Sebastian Stumpf is an actor without an audience. His actions in urban space are recorded by a still or video camera and often remain unnoticed by passersby. In a new video projection, the artist’s body is stationary, occupying spaces as temporary and unforeseen as his interventions.
The exhibition also presents documentation of site-specific works from the series “Leaving White Spaces”, ongoing since 2004 and produced for various galleries, museums and collections.

With their matte surfaces, gray scales and unclear motifs, the black-and- white photographs of the Belgian artist Dirk Braeckman (born in 1958) are utterly enigmatic. Working on the boundaries of the medium of photography, they combine fleetingness and substance, texture and distance. The pictures don’t tell stories, though one might be tempted to think so. Leaving the moment in which the image was captured behind, each work reveals the diffuse process behind its own creation.
Several of the new works featured at the exhibition in the Galerie Thomas Fischer were made for Dirk Braeckman’s recent show at de Appel arts center in Amsterdam. Included is also a recent film by the artist.

The exhibition “Between A and Z” contains three bodies of work by Joachim Bandau (b. 1936 in Cologne). In addition to new wall works coated in Burmese Bagan lacquer, Bandau exhibits watercolors in which he condenses layer upon layer of thin washes of paint to create deep black forms. In the center of the exhibition stands the sculpture “Silbernes Monstrum” from 1970-71. It belongs to a series of mobile sculptures made from fiberglass that Bandau has been creating since the late 1960’s. An aggregate of diverse modules, “Silbernes Monstrum” resembles a hybrid of man, machine, and design-object.

The sculptural installations and drawings of Margrét H. Blöndal have a fragile, fleeting effect and yet are strangely compelling. Constructed of such everyday materials as rubber, foam, paper and plastic, the objects often feature bright or gaudy colors. Rather than reducing or abstracting materials and forms, the artist’s aesthetic is based almost entirely on nuances.

The exhibition was supported by the City of Reykjavik, the Association of Icelandic Visual Artists and the Icelandic Visual Art Copyright Association.