Davide La Rocca / 13K ( Part 1 )
May 12, 2017 - Jun 30, 2017


 
  Sandra Ackermann / Lost in Nothingness
Mar 24, 2017 - May 06, 2017





 
  Claudia Rogge / CONCENTRATION
Jan 27, 2017 - Mar 18, 2017


 
  Christmas-Holidays: Dec 24, 2016 - Jan. 7, 2017
Dec 20, 2016 - Dec 20, 2016


 
  Christian Bazant - Hegemark / The Rise and Fall of Transformative Hopes and Expectations
Nov 11, 2016 - Jan 21, 2017


 
  Harding Meyer / The Others
Aug 26, 2016 - Nov 05, 2016


 
  Crossing Borders
Jun 03, 2016 - Jul 15, 2016


 
  Sandra Senn / Flüchtiges Getriebe
Apr 08, 2016 - May 21, 2016


 
  Iwajla Klinke / Red Sandals and a Mirror for Gabriel
Feb 12, 2016 - Mar 26, 2016


 
  Corrado Zeni / Éloge de la fuite
Nov 27, 2015 - Jan 09, 2016


 
  Claudia Rogge / PerSe
Oct 16, 2015 - Nov 21, 2015


 
  Kate Waters // Tell it like it is
Aug 28, 2015 - Oct 10, 2015


 
  Visions Of Sensory Space ( by Weightless Artists Association - SPARTNIC )
May 15, 2015 - Jul 04, 2015


 
  Sandra Ackermann / Wasteland
Mar 13, 2015 - May 02, 2015


 
  Lost Scapes
Jan 30, 2015 - Mar 07, 2015


 
  Christian Bazant-Hegemark / Calibrating Aesthetics
Nov 14, 2014 - Jan 17, 2015


 
  Frank Bauer / Back to Basics
Aug 29, 2014 - Nov 08, 2014


 
  Harding Meyer // recent paintings
May 23, 2014 - Aug 23, 2014


 
  Till Freiwald - memoria
Apr 11, 2014 - May 17, 2014


 
  Quadriennale Düsseldorf 2014 / Gallery Evening
Apr 05, 2014 - Apr 05, 2014


 
  Iwajla Klinke / Ritual Memories
Jan 17, 2014 - Apr 05, 2014


 
  Giacomo Costa // Traces
Nov 22, 2013 - Jan 11, 2013


 
  DC-Open Galleries: Matthias Danberg - Inventory by Appropriation
Sepr 06, 2013 - Nov 16, 2013


