“Blick zurück nach vorn”, i.e. “Glimpsing back forward”, is the title of the exhibition at Galerie Klüser which I had the pleasure to visit today. I was already enthusiastic about the first Cave Painting Series by @natatogliatti which I had gotten to know some months ago. When I discovered about the exhibition of Gregor Hildebrandt’s class at Galerie Klüser, I knew I had to go – and I was right. Galerie Klüser is one of Munich’s most notable art galleries, boasting a rich tradition in representing brilliant artists like Joseph Beuys, Andy Warhol, Alex Katz, Anish Kapoor, Mimmo Paladino and Georg Baselitz.
What struck me the most about the gallery was the absolute harmony between the exhibition and the space hosting it. The rooms are flooded with light coming in through the beautifully white-framed windows overlooking the Munich Academy of Art, creating a deep symbolic connection between the artworks and their social and cultural environment.
Here are some of the artworks which struck me the most:
Nata Togliatti’s Cave Painting III (Citrus) imposingly fills the whole room with its warm tones, attracting the spectator’s attention with its unexpected yet familiar, almost domestic-like presence. Nata and I talked about her inspiration for her artwork during this interview. Her Cave Painting Series is inspired by the typical wallpapers and dusty atmosphere of Soviet apartments, which have left a significant mark on her childhood memories from the city of Togliatti (aka Stavropol on the Volga) in Russia.
When I first saw Gemma Solà’s works, they immediately reminded me of Jean Arp, Alberto Burri, Afro Badasella and Giuseppe Capogrossi. With their minimalist design, they seem to have been influenced by Informalism as well as Italian Arte Povera.
The subject of Boris Saccone’s Ophelia has a clear reference to pre-Raphaelite paintings, especially to Ophelia by John Everett Millais. Yet Saccone elaborates on this mainstream, almost kitsch subject with his own expressionist interpretation, adding an alienating aura to it and thus making way for new meanings.
Lara Koch’s moving sculpture Duende has very smooth lines reminding me of Alexander Calder’s mobiles, which imitate natural shapes and get in motion thanks to what is happening in the environment.
The title of Julia Emslander’s monochromatic painting La pleine lune se marie avec l’asphalte noir echoes Duchamp’s 1912 construction La mariée mise à nu par ses célibataires, même. Emslander’s pictural style reminds Alberto Burri in its use of almost burnt black tones, Paul Klee because of its round shapes and geometrical subjects, and Kasimir Malevich with its essential monochromaticity which carries a deep, spiritual meaning.
Lastly, Daniela Koch’s photographs Blick zurück, Blick nach vorne present a very conceptual reflection on the meaning of perspective, also because of their position right next to the gallery’s most beautiful window overlooking the Academy’s backyard.
I am very thankful to Galerie Klüser for welcoming me so warmly and giving me the chance to enjoy these unique artworks during a time when art is not as accessible as it used to be before the pandemic.
Looking forward to discovering more!