Künstlerhaus Dortmund
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Opening hours   Office  Mon + Fri 10-14 h Tue - Thu 10-16 h  |  Exhibition  Thu - Sun 16-19 h


26/01 – 04/03/2018

Opening on Friday, 25/01/2018 at 20:00 h

Colour, light, space: an inseparable trinity. An inseparable trinity, that is, if we reduce all five senses to the single sense of sight. The exhibition, COLOUR.LIGHT.SPACE contains paintings, not only in the form of the traditional panel painting that we might expect. Here, and in direct contradiction to the title, we are presented with austere black and white, or situations in which the colour is applied to carrier materials other than canvas. At first, we might still believe we are encountering a flat panel painting, but on closer inspection we are confronted with an entirely different materiality, in which colour and carrier material develop with each other.
Even as an installation, we still experience painting in the exhibition, but it is floating in space, on a paper-carrier, or as a high-gloss, architectural intervention. Light, which grants us access to sensory viewing experiences, is an important part of site-related works. In these works, light itself becomes colour. In COLOUR.LIGHT.SPACE, painting, sculpture and installations are combined, thereby opening up visual as well as conceptual spaces in and around the artworks.

Participating artists:

Sybille Hassinger
Nicole Jana
Arjan Janssen
Paul Schwer
Elisabeth Sonneck
Rainer Splitt
Claudia Vogel
Ulrich Vogl

Sybille Hassinger

For Sybille Hassinger, colour and light are among the most important considerations when she’s searching for images to base her paintings on. Hassinger’s works display a subtle interplay between opacity and lucidity, and utilise pictorial signs that emerge through colour and shape, colour and line, shape and anti-shape. Dialogues between pastel tones and assertive colour-fields, line-structures reminiscent of chirographic script, fragile grid-fields, and circular shapes with cell-like connecting lines form the essential artistic formal vocabulary of her painting practice. Some of her works, which oscillate between transparency, delicately coloured glaze layers, and condensed, opaque colour surfaces, generate a kind of floating sensation.
Her works fascinate through a masterly perspectival interplay between pictorial foreground and background, through the continual dialogue between colour and form. The artist herself describes the suggestive spatial impact of her large-format works thus: “The pictures appear to be inwardly breathing…it is like one is physically immersed into the picture.” (Marina Schuster, Museum Kunstpalast, Düsseldorf)

float, 2015, oil and glaze on canvas, 170 x 130 cm, photo: Jürgen Spiler

Nicole Jana

The series of “uneconomic drawings” – drawings on aluminium foil – are not only autonomous objects, but a bridge between painting and sculpture. In their own way, the lyrically charged sheets succeed in both preserving and utilising their fragile materiality.
The pitted structures and drawings, which adopt a form reminiscent of a relief, represent an enquiry into presence/absence, reflection and visualisation of the conceived space. By seeing his own image reflected back at him, the visitor becomes a part of the works’ pictorial space

Exhibition view 2013, asme gallery, Berlin: Monotonie ist auch keine Lösung [Monotony is also No Solution], 2012, pencil on aluminium foil, 3 foils, 120 x 170 cm; 10 Schichten Monotonie [10 Layers of Monotony], 2011, pencil and acrylic paint on aluminium foil, 10 foils, 30 x 40 cm

Arjan Janssen


Untitled, 2014, oil on canvas, 160 x 120cm

Paul Schwer
For nearly twenty years, Paul Schwer has been working in the expanded sphere of the supreme field of art that has been pronounced dead over and over again: painting. (…)
In his painting-related concepts, Schwer deals with moments of retinal perception, and with the transformation of such moments into pictorial constellations in which the elusiveness of this perception manifests itself.
One could also say: Paul Schwer’s approach to painting wants to record that ultimately nothing can be recorded. That everything flows past, everything is subjected to an instantaneous elusiveness and fragility. (…) Schwer’s materials are usually found in a technical, industrial context (racks, fluorescent lamps, Perspex, polystyrene-hard foam), but are repurposed in his hands in order to generate a poetic buoyancy and softness, fluctuating between constructive stasis and rapid dynamics. Only rarely does actual painting play the main part, but everything in his universe is – to varying degrees – arranged in a painterly way. What we see in Schwer’s work is, in a way, the creation of painting out of the non-painting. (From: Ruppige Schönheit by Stephan Berg)

Bazoi (3-12/12), 2012, screen printing coating on PET-G, pigments, 48 x 47 x 63 cm, photo:VG Bild-Kunst

Elisabeth Sonneck

Elisabeth Sonneck addresses the tension or gravity inherent to the material and the intrinsic behavior of the paper when staging her lengths of paper painted in oils on one side, spirally entangling them, piling them like columns, dangling them as loops from the wall, or balancing them like mobiles. (…) for Sonneck, the work of art is not a structure that is something crystalline, having been brought to a standstill, but one characterized by process – the material dictates the form. (...)
This manner of working inherent to the process of creating the art and the dynamically-motivated appropriation of the material, the unique use of colors, and the linear, evenly repetitive action in contrast with the repeated reshaping into delicately balanced, variable objects express a rhythmic strength that corresponds with a statement by Henri Maldiney: “Rhythm weaves through space (and time) with an existential significance, that is to say, with a meaningful present.” He emphasizes the existence of the now as a latently extant category of space and time, the irrevocable presence of the individual moment, in which duration and the moment are identical (…)
[Ursula Ströbele; transl. by Elizabeth Volk]

Rollbild30 mit Grundriss Dunkeltöne, 2017, Öl auf Papier, Öse,
Nylonschnur, Gewicht, je 110 x 500/950 cm

Rainer Splitt


Claudia Vogel

Claudia Vogel works on multiple images simultaneously, and then extracts a random selection to show in her exhibitions. In one series of works, she covers wooden frames with finely woven textiles or nets, which then provide a grid-like structure for the picture’s background. Vogel then pushes colour through the finely woven fabrics from the reverse side, which creates the image structure on the front. In these works, she uses oil paint or liquid synthetic resin, which begin to set during the time-intensive creative process. The exhibition title, “Random Samples,” refers in its literal sense to the creation and selection of these works, but the term “random sample” also describes a sample taken from a fluid material flowing onto a surface.
The form each work in the series takes is therefore characterized by the combination of each individual physical element. When the various viscosities of paints and resins meet the various densities and compositions of each carrier material, a heavily structured picture surface emerges. (Sandra Kraemer M.A.)

Claudia Vogel, untitled, 2016, oil paint and jute on stretcher frame, 50 x 50 cm, photo: Dirk Rausch

Ulrich Vogl


Concept and Organisation: Anett Frontzek
Images works ©: die KünstlerInnen
Photos opening ©:

Kindly supported by:
Kulturbüro Dortmund, Sparkasse Dortmund, DEW 21