Margrét H. Blöndal ushers the familiar into unexpected constellations. In drawings and sculptures the world is rearranged and looked at askew. Her installations use commonplace materials almost like words, but words used out of context and mispronounced and yet they still make perfect sense.
In Friedemann Heckel’s hands drawing is addressed, both as a covering or surface that can be detached from its source and reinserted elsewhere, and as a subversive language whose abstract signs are both meaningful and mysterious. As with much of Heckel's work, this has its origins in his careful observations of the urban environment. His latest works question the relationship between the visual and haptic qualities of goods and images, and the political economy through which they circulate; and which is, in Heckel's works, quite literally inscribed on its surfaces.
with works by Joachim Bandau, Dirk Braeckman, Cyrill Lachauer, Brian O'Doherty and Sebastian Stumpf
At the center of the gallery’s second exhibition of works by Joachim Bandau are his early sculptures from the late 1960s until the mid 1970s. Made from fiber glass, aluminium, spouts and hoses, Bandau’s figures combine organic and technical forms, surreal worlds and science fiction, humans and machines. As chimeras from the 20th century they are anything but outdated.