The art of the week for Berlin: In the Quarter of the Morning
Interior landscapes, colorful gardens, a forest at night: the Soy Capitán gallery shows drawings and how well painting and paper get along.
Inside the night. Outside, outside, the light - or at the very core of color: The group exhibition "The Innerworld of the Outerworld of the Innerworld" combines colorful landscape painting with graphic games of light and darkness. In the show at Soy Capitán , conceived by Heike Tosun, Sophie Prager and Christian Malycha, seven guest positions are represented alongside Grace Weaver as the gallery artist. With these excellent works visiting, the gallery becomes a museum for a magical moment. This shows how close the relationship between painting and paper can be.
That alone would be a topic in itself. For example, André Butzer 's rich lines combine acrylic, lacquer and wax crayons. Added to this is the inviting colourfulness of the works. Lee Piechocki's works were created en plein air. In “Invasive Plants in Yard” (2017) not only are the plants growing freely in front of a garden fence, the colors are – just like fantastic in Mònica Subidè – rich, invasive, bright.
And how much color remains visible at night? In Piechocki's This Weird Fence I Saw While on A Walk in Los Angeles: On The Fourth of July, Near a Cementery (2017), the fence reappears, the leaves and plant parts bathed in darkness, but before the gray-black ones Lines in strong crayons appear in the picture, colors of the night that may have been charged during the day.
With Matt Jones , the tree stumps and mushrooms continue to glow even on the forest floor. In “Eighteen tree stumps and various fungi at night” (2020) rod ink and watercolor combine to form a dense tumult reminiscent of deep-sea animals briefly bathed in light.
Soy Capitán : The Innerworld of the Outerworld of the Innerworld, group exhibition, Wed.–Sat. 12 noon to 6 p.m., until April 22nd, Prinzessinnenstr. 29
Magic morning, magic hour
Wafer-thin transparency also on Sophie von Hellermann 's "The Dawn of Everything" (2022), in which the figures just hint at themselves behind two towering conifers. In the case of Grace Weaver, Dana Schutz and Eric PS Degenhardt , it is again the absence of color that draws attention to it.
The taz plan is published at taz.de/tazplan and every Wednesday and Friday in the print edition of the taz .
Forming four delicate webs of light and shadow, Degenhardt's abstract 'palindromatic' ink on paper work, 'untitled (Rood-Door)' from 2021 appears at first glance like a screen print. In fact, however, the artist is experimenting with the direct application of ink, creating a serial four-tone on one and the same sheet of paper.
"Rood", which could indicate a cross in a window frame (like one can be seen in Weaver) - or the Anglo-American unit of area, also called "quarter morning" in German. Maybe it's just time to think of time as a surface. Quarter morning, that is the hour when the works shown here call their audience together. Tacita Dean once called it “The Magic Hour”.