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Charline von Heyl

Galerie Borgmann • Nathusius

Charline von Heyl’s new works are difficult to categorize: neither abstract nor objective, neither symbolic nor narrative, they seem to take something from every genre. They also differ markedly from her earlier works, seeming to take pleasure in the act of painting itself. It has become almost sacrilegious to speak of pleasure in relation to painting. The correct stance is, of course, to doubt painting, to question, criticize, reject, yet to go on painting, expressing this uneasy relationship to the medium in the pictures themselves. This was the path followed by von Heyl and some of her fellow painters, Albert Oehlen among them. After many years of struggling with the question of the viability of painting, she slowly became convinced that it is entirely legitimate to paint pictures that reflect an absolute confidence in the medium.

But what does such painting look like? In one of von

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