Painting & the painterly
Since the 1960s attempts have been made to topple painting from its perch, resuscitate it and - not least - analyse it thoroughly, with a view to reinstating it in new, meaningful modes of expression. This presentation offered a number of case stories and points of view meant to elucidate painting all the way up to works created this very year.
The ideas and solutions that the works display all come from painting and its tradition, but at the same have been able to incorporate everyday things and industrial practice in their form of expression - it has even been possible to leave out the paint and replace it, for example, with photography.
Here, in other words, the painterly is to be understood more as a particular way of seeing the world. Perhaps at a critical distance from the tradition - on the other hand through a pair of spectacles that definitively belongs to painting. And instead of only looking a painting's own world - the medium-specific, you could say - this often also a view of the surrounding world: the viewer's small and the larger social world.
What we were investigating were the bearing constructs of painting - surface, material, colour; structure, framing, front and back. Hence, not only the phenomenon 'oil on canvas'.
Artists on view