Achenbach Hagemeier

Press Release

Press Release September 2018

ACHENBACH HAGEMEIER
presents

INA GERKEN
ART BERLIN FAIR

Booth 2.C.7 / Hangar 6

27 – 30 September 2018

Achenbach Hagemeier is pleased to announce its participation in Art Berlin 2018 with a solo presentation of new paintings by Düsseldorf-based artist Ina Gerken, an abstract painter mostly markedly known for her dramatic and colorful compositions, including Tachist gestures and multilayered printing processes. The presentation features a series of large- and small-scale paintings exclusively executed for the fair. Gerken has shown in numerous international solo and group exhibitions including What a feeling – Makasiini Contemporary, Turku 2018, Quintessenz – Gallery Guido W. Baudach, Berlin 2017, What do you represent now? – Plan 5, Stockholm 2017, Recent Traces – NAM project, Milan 2017, TAU – KIT Kunst im Tunnel, Düsseldorf 2014, Peinture2020Malerei – L.A.C.- Lieu d´Art Contemporain, Sigean 2012.

Excerpt from the text: “Beautiful new Sensuality“ by Gregor Jansen (2017)

Our heads begin to buzz, producing reflections similar to a Fata Morgana on a hot floor. The illusion is neither far nor near and seems to slide through the middle of our heads. Colors and forms dissolve the recognition of the familiar or the assumed, and the images throw us back on ourselves. We see ourselves collaborating, co-composing, creating, and speculating. As we gaze into the impenetrable, the elements of her compositions take on their own sounds, which the viewer then idiosyncratically composes.

What remains with Ina Gerken are the images and their candid directness touches us. They speak of long lost fears and longings, awaken old wounds and scars. But they also allow a dialogue driven by joy and rapture to unfold between nature and abstraction, landscape and painting. Though in the end, we are left alone with the question of painting and image, simply gazing in wonder. Gerken’s path as a painter crosses many media: chipboard, canvas, paper, fabric. She then works intuitively with the given possibilities, and the results are bewildering even for her as she can hardly recapitulate the process herself. Her print transfers, rubbing, gluing, dissolving, and tearing arrive at ambitious block structures that divergently appear as landscapes, sedimentations, and layerings—the central elements in her complex paintings.

Ina Gerken leaves both her working process and the paintings that result from it completely open in terms of what their chromatic structures recall or which insights they may offer. Be it geological cross-sections of the earth or enlargements of glass retorts, ritual and archaic pathos, forms of cultures past up to analog testcards of paintings as surface-filling tests—tremendously diverse connections lie at hand, in whose unfathomable surfaces and deep branching structures a viewer may hope to recognize a patinated past. Everything remains both concrete and ambivalent, congealed abstraction and deformed figuration, forms of light and shadowy existences that haunt the spaces between presence and absence, transfixing us nonetheless. The layering of seemingly unstructured planes of color in an expressive, Tachist gesture or bound in multilayered printing processes reveals a new sensuality, a fascinatingly beautiful new world. Ultimately unconscious, a meaningful new sensuality.