Berlin

Paco Knöller

Kunstforum in der Grundkreditbank

There is nothing snug or secure about the spaces in which Paco Knöller’s figures linger, wait, grope about. These are menacing spaces without a location. The paths the artist lays out, on which movement still seems possible, can break off abruptly to become lurching pockets of air in which we are unstably trapped, as in his Sind süchtig nach Lügen (Addicted to lies, 1987), or can compress into the no-exit, fiery furnaces suggested by the intense red ground of Kurosawa 2, 1987.

Here, in an exhibition organized by the Nationalgalerie, Knöller showed 14 works in oil pigments and pastels on large-format paper from the last three years. His images are of damaged life and unprotesting death. They generally forgo any obvious references to contemporary social issues, for Knöller has developed a way of expressing the anxieties of our moment by reaching backward and forward in time. In For American

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