at Bark Gallery, Berlin
The title of Linus Rauch's solo exhibition marea in Italian stands for the tides: a natural phenomenon that, driven by the great wheelwork of the heavenly bodies, sets the pulse of life with the water.
In the sluggish rise and fall of the tide, a rhythmic structure communicates itself, which cyclically repeats larger patterns in its beat and is not merely an effect but a component of the cosmos.
Almost removed from fleeting perception, the tides tell of this touch, in which the apparent chaos surrounding us shows its precise play, giving an inkling of the breath that hovers behind the curtain of the visible.
The work of Linus Rauch aims at this breeze, his decidedly corporeal paintings investigate the tide’s premonition of the great imagination behind the curtain.
Text: Ondrej Drescher
Eine Malerei in 24 Teilen⎜a painting in 24 parts
at Dzialdov, Berlin
with a Text by Emma Siemens-Adolphe
In response to Danza Macabra: Nebula
Tracing material transformation — liquid, gas, solid — reflects upon the breakdown of systems and processes. The fluidity of changing matter resonates with the body’s capability to morph in accordance with its environment. In this case, such permeability and symbiosis between states of being and their surroundings is symbolized by the fabric of a parachute. This translucent layer is like a tense membrane that might appear invisible when looking past its surface, yet this exact quest for clarity insights friction. The tension is embedded in the seam of a parachute that has once been discarded; then reused.
This is the nebulous space in which we find ourselves — when viewing this artwork titled Danza Macabra by Linus Rauch — it appears as if looking through a bifocal lens. The surface area of his paintings is comprised of a net through which the viewer experiences a subsequent layer. Yet, depth perception is obfuscated by the artist’s act of overlaying and by the viewer’s own projection. Drawing attention away from the material nature of the surface and questioning the limitations of this superimposed structure. The systematic grid is ruptured by the reveal of the artist’s gesture.
The rhythmic flow of this work — constituted of twenty-four parts — mirrors the potentiality of a crushing wave. Such fractal behaviour creates a textured ripple effect, whereby the single components of a whole communicate with one another. This allegorical liquid state holds the capacity for Danza Macabra to morph once placed within a new environment.
at Kunstscenen, Copenhagen
curated by Yana Pitenko
at plusDEDE, Berlin
at Raum Vollreinigung, Berlin
show, don't tell
with Philipp Rößle
at Lateral, Fabrica de Pensule, Cluj
SHOW, DON’T TELL usually refers to a writing technique which, instead of literally describing a scene in every prosaic detail, creates tension by using hints, context and omissions, respectfully giving the reader space to develop thought and feeling for it. Incorporating the readers own experience, it opens up a multitude of possibilities. Brought to the language of visual art, this concept gains a double-meaning. The interplay of textures, shapes, reflections, transparencies and spatial relations builds clues, contrasts and suggestions that the viewer can use without losing his or her freedom of interpretation. While differing in their approach, the two artists share a continuous interest in walking the fine line of showing enough, but not too much.