Auf der Pirsch(Go Stalking) is the slogan of Tim Berresheim’s (*1975) second solo show at the Galerie Reinhard Hauff, opening exactly two years after his first one The Cataract Juggernaut’15 (Oops, I did it again). Once again, Berresheim delivers innovative and hitherto unseen, highly complex, but at the same time playful arrangements of digital and analogue pictorial elements. His pictorial inventions challenge common perceptions and habitual experiences with artistic methods and production systems to an update. In a follow-up process to the two solo shows Berresheim held last year titled Cro Magnon 4.0 Cave Paintings (Reutlingen, Vitamin) and Aus alter Wurzel neue Kraft (Los Angeles, Galerie Meliksetian Briggs), the artist orients himself in Auf der Pirsch not only towards themes which further develop a coherent iconographic program within his image world, but also serve as metaphor for contemporary art production and the art market.
Leaves from diverse trees and shrubs, branches, fungi, pieces of rock, mousetraps – even a brass horn – become ingredients in dense, vividly detailed and colour intensive compositions. In a multitude of forms and combinations, objects collide to form compositions that are characteristic of Berresheim’s work to date, i.e. floating or affixed within a three dimensional, virtual space. Then new elements enmesh, interweave and pile up upon a white surface inscribed Mein Revier. You can describe the display method as a kind of Tableau presentation, somewhat similar to the taxonomic regulatory principles found in natural science museums. However, in Berresheim’s structured arrangement of drawings and inscriptions, the governing principle is always the artistic approach, regardless of references to scientific or technical terms. The striking rock formations in the Tableau also play a distinct role in the group of works currently in development called Lichtungen, even if – or exactly because – they remain hidden and only surface during the creation phase of the work. In the Stuttgart show, this work group is represented with one composition.
It is – at least in Berresheim’s non-representational paintings – unusually thick, chewing gum looking formations, which during the creative process meander around invisible obstacles. Chance plays a huge role in the genesis of the dense structures, which autonomously – or almost as dream walkers – move around within the pictorial space, only restrained in their exuberance by a straightjacket of outlines of rectangular grid structures. A work like Lichtung II is a product of the collaborative interplay between man and computer. The theme of stalking/hunting is also represented in the interaction of biomorphic undergrowth and clearances, between obscurity and light. It is, however, just like in other works in the exhibition, to be experienced not only aesthetically, but also symbolically: as a search for a path towards new options for image creation in the digital age, and also the new workmanship and organisational devices which the digitally dominated environment demands. With the foundation of the Studios New Amerika – a computer firm for aesthetic practices – Berresheim intends to apply the principle of stalking/hunting as exemplified in works in this show, from the virtual and metaphorical pictorial space to real space, in line with challenges of the current art scene (text: Dr. Wolfgang Brauneis).
You are cordially invited to the exhibition opening on Friday, March 24th, 2017 from 7 to 10 pm. We are celebrating with Gin & Tonic, generously sponsored by Edelbrand Stauffenberg Dry Gin.