Who or what defines painting? Have there not been changes over many years that we have barely noticed in the West? For generations, paintings that have been exhibited, discussed, and marketed in our own country have had a purely European/North American perspective with a clear vote for the canvas. But is this in any way correct if we take a look at current tendencies around the world?
The planned exhibition is a plea against the Western painting canon and against the increasingly evolving class formation within the field of painting. What can painting be if we let go of dominant artistic concepts and look around the world for painting’s traces? With a series of examples, we would like to get closer to ways of seeing that oppose the long-dominant concept of art in the West – its autonomy and special privileges – and therefore question the dominant canon. Where does painting begin and where does it end? The Western concept of art and painting is not even 200 years old, but has been cemented through the moderns and in the course of avant-garde movements. The exhibition takes a look at other/new perspectives and of course in this way for once simply ignores the system of production, validation, dissemination, and reception in which it operates. Interesting painting positions will come out of this, which can spark a new desire for the medium.
The exhibition is glad to present paintings from around the world that are no longer concerned with autonomous Western art. Paintings that do not stay on the canvas, that enter the space and architecture, allow the brushstrokes to follow paradoxical paths, and in this way question contemporary painting in an entirely new manner. It is time that art theory opens itself up as well and pursues the question of painting under new premises – ones that are in fact seen today but still not yet being sufficiently discussed. The exhibition shows alternatives or at least contemporary correctives to the dominant canon, sparking a new debate that appears urgently necessary.