"Nominiert für Hiscox Kunstpreis", Kunsthaus, Hamburg
"Loft Stories", Wiensowskie & Harbord, Berlin
"Laute Bilder", Gängeviertel, Hamburg
"Quadratkubikmeter mal zwei", Nachtspeicher 23, Hamburg
"Duktil", Hinterconti, Hamburg
Text & Publications
Tracing a perfect curve, the highway circles around two streetlights, only to be cut - severed? underminded? thwarted? - by a second lane that shatters its immaculate symmetry. In Interchange (2014), how streets and streetlamps operate in the landscape is unclear; foreground and background are organizational entities that appear to abide by now known laws in this work. Robert Vellekoop works on blockboards, he covers with several layers of acrylic paint and lacquer only to abrade and overpaint them, sanding them off before applying another glaze. As a consequence, tiny technical imprecisions in conjunction with random flaws of the material disrupt the accuracy of his - sometimes very neatly subdivided - surfaces. Vellekoop's painting traces the fine line between abstraction and representation without deciding in favor of either side. Television sets, lamps, plantsm and streets are distinctly recognizable in characterless landscapes, but the radically reductive quality of their iconic depiction makes them look more like pictograms. Now and then - as in Interchange (2013) or Streets (2014) - naturalistically painted circles of light break up the geometric rigor. However straightforward and meticulously organized the works may seem at first glance, then, failure is immanent to them, even if it is apparent in no more than minor and subtle interferences - a darkish spot in the texture of the wood, unintendedflaking of the paint layer, a translucent area. The translation of obsolete technologiessuch as old TV sets or computers and transportation infrastructure into a modernist-geometrical formal vocabulary moreover evokes associations of modernist utopian visions that foundered.