Tobias Pils
Drawings

Ein Spiel mit den Ambivalenzen

Offenkundig Mythologisches gerät bei Gerhard Neumaier (geb. 1950 in Freiburg, lebt und arbeitet in Baden-Baden) ebenso zur trivialen Episode, wie scheinbar Triviales legendäre Ikonik entfaltet. Dabei bricht sein unvoreingenommener Umgang mit Klassikern wie etwa in der Duchamp-Persiflage „Hokuspokus mit Fokus Lokus“ semantische Vorurteile in den Sehgewohnheiten auf und bietet dem Betrachter neuartige Interpretationen. In der perfomativen Bewegtheit seiner Rakelbilder legt er eine haptische Sinnlichkeit an den Tag, die Cora von Pape in ihrer Einleitung dazu bringt, den Künstler zu zitieren: „Ich male, was ich weiß, damit ich sehe, was ich fühle.“

An Expressive Instant in Painting

The art of Matthew Davis (b. 1969, Colchester, UK; lives and works in Berlin) operates between the micro and macro dimensions, between control and chance. Working with extraordinary precision, the artist applies drops of synthetic resin varnishes and enamel paints to canvases laid flat. The artist’s book Kustodiev showcases a recent innovative turn in Davis’s output, whose latest works were inspired by the lusciously colorful pictures of the Russian painter Boris Kustodiev (1878–1927). Kustodiev was manufactured using offset presses and Office Offset, a largely forgotten reproduction process based on miniature offset printing machines. The publication is released in a limited edition of 250 copies.

Matthew Davis studied at the Camberwell College of Arts, London, and the Norwich School of Art and Design. His work has been shown at the Konrad-Adenauer-Stiftung, Berlin; Künstlerhaus Wien, Vienna; Kunsthalle Wilhelmshaven; and other museums and galleries.

An artist paints the Kaddish

In roughly 330 self-portraits, Marion Anna Simon (b. 1972, Bitburg; lives and works in Cologne) dares to undertake an unusual transcription of Jewish prayer as a sign of mourning. On January 7, 2017, one day after the death of her mother, Marion Anna Simon began work on her painted Kaddish. What initially began as a very personal process of grieving quickly developed into an artistic concept: Roughly 330 painted and drawn self-portraits were created within eleven months—in daily notes, with acrylic and watercolor, pencil and ballpoint pen, oil crayon and pastel, on paper and canvas, wallpaper and cardboard, in lined exercise books and cheap notepads. Marion Anna Simon’s cycle explores her own face as a place of mourning and self-affirmation, documenting an artistic ritual beyond the Jewish prohibition of images and patriarchal attributions to sons in the tradition of the sanctification prayer for the memory of the dead.