 
  Christian Bazant-Hegemark // VOW OF SILENCE
May 24, 2013 - Aug 20, 2013


 
  Corrado Zeni // Generation Why
Apr 12, 2013 - May 18, 2013


 
  behind the Non-Colours
Mar 22, 2013 - Apr 06, 2013


 
  Sandra Ackermann // Running to stand still
Feb 15, 2013 - Mar 16, 2013


 
  Düsseldorf Photo Weekend 2013
Feb 01, 2013 - Feb 09, 2013


 
  Mihoko Ogaki // Star Tales - White Floating
Nov 30, 2012 - Jan 31, 2013


 
  Claudia Rogge / Lost in Paradise
Oct 12, 2012 - Nov 24, 2012


 
  Harding Meyer // features
Sepr 07, 2012 - Oct 06, 2012


 
  Summer 2012 - Part 2
Aug 10, 2012 - Sepr 01, 2012


 
  Summer 2012
Jul 06, 2012 - Sepr 01, 2012


 
  Maria Friberg // The Painting Series
May 11, 2012 - Jun 23, 2012


 
  Mary A. Kelly // Father & Child
Mar 30, 2012 - May 06, 2012


 
  Maia Naveriani // Future Wolves and Chicks so far
Feb 10, 2012 - Mar 24, 2012


 
  Düsseldorf Photo Weekend 2012
Feb 04, 2012 - Feb 08, 2012


 
  Kate Waters // The Air that I breathe
Dec 09, 2011 - Jan 28, 2012


 
  Frank Bauer / ...den Wald vor lauter Bäumen....
Nov 04, 2011 - Dec 03, 2011


 
  Claudia Rogge // Final Friday
Sepr 09, 2011 - Oct 29, 2011


 
  Davide La Rocca - STILLS
May 27, 2011 - Jul 16, 2011


 
  Giacomo Costa // Post Natural
Apr 01, 2011 - May 21, 2011


 
  Harding Meyer - to be a real vision
Feb 18, 2011 - Mar 26, 2011


 
  Shannon Rankin - Disperse / Displace
Dec 03, 2010 - Feb 12, 2011


 
  Sandra Ackermann // I look inside you
Oct 15, 2010 - Nov 27, 2010


 
  Amparo Sard / AT THE IMPASSE
Sepr 03, 2010 - Oct 09, 2010


 
  Kate Waters // The Land of Kubla Khan
Jun 11, 2010 - Jul 17, 2010


 
  Jurriaan Molenaar // Lessness
Apr 30, 2010 - Jun 05, 2010


 
  Claudia Rogge // The Paradise of the Onlooker
Mar 05, 2010 - Apr 24, 2010


 
  Ivonne Thein // incredible me
Jan 22, 2010 - Feb 27, 2010


 
  Frank Bauer // Jet Set
Nov 27, 2009 - Jan 15, 2010


 
  Michael Koch // forever more
Oct 23, 2009 - Nov 21, 2009


 
  Masaharu Sato // SIGNS
Sepr 04, 2009 - Oct 17, 2009


 
  Harding Meyer // blind date
Jun 19, 2009 - Aug 22, 2009


 
  Maria Friberg // way ahead
Apr 24, 2009 - Jun 13, 2009


 
  Claudia Rogge // Isolation ( aus: Segment 8 - die Blasen der Gesellschaft)
Mar 06, 2009 - Apr 18, 2009


 
  Claudia Rogge - The Opening
Mar 06, 2009 - Apr 18, 2009


 
  JoJo Tillmann // What you see is what you get
Jan 30, 2009 - Feb 28, 2009


 
  Sandra Ackermann // Die Wirklichkeit ist nicht die Wahrheit
Nov 21, 2008 - Jan 24, 2009


 
  Kate Waters - Getting used to the 21st Century
Oct 10, 2008 - Nov 15, 2008


 
  Mihoko Ogaki - Milky Ways
Sepr 04, 2008 - Oct 04, 2008


 
  Summer 2008 // Painting
Aug 12, 2008 - Aug 30, 2008


 
  Silke Rehberg: Stationen 1,4,6,7,11,12,13,14
Jun 13, 2008 - Jul 12, 2008


 
  Maia Naveriani: At home with good ideas
May 09, 2008 - Jun 07, 2008


 
  Justin Richel: Rise and Fall
Apr 04, 2008 - May 03, 2008


 
  Davide La Rocca - Strange Object
Feb 08, 2008 - Mar 28, 2008


 
  Frank Bauer: AkikoAlinaAlinkaAndrew....
Nov 30, 2007 - Feb 02, 2008


 
  Maria Friberg: Fallout
Oct 12, 2007 - Nov 24, 2007


 
  Harding Meyer / in sight
Sepr 06, 2007 - Oct 11, 2007


 
  SUMMER '07
Jul 17, 2007 - Sepr 01, 2007


 
  Kay Kaul - Wasserfarben
Jun 15, 2007 - Jul 14, 2007


 
  Sandra Ackermann - Point Blank
Mar 02, 2007 - Apr 28, 2007


 
  Tamara K.E.: pioneers -none of us and somewhere else
Jan 19, 2007 - Feb 24, 2007


 
  Till Freiwald
Nov 17, 2006 - Jan 13, 2007


 
  Claudia Rogge: U N I F O R M
Sepr 01, 2006 - Nov 11, 2006


 
  Frank Sämmer: Die Stunde des Zaunkönigs
Jun 23, 2006 - Aug 22, 2006


 
  Kate Waters: Killing Time
May 05, 2006 - Jun 17, 2006


 
  Katia Bourdarel: The Flesh of Fairy Tales
Mar 31, 2006 - Apr 29, 2006


 
  Mihoko Ogaki
Feb 10, 2006 - Mar 18, 2006


 
  Silke Rehberg: RICOMINCIARE DAL CORPO
Jan 27, 2006 - Feb 26, 2006


 
  Sandra Ackermann
Dec 08, 2005 - Jan 15, 2006


 
  Corrado Zeni
Dec 04, 2005 - Jan 11, 2006


 
  Frank Bauer
Nov 18, 2005 - Jan 15, 2006


 
  Harding Meyer
Oct 07, 2005 - Nov 12, 2005


 
  AUFTAKT
Sepr 02, 2005 - Oct 01, 2005


 
  Claudia Rogge: Rapport
Jun 17, 2005 - Jul 20, 2005


 
 
May 13, 2005 - Jun 11, 2005


 
  Kate Waters: Solo-Exhibition in the Gallery Thomas Cohn, Sao Paulo
Apr 16, 2005 - May 20, 2005


