Nadine Fraczkowski, Jonas Jensen, Dennis Scholl
Bernhard Knaus Fine Art presents in its current exhibition three solo presentations by young artists working in the media of photography, drawing and sculpture. All three artists are presented for the first time in the gallery.
"It may be that the truth of America can only be seen by a European, since he alone will discover here the perfect simulacrum - that of the immanence and material transcription of all values.
And what is there to criticize which has not been criticized a thousand times before? What you have to do is enter the fiction of America, enter America as fiction. This is the land of the 'just as it is'. "
Jean Baudrillard 'America'
Jonas Jensen writes about his work:
“It is said that, "Since the centre of the composition relates to the periphery, it opens like a flower. The world bursts asunder before reconstituting itself. The heads, the limbs are detached from the body and are then reinstated. Two arms emerge from two separate heaps of images. The face is upside down and fluid. At the top it becomes a luminous trail. Illumined against a sombre background, the vision seems to emerge from the night. If we think of the operation in reverse, it is projecting the aberration of natural forms. The correction in the image, wherein true forms are reborn from chaos, also possesses this supernatural element. The forms no longer reappear on a smooth surface but in an infinite depth, which is revealed simultaneously in the dazzle of the reflection. The image springs into life. It moves, it changes at the slightest shift of our gaze. It evolves in the realm of the non linear where all things are at the same time present yet inaccessible." Which might be true, but where is this point of constitution in the composition if not in the shape?”
For Dennis Scholl drawing is the art of reduction. The targeted abstraction of the visual excesses of reality. At first sight, the work of Dennis Scholl seems to contest such assertions. In his monochrome drawings, which vary from small size to nearly monumental 280 x 200 cm, Scholl confronts the observer with an "unsettling" delight in detail. His collage-like, hyper-real images seem anything but reduced, as one work can bring together objects which seem to have nothing in common but the pictorial space itself. He creates images which draw their strength out of the inconsistent, the contingent and the secluded. Like emblems or icons, they allow the observer to discern a possible meaning beyond the confusion they provoke at first sight. But they reject a complete iconographic solution that would degrade the images to mere illustrations; rather, they draw the observer into a confusing game with wildly varying reference systems.