• 12 ENE a 16 FEB
    Exposición en Solitario


    • Exposición en Solitario
    • Contemporaneo

    Fechas y horarios

    12 ENE a 16 FEB 2013

    Lugar del evento

    Galerie Max Hetzler - Berlin



    • Frank Nitsche


    Galerie Max Hetzler is pleased to announce the exhibition PROFESSIONAL SMILE of recent works by Frank Nitsche.

    In a series of large canvas the Berlin based artist, born in 1964 in Görlitz, analyses his work and practice. As a result, he redefines the scope of his formal vocabulary. Nearly void surfaces of only a few geometric shapes are accompanied by seemingly three-dimensional architectures of lines and circles, which are reminiscent of assembly parts as to be found in complex construction drawings.

    The painter deconstructs the formal style of his nearly 20 year oeuvre down to its basic elements. Bearing a pictorial grammar book in mind, which provides an alternative or even a counterproposal to any given syntax and linguistic term, Nitsche's paintings become a rhetoric, challenging themselves by revealing their means of expression.

    Shapes from the world of consumption and media, stylized to consumer goods in virtue of promotional design, are dissected by the artist in order to be recomposed. Cartoon figures, newspaper illustrations or surfaces of products – everything adds to Nitsche's shaping machine.

    The painter is constantly drawing on his own work, which he, however, does not quote, but deconstructs to construct anew. The series HELLO CHINA demonstrates this procedure in an exemplary manner. The paintings were exhibited at the Brandenburgischer Kunstverein Potsdam in 2010 / 2011 and referenced architectural elements of the Kunstverein's building. These paintings are now presented again in PROFESSIONAL SMILE. In the meantime they have been subjected to a reworking and, after having been painted over various times, now lost their green colouring. Nitsche does not celebrate his art as a finished good. Instead, each sketch is followed by another sketch. He examines, which of the executed movements, placements or shapes are needed to create an image. Eventually, he integrates both these forms and their opposites in his works.

    The in-depth choreographed exhibition is not only a crucial painterly self-experiment, but all of a sudden is interrupted by the panopticon of a photo wall composed of media images, which Nitsche is collecting in photo albums since his student years. These albums are not to be mistaken for sketch books, on the contrary, here the artist develops his own classification system. Images, documenting accidents as well as zoological curiosities and rendered in matter-of-fact grids, thus become collages with torrents of media images.

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