{"id":15540,"date":"2025-06-18T19:22:10","date_gmt":"2025-06-18T17:22:10","guid":{"rendered":"https:\/\/www.artificialis.eu\/?p=15540"},"modified":"2025-06-18T19:22:10","modified_gmt":"2025-06-18T17:22:10","slug":"the-exhibition-szenerie-graphic-characters-staged","status":"publish","type":"post","link":"https:\/\/www.artificialis.eu\/?p=15540","title":{"rendered":"The Exhibition \u201cSzenerie\u201d: Graphic Characters Staged"},"content":{"rendered":"

Szenerie<\/span><\/strong>
\nLars Breuer, Hannes Norberg, Thyra Schmidt
\n4 April \u2013 18 May 2025<\/p>\n

Kunstraum Pempelforter<\/strong>
\nSchlo\u00dfstra\u00dfe 65
\n40477 D\u00fcsseldorf
\nGermany<\/p>\n

\"\"<\/a>In April and May 2025, the exhibition \u201cSzenerie\u201d (~ Scenery) in the Kunstraum Pempelforter<\/a><\/span>, D\u00fcsseldorf, Germany, united three artists with different approaches: Lars Breuer<\/a><\/span>, Hannes Norberg<\/a><\/span> and Thyra Schmidt<\/a><\/span>. During their studies Lars oriented to painting, Hannes and Thyra to photography. Nonetheless, all three deal with scripture in their work. In consequence, this was the point of departure for the exhibition. Though, they did not content themselves with this commonality. Another clamp which united the works was a colour concept for the exhibition space.<\/p>\n

Beside the white wall facing the entrance, the others were painted in light blue and muted green, accentuated with white skirting boards. In each case, one colour took up the lower part and the other the upper part. At the opposite wall the colours were reversed. This emphasised the works presented on different backgrounds. Moreover, the design connected them and created a common stage, the \u201cScenery\u201d.<\/p>\n

\"\"<\/a>Thyra\u2019s installation \u201cIHR\u201d (YOU), four reddish handmade silkscreen prints, and a video projection were highlighted by the complementary and the light-dark contrast to the muted green. Hannes\u2019 black and white photographs of typographies from his series \u201cUpper & Lower Case\u201c appeared even more analytical on the cool blue. Lars\u2019 site-specific work \u201cWahrheit\u201d (Truth) took up the two background colours on white ground. Two related paintings \u201cWahrheit\u201d and \u201cWirklichkeit\u201d (Reality) picked up the blue of the walls of the gallery above the main space. The one in darker shades is placed on blue ground. Whereas the other one kept the light blue, but was presented on a white one.<\/p>\n

For \u201cIHR\u201d Thyra transferred sections of found private photographs to silkscreen prints. The rasterised pictures show convivial moments from 1958 in Schleswig-Holstein, Germany: disguised children during a street parade; people posing in and around a cabriolet and a horse race. These relaxed moments in a Germany during the Wirtschaftswunder<\/a><\/span> (Economic miracle) are contrasted by a text-based video projection<\/a><\/span> downright. It is a fragmented dialogue, written by the artist. Yet it remains uncertain, who is speaking and if it is an actual situation, memory or an imagination. Sentences like “You’re trembling”, “No fear. Cold water” or “Many are missing” give the impression of a disagreeable, uncertain or even dangerous situation. The contemplator might interpret a remembrance to passed circumstances of the war, recordings of a conversation during a flight into the past or contemporary or recall a personal experience.<\/p>\n

