Yinon Avior (*1991) lives in Tel Aviv and studied at Beit Berl College in Israel, and at the Kunstakademie Düsseldorf with Marcel Odenbach. In his works, Avior uses artefacts in which human existence has only an ethereal presence and thus stands in contrast to an artistic act. The works from the BLUE series exhibited in the exhibition involve billboards on which normally posters announce the maximum possible lottery winnings. For cost reasons, during production the blue paint, using an airbrush technique, is only applied to the frame, as the centre is covered up by the poster anyway. Due to their use as ready-mades, the billboards are reduced to their form and removed from their original history. The factory worker who creates billboards is called upon to complete his work as quickly and economically as possible. The shop owner, by contrast, who entrusted Avior with the billboards, did so free of charge. The two aspects in turn form a contrast to the amount of the lottery winnings typically announced by the poster and which are ultimately not (yet) tangible.
Kolja Gollub (*1990) studied at the HBK Braunschweig with Frances Scholz. Familiar forms appear in his paintings, which, despite the artistic intervention, do in fact remain recognisable, yet due to the dissolution process, they transition into a multilayer chain of associations. In this way, the tapestry on the wall becomes an image carrier for a chair which due to the act of decomposition must give up its three-dimensionality. This creates a change of perspectives, a shimmering between the original, concrete form of the objects and their contextualisation in a new reality. Is it an abstraction, a misuse or even a joke? It is all three, each unto itself, but nothing of which exists at the exclusivity of each other.
Christopher Wierling (*1990), who studied at the HBK Braunschweig with Thomas Rentmeister and Olav Christopher Jenssen, who like Avior and Gollub plays with breaking out of the ordinary, with deformation and change. It raises the question as to how he can bring things to a tipping point with as little intervention as possible. How can new contents emerge, how can one thing be produced from another? In doing so, he employs various materials such as clay, textiles and photographs. The work Cliffhanger consists of ceramics that were created by the simple act of reaching into the clay - basic shapes, subsequently kiln-fired and glazed, and attached with screws to the wall. It invokes associations with climbing grips and the original act of reaching into the clay is transformed into a different, more complex context. The clay shapes become modules with which the room can be played, and turned into rhythms.