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 As chimeras from the 20th century they are anything but outdated.
”Ogham” is an ancient Gaelic alphabet that Brian O’Doherty has been using since the 1960s. It serves as an ideal serial system that allows him to bring together minimalism, concept art and language. In his second exhibition in the gallery O'Doherty will be showing drawings and sculpture as well as a series of new paintings, many of which are based on Ogham.
Brian O’Doherty (*1928) lives and works in New York. His essay "Inside the White Cube" appeared in 1976. Until 2008 he worked as an artist under the pseudonym Patrick Ireland. In 2014 his latest novel, The Crossdresser's Secret, was published.