cologne

Adrian Schiess

Galerie Rolf Ricke

Strangely, this exhibition immediately piqued my interest though the works on the walls—in a visual sense—were paltry. Hung at about the same height, there were almost abstract, gestural watercolor-formations painted on torn pieces of paper pasted directly on the wall. They were without content, divorced from the space, requiring neither meditation nor close inspection. The whole show was nailed to nothing, fastened to nothing. And it doesn’t help to say these paintings refuse to represent the concrete or the explicable. In fact, Schiess uses the simplest methods, but they create what one could call an extreme sensitivity that is stated directly and without heavy didacticism. Schiess converts “unpainting,” “undrawing,” “unwall-drawing” “uninstallation” with a stroke of the hand into their opposite through his use of a style, that lies somewhere in between. Schiess claims that he is concerned

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