 
  Vittorio Gui: FROZEN MOMENTS
Apr 08, 2005 - May 07, 2005


 
  Kay Kaul - ARTSCAPES
Apr 03, 2005 - May 29, 2005


 
  SEO Geheimnisvoller Blick
Mar 04, 2005 - Apr 02, 2005


 
  Claudia van Koolwijk at Museum Bochum
Feb 26, 2005 - Apr 17, 2005


 
  Corrado Zeni - Six Degrees of Separation
Nov 26, 2004 - Jan 15, 2005


 
  Maia Naveriani: What' s the difference between ME and YOU?
Oct 15, 2004 - Nov 20, 2004


 
  Tamara K.E.: MAD DONNA AND DONNA CORLEONE
Sepr 03, 2004 - Oct 09, 2004


 
  Davide La Rocca: Real Vision Reflex
Jun 12, 2004 - Jul 17, 2004


 
  Kay Kaul COLLECTORSCAPES
Apr 23, 2004 - Jun 05, 2004


 
  Frank Sämmer MUTABOR
Mar 12, 2004 - Apr 17, 2004


 
 
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Kate Waters - Getting used to the 21st Century
Oct 10, 2008 - Nov 15, 2008



weitere Bilder:
1 2 3

Opening:
Friday, October 10, 7 p.m.

A catalogue will be published.

