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