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Gladys Kalichini | Igor Vidor | Logan MacDonald | Annedore Dietze | Paul Wesenberg

Press release


Gladys Kalichini  / … these gestures of memory
In the exhibition ... these gestures of memory Gladys Kalichini focusses on the duality of memory and history, and considers ideas about mourning, remembering and forgetting in relation to the commemoration of stories about specific women within the larger picture of the narration of resistances against the colonial rule in Zambia and Zimbabwe (then Northern and Southern Rhodesia) in the 1960s and 1980s. 

Igor Vidor / Allegory of Terror
Over many years, the incessant violence plaguing the streets of Brazil has found a unique visual expression in the shells that litter the poor neighbourhoods of Brazil, and the bullet-proof synthetic Aramid fiber covering the cars of the rich. Igor Vidor frequently appropriates such materials, produced by European weapons manufacturers and chemists, in his art - remodeling the aesthetics of violence while reporting on deeply personal experiences with oppressive environments, but also on the exploitative structures of trade and profit that echo throughout Brazil’s past and present.

Logan MacDonald / bætha/ repatriate
bætha is a Beothuk word meaning: go home . As a consequence of the COVID-19 pandemic, amid warnings of border closings and restrictions on movement, MacDonald left his residency early. He returned to Canada leaving behind fragments of artworks. MacDonald uses this unprecedented (unanticipated) situation to assemble a body of work that considers notions of repatriation. The term is important, particularly among Indigenous people in North America, in being connected to demands for the return of ancestral cultural remains from museums and cultural institutions across the world, with the aim that they be given back to their communities.

Annedore Dietze 
In her current paintings Annedore Dietze is looking for half abstract, half representational solutions for volumes, for forms that within their arrangement and spatial appearance speak a language on their own. A basic idea for some of these pictures was provided by a bouquet of peonies, whose flowers refused to open. Over a long period of time, Dietze observed these spheres, which had gradually transformed into a kind of paper, into a concentrated skin object: "I saw volumes and forms in a certain colourfulness, which came into question as the basis for many of the works that followed. My main problem, life itself, becoming and passing away, is strongly expressed in them." The second part of the exhibition deals with dystopias and depictions of war. Again, she uses round forms, heads, body parts of soldiers and horses, which are dropped into chaos and violence. The living creatures here seem rather lost and left alone, less dominant than the flower shapes in the peony works.

Paul Wesenberg 
Paul Wesenberg is a painter with a special interest in the materiality of paints and canvas. His approach reflects both the deeply considered foundations of his own position and the unbridled delight he takes in demonstrating— with maximum opulence—the ambition and autonomy of his paintings.
His free-flowing forms—now abstract, now concrete, here chaotically agglomerated, there docilely linear, in some places densely impastoed, in others blithely fluid—turn his paintings into sensory events.