reviews

View of “Hanns Kunitzberger,” 2017. From left: Ende 2016 Anfang 2017 früh (End of 2016 Beginning of 2017 Early), 2017; Ende 2016 Anfang 2017 mitte (End of 2016 Beginning of 2017 Middle), 2017; Ende 2016 Anfang 2017 spät (End of 2016 Beginning of 2017 Late), 2017.

Hanns Kunitzberger

Galerie Vera Munro

View of “Hanns Kunitzberger,” 2017. From left: Ende 2016 Anfang 2017 früh (End of 2016 Beginning of 2017 Early), 2017; Ende 2016 Anfang 2017 mitte (End of 2016 Beginning of 2017 Middle), 2017; Ende 2016 Anfang 2017 spät (End of 2016 Beginning of 2017 Late), 2017.

Compacted voids throbbing with color, replete with an abundant emptiness: Hanns Kunitzberger’s paintings put the critic in the position of having to resort to such paradoxical descriptions. Despite their powerful presence and quiet clarity, they elude the gaze, metamorphosing before the beholder’s eye, their diffused chromatic spaces never quite tangible. Their hazily opaque complexions focus representation on their own existence as pictures. Methodically inward-looking, this art is absorbed in the contemplation of color as phenomenal quality. Works such as Ende 2015 Anfang 2016 später (End of 2015 Beginning of 2016 Later), 2016, and Anfang 2013 später (Beginning of 2013 Later), 2013, both on view at Galerie Vera Munro, provide visual experiences comparable to those afforded by a piece of sky by William Turner, Qiu Shihua’s landscapes slowly materializing as though out of thin

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