\"\"<\/a>Hannes\u2019 series \u201cUpper & Lower Case<\/span><\/a>\u201c shows enlarged samples of typographies, which were arranged in space and recorded in natural light. He titled this work after geographic places. This could be cities (Ouro Preto) or quarters (Oberbilk, Yongding), regions (Al-Andalus, Kansai) or street names (Piccadilly, Sonnenallee). They indicate the origin of the typographies, or the pictures recall the sites. For example, one might remember the lively Piccadilly Circus contemplating the photo with the title of this street in London. Sonnenallee, with its with huge, bold letters, might be a reminiscent of ground plan of Berlin\u2019s historic tenements (Mietskasernen), with its consecutively build courtyards. Al-Andalus shows Arabic characters on a mildly undulated sheet, which could make think of a hilly terrain. Hence, the reference to the Arabic name of the area of the Iberian Peninsula, Muslim-ruled between 711 and 1492. The artist transforms abstract graphic characters on paper into images. Herewith, they get a new life and form landscapes or urban environments. It is an invitation to a journey in space and time, where the traveller gets an orientation by the graphic characters, the visual language and the title.<\/p>\n

\"\"<\/a>\"\"<\/a>Lars also creates images in using letters. However, he applies whole words<\/a><\/span> on walls or canvas in his self-developed typeface. They are not incidental chosen terms, but concepts<\/a><\/span>. For his wall painting \u201cTruth\u201d he repeated and reflected the German word. In consequence, it was hardly legible, though it formed an ornamental, vertical pattern. The actual term vanished. Could it be an allusion to the fading significance of truth considering the increasing number of fake news? A glance to the two pigment\/lacquer paintings on canvas on the gallery, seem to confirm this observation or critique of society. Despite the poor contrast between black and dark blue or respectively white and grey, the word \u201cTruth\u201d in the upper image area is relatively good legible. Though the term dissolves almost entirely in the red framed picture centre. Whereas the German word for \u201cReality\u201d appears faint with its light blue letter fragments on white ground. Does this painting illustrate the existence of various realities due to different perceptions and access to information? Do the three paintings refer to the difficulties to recognise the \u201creal\u201d facts at the sight of many alternative truths and realities?<\/p>\n

 <\/p>\n

Photos \u00a9 Thyra Schmidt & Hannes Norberg
\nText: Astrid Gallinat<\/p>\n","protected":false},"excerpt":{"rendered":"

Szenerie Lars Breuer, Hannes Norberg, Thyra Schmidt 4 April \u2013 18 May 2025 Kunstraum Pempelforter Schlo\u00dfstra\u00dfe 65 40477 D\u00fcsseldorf Germany In April and May 2025, the exhibition \u201cSzenerie\u201d (~ Scenery) in the Kunstraum Pempelforter, D\u00fcsseldorf, Germany, united three artists with different approaches: Lars Breuer, Hannes Norberg and Thyra Schmidt. During their studies Lars oriented to… (read more<\/a>)<\/p>\n","protected":false},"author":1,"featured_media":15547,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[18],"tags":[4061,4292,4303,4243,4280,74,4288,143,4302,837,4295,4279,4281,4293,4278,442,1983,4298,3235,4290,2772,744,1264,4294,2301,4277,4286,2767,4276,4301,4297,4225,4300,1993,4283,4299,4289,4296,4284,4285,4287,4291,4282],"class_list":["post-15540","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions","tag-4061","tag-al-andalus","tag-alternative-truth","tag-april","tag-colour-concept","tag-dusseldorf","tag-economic-miracle","tag-exhibition","tag-fake-news","tag-germany","tag-graphic-characters","tag-hannes-norberg-and-thyra-schmidt","tag-ihr","tag-kansai","tag-kunstraum-pempelforter","tag-landscape","tag-lars-breuer","tag-letter","tag-may","tag-oberbilk","tag-ouro-preto","tag-painting","tag-photography","tag-piccadilly","tag-reality","tag-scenery","tag-schleswig-holstein","tag-sonnenallee","tag-szenerie","tag-term-concept","tag-title","tag-truth","tag-typeface","tag-typography","tag-upper-lower-case","tag-urban-environment","tag-video-projection","tag-visual-language","tag-wahrheit","tag-wirklichkeit","tag-wirtschaftswunder","tag-yongding","tag-you"],"_links":{"self":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/posts\/15540","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=15540"}],"version-history":[{"count":0,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/posts\/15540\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/media\/15547"}],"wp:attachment":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=15540"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=15540"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=15540"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}