Kate Waters: The Poetry of the Commonplace
By David Galloway


Once upon a time, in centuries now past, the museum was a cherished place of contemplation, far from the hustle and bustle of the city: what William Butler Yeats termed "a still point in a turning world". In our own day, it is the museum that turns, whirls and even dervishes, with blockbuster exhibitions and beery “long nights” attracting a new, sensation-seeking public. However one estimates such developments, the fact remains that the museum as an institution has long been in a state of profound transition. Kate Waters explores this metamorphosis in her sumptuous painting "Getting Used to the Twenty-first Century" (2008). Her title makes reference to an age when information accumulates at a dizzying and sometimes dismaying pace, affecting every single aspect of life. The sheer speed of communication means that, like the Rabbit in Alice in Wonderland, we have to run very fast just to stand still. Among the consequences of this acceleration are seismic changes in the way art is produced and consumed.
Ironically, the monumental work before which visitors are standing in Waters' composition is Jacques Louis David's "Coronation of Napoleon", painted at the beginning of the Nineteenth Century and itself the symbol of a period of drastic change. In David's carefully staged composition, onlookers stand in the foreground, as they do in Waters' painting. Two of the modern witnesses are attentive, while others have turned away, as though rejecting the past – or merely ignoring it. Undaunted by their sumptuous surroundings, they have entered the hallowed halls of the Louvre with a baby carriage. The times, indeed, are a-changing. The layering of narrative levels here is given a finishing touch by anyone who stands before the Waters composition. We, the contemporary viewers, are watching museum visitors viewing make-believe courtiers viewing a coronation ceremony that itself was a charade. (A century later, the wedding of Yves Klein would push such theatricality to extremes of absurdist pomp, as would the unintentionally comic investitures of numerous self-proclaimed monarchs.)
While reflecting on the shifting mandate of the museum, Waters' picture also offers a metaphor for change in a far broader sense. There are several earlier paintings in which the artist explores the museum (and painting itself) as metaphor. In most of them, tourists are pictured turning away from the masterpieces on view. In "Day Dream Boy" (2006), too, the central figure looks away from a "heavenly" subject to dream his own dream of paradise. The camera-toting museumgoers in "Hareem" (2007) are portrayed with their backs turned to a Delacroix painting, yet there is also a feeling that they are emerging from the canvas itself. As the artist herself phrases it, "Perhaps we are witnessing youth's pipe dreams, tumbling out of the painting into reality". Dream and illusion are, indeed, among her recurrent themes, which also include nostalgia, patriotism, friendship, the clash of cultures, family, communication and estrangement, the private and the public spheres.
Above all, this is an oeuvre concerned with perception: with how the individuals portrayed here perceive themselves and their surroundings and how viewers, from their own voyeuristic standpoint, perceive the same. It is hardly surprising that the museum and the street are recurrent settings for Waters, since they provide permanently shifting stages on which the comédie humaine is played out in all its infinite variety. Even those works set in the more intimate spaces of bars or restaurants – the richly ironic "Patriots and Guinea Pigs" (2007), for example, or the warmly intimate "Chop Suey" (2008) – treat the available pictorial space as a mini-stage. To deepen the theatrical metaphor, one might see the David painting in "Getting Used to the Twenty-first Century" as a kind of play within a play - a device famously used by Hamlet "to catch the conscience of the king". In the works of Kate Waters, too, one often has the feeling of catching players unawares, of their postures or glances revealing more than they realize. Rarely do the participants communicate directly, as they seem to do in "Chop Suey", even though the picture formally echoes Edward Hopper's painting of the same title, where two women seem cocooned by silence. In another Hopperesque work, "The Forbidden City" (2005), we see two couples on a night out, but they are plainly more interested in food than romance or conversation. Perhaps the most common player in these urban dramas is, quite simply, the "passerby".
What helps to dispel the sense of isolation and loneliness suggested by many of these works are their rich coloration and a luminescence that sometimes has the vividness of stained-glass windows. "Bond Street" (2008) is perhaps an exception, for the warm colors are associated with the romantic puffery of the wedding industry, while in the "real" world a solitary figure moves through cool, bluish shadow. Kate Waters has spoken of the scene in terms of the films of Alfred Hitchcock. (Other works, with their "innocent" picnics and parades, draw close to the aesthetic of David Lynch.) Indeed, many of the scenes depicted suggest a film still – a fragment of a narrative, a "harmless" moment that nonetheless seems redolent with foreboding. Despite the modern dress of its actors and the Technicolor glow of the scene, "Hell's Kitchen" (2004) bears unmistakable affinities to the chilling carnival episode in Hitchcock's "Strangers on a Train".
"Hell's Kitchen" is hardly the only work in which Waters treads a thin line between the playful and the sinister. "This painting", she notes, "is simultaneously about leisure, freedom, and enjoyment on the one hand, but also about fear, paranoia, gunshots flying around one's ears, running for cover". Implicitly, the war in Iraq is the lens through which many of the artist's recent compositions must be seen. Or the bloody riots in the banlieus of Paris that hover behind the bright and seemingly innocent "Kiss Kiss Bang Bang" (2008). In Roald Dahl's famous short-story collection Kiss Kiss, it is precisely this mixture of innocence and horror that proves so mesmerizing. One is tempted at times to think of these works not so much in terms of the painterly tradition of photo-realism and more as a kind of photo-surrealism. What Neo Rauch accomplishes through distorted proportions and historical incongruities is realized here through a subtle poetry of the commonplace.
Yet one should take care not to overemphasize the psychological innuendos and the political perspectives implicit in such works. Obviously the particular moment recorded in "Kiss Kiss Bang Bang" was also chosen because of its painterly potential, including the strong contrast of light and dark, the haloed streetlamps and headlights, the strong, elaborated diagonal of the pedestrian crossing. In "Birds" (2006), it is also the pedestrian crosswalk that lends a diagonal tension to the composition as a whole. This, in turn, is further accentuated by the candy-apple red of the Harley that dominates the foreground, with man and machine suggesting a glittering cyborg – or a bloated insect. In the strictest sense of the word, there is nothing threatening or even uncommon here, yet a sense of menace is almost tangible. The artist has spoken of "Chinese ladies caught like deer in the headlights". Automobiles as predators also disturb the sweet pastoralism of "Fusion" (2008).
Throughout the work of Kate Waters, one can observe a careful interplay of form and content. Nor should we be misled by the impression that the compositions take life from the "throwaway" medium of the snapshot. First of all, it is the spontaneous as opposed to the posed scene that fascinates the artist. Furthermore, her subjects are usually in motion and unaware that they are being photographed. In this way, Waters wrests an authentic, typically unprepossessing yet redolent moment from the flow of time. Nonetheless, between the recording of the image and its transformation into a painting, there may well be a phase of manipulation. The process begins with the selection and cropping of a scene, but may also extend to the collaging of additional photographic "evidence" in order to strengthen the composition itself or underscore its thematic content. In the earlier study of naïve patriotism, "No Place like Home" (2002), two small boys in identical red t-shirts and American-flag shorts provide visual as well as thematic focus to the street scene. Only one of the boys existed in the original photo, while the other is an interpolation.
At periodic and increasingly brief intervals, art criticism takes note of the renaissance of figurative painting. In point of fact, it never went away. Even while he was creating his all-over action paintings, Jackson Pollock regularly returned to the figurative/symbolic mode of his earliest works. Nor has a flood of digital imagery seemed to stem the hunger for the painted representation of "the real thing". The ability to mimic while simultaneously transforming reality constitutes a kind of laying on of hands. With increasing virtuosity, Kate Waters takes part in this ritual act.




./ Participating Artists


Kate Waters