FORMS OF INNOCENCE 2019-03-27T11:13:35+01:00



22 March until 20 April, 2019

Opening hours: Wed – Fri: 1 – 6 pm, Sat: 11 am – 3 pm

The author Amy Sillman quotes the philosopher Walter Benjamin in her article ‘On Color’ as ‘color is a powerful form of innocence that can subvert the logic of capitalism’.

The idea behind our exhibition follows an initiative by the Austrian artist Bianca Regl, who lives in Beijing and has been running a large studio there for many years, where she designs exhibition projects with international artists. Even Regl, like many others, has had to vacate her studio twice already, using the logic of an unbridled globalized capitalism, the logic of the market: where real estate is built there is no room for art.

The artist paints images of tulips, examining the question of whether ‘color’ really represents a powerful form of innocence, whether it can undermine capitalism. Regl’s tulip paintings recur in art history as well as in the history of capitalism. In the ‘golden age’ of art, in the 17th century, tulip bulbs became a speculative object in the Netherlands and triggered the first stock market crash in 1637. At the same time, the Dutch tulip paintings were created. Artists painted tulips, they also speculated with tulip bulbs, some people went bankrupt.

In order to stay with Walter Benjamin, could the ‘color’ really change anything here? At least the art has survived and still images of tulips are painted. Like the ones by Regl, which give the artist the opportunity to no longer have to deal with narration and content, because all the tulips are already painted. So you give this motif the chance to concentrate solely on the color and the painting and continue to research here.

The Danish artist Sofie Bird Møller also leads the debate between ‘color and the market’ in her work, drawing on already existing images. As a rule, she uses glossy magazine photographs, eg. B. glamorous staged women or automobiles. She also uses advertising posters and leaflets, and while she overpainted these industrially printed motifs in the past, she now introduces a new form of image production. In addition to the image, she paints her own picture, often made up of superimposed color fields, and transfers it to the existing image carrier using a sophisticated process. Applied to the mentioned industrial product, the color here actually proves its innocence in subversion.

Pictures of the current exhibition, Bianca Regl:

Pictures of the current exhibition, Sofie Bird Møller