painted reality.

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Monika Rinck – Montagmorgens nach der Apokalypse

Alle Wecker klingeln, die Morschen erheben sich, schauen sich um, zögern. So viel Herbeigesehntes ist durchkreuzt und markiert. Etliches fehlt, wobei sich die Summe der Gebrauchtwaren immens vermehrt zu haben scheint. Unscharfe Gestalten pulsieren, lassen nach, sinken ab, um kurz darauf urplötzlich auszuholen, doch gegen wen? Gibt es sie noch, die Gegner? Tentakeln versanden. Das Auge sperrt sich, das Drehkreuz blockiert. Sturm auf das Drehkreuz! Ab hier gelten die Regeln der Antimaterie, bei gleichzeitigem Überdauern der Reste. Unmöglich. Welchen Dingen ähnelt das? Falsche Frage, ganz falsche Frage, seufzen die in bunten Bandagen schaukelnden Morschen. „Worin, warum und wie ähnelt dies nicht?“ , würde die Frage lauten, auf die richtige Weise gestellt. Ein Glöckchen tönt hell und verstummt. Das Hörnchen schaut auf. Es weiß eine einzige Sache jetzt sehr genau: Erst der Blick macht die Ware zur Halde.

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Heinrich Dietz – Rubble and Fodder

Heinrich Dietz

In contrast to reductionist tendencies in twentieth century art through which means, media, and parameters of artistic work were investigated, isolated, and sorted out, a contrary strategy is strikingly evident in your oeuvre: the maximum utilisation of a variety of those means which are traditionally available to painting. These include the representative function of painting – the figuration and construction of an illusionistic pictorial space –, borrowings from classical iconography and symbols, an extreme wealth of detail in the monumental paintings, but also composition, tonality, and modulation of the oil paints. What is the motivation for this assertive reactivation of painterly means?

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