The exhibition UNCURATED took place from 19th of May until 15th of August 2020. The opening day was on 18th of May 2020.

One gallery. 180 square meters. 4 rooms. 4 artists.

In UNCURATED, four different artistic visions collide and enter into a dialogue. Each artist presents a selection of their works in a room of the gallery and becomes a curator themself. Initially, the œuvres are not related to each other neither thematically nor stylistically. UNCURATED pursues an experimental approach: to elude the prevailing tendency in the art world to curate in a thematically or stylistically stringent manner. What happens when the gallerist and curators withdraw from the classical curatorial processes? What interrelations will arise between the artists and their works? To what extent will the different works influence and change each other? Can the decidedly non-curating – the awaiting of randomly generated relations – not also be a form of curating? With this exhibition, we would like to rethink canonically transmitted exhibition and presentation methods of the art world, and thereby give four outstanding artists the opportunity of a diversified presentation of their work. With this in mind, we would like to offer collectors and art enthusiasts a more intimate and intensive insight into the respective œuvres.


© Joseph Lee

In his customary pastose style, Joseph Lee created a series of works for "uncurated" under the title "Composite Paintings". The works provide an exciting insight into the diversity of his artistic repertoire. "Composite Paintings" can not only be read in the sense of a visual reconstruction of a person fed by memory, as suggested by the artist, but also describes the creative process behind the works. Segmented, pastose brushstrokes, which are placed next to and on top of each other and ultimately merge into a harmonious whole, which completely transcends the boundaries between figuration and abstraction. “These paintings are recollections of people we once knew. Over time, memory fades and details blur. Each piece is created instinctually, from memory, using natural strokes. This harmony, this disorientation is how I remember you now. I think.“ – Joseph Lee

© Tonino Mattu

The “Boundaries” exhibition comprises a collection of works painted during 2019 that represent the concept of territoriality. Every place, in comparison with other places, has not only its own material, physical and commensurable dimension but also a deep immaterial, qualitative and incommensurable one that makes it remarkable for mankind and its culture. This distinction corresponds to the Topos/Chora dichotomy mentioned by Plato in the “Timaios” dialogue. Similar concepts can be found in the works of other philosophers such as Heidegger and Casey.

Man’s predisposition to conquer more land made him conceive territory as an exchange value to measure, trade, achieve and globalise. Often this way of acting has led to a loss of identity and biodiversity in those territories affected by economic speculation. The themes of the works come from archive images of the twentieth century, such as photographs taken during the Italian occupation of Africa and early explorations. In the “Boundaries” paintings, the use of the color brown refers back to the material dimension of the territory, while the unpainted parts are the reflection of its immaterial side. The viewer is encouraged to rearrange the puzzle of images according to their own interpretation.

© Valentina Murabito

A white cow nervously scrapes in the crater landscape of Etna. She inspects photographer Valentina Murabito. Little does the cow suspect that the artist will transform her image into a mythical creature through seemingly magical experiments in the darkroom, into an animal with four eyes and three horns. In the Middle Ages, Christians depicted such creatures, dragons and unicorns in illustrated bestiaries and ascribed to them characteristics such as strength or goodness. Inspired by this, the Sicilian traveled to her homeland, looking for shepherds who bowed to the rhythm of their herds. This is a rarity in a time when efficiency is the highest precept. With her analog camera she recorded the movement and behavior of free cattle, as the photo pioneer Eadweard Muybridge did in the 19th century. These images are like a sketch. The actual process begins in the darkroom. There she inflates their bodies, lets them sink into abysses or (re-)works them with materials that dominate our lives: steel, concrete, bitumen (asphalt). In the gallery størpunkt Valentina Murabito presents her secular bestiary for the first time. She observes animals and shows people and always - as Ralf Hanselle said about her works - leaves room for "enchantment and transcendence".

© Tamara Muller

In Tamara Muller’s „Lost and Found“ paintings we can see places and pictorial spaces where the characters look as if they are waiting. But waiting for what? Are they themselves lost, are they waiting to be found? What or who in this series has been lost and/or found? It may well be that something has already been found, or that on the other hand, in the act of losing, something quite different has been found. Such questions can be put forward in relation to the three most recent paintings, the first ones in her new series „Lost and Found“. As a matter of fact, similar questions, have already arisen in her work „Of Mice and Men II“ (2019). Are the depicted individuals innocent or guilty? They too look as if they’re waiting, but what for? Escaping through the little mouse hole is no option. In the context of the exhibition "uncurated", the artist's current works seem to be positioned as if in a lost-and-found department. Seemingly arbitrarily arranged with works by other artists, she sees opportunities for her works to enter into new and exciting relationships beyond their framework.