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Johannes Kersting

June 2st - July 13th 2018
Opening reception: June, 1th, 6 PM

The 'Sonderfarbe' (spot color), actually a term from the printing technique, is poetically reinterpreted by Johannes Kersting. It is a special case of the visual, an irritating ricochet that stands outside the usual system, a strange color. Kersting's concern is to break up visual routines and confront them with images whose nature does not allow a clear answer to the question of whether it is pictorial reality, constructed order or fragmentary montage. In doing so, perception "stumbles upon itself in a peculiar way." Elements of photography, painting, and object art flow into a meditative state of limbo. The starting point of the artistic process is usually photography, whose creative potential is measured by its content of reality and precisely by its color:
"What lingers is a diffuse discomfort. It should be noted that in the photographic works of Johannes Kersting, color resonates as a moment of tension that subtly reflects our disorientation. This is precisely the fascination."

For in photography, but also beyond, colors reveal the ability to disrupt or even cancel out the spatial structure and to put the reality promise of photographic illustration to the test. Painting is granted more freedom in this respect, but it is also tapped on the laws of our conventions of perception.

Literally, the term 'special color' also includes the 'special', which also means the 'special', the 'extraordinary'. And color in photography is extraordinary in such a conciseness and radiance as Johannes Kersting uses it; The use of color in the architectural foundations, which Kersting processes in his compositions and can be found everywhere: in urban space, on a rusty poles, in the surprising chiaroscuro of a weathered wall or the faded plastic of an advertising sign is also particularly special. These elements hold an astonishing moment of irritation when they are photographically detached from their real context. In Kersting's 'Extended Photographs', they are not only metaphorically but literally beyond the scope of the picture and, in the physical world, they become defectors of the picture.

Small, everyday observations, details of unspectacular utility architecture and unfamiliar lighting situations combine to create a mysterious puzzle of contemplation; new pictorial inventions of virtual reality and of digital space do the rest to undermine the viewer's comprehension. Ultimately, it remains to be stated that "Johannes Kersting follows an exploration will, to wrest new aspects from the specific traditions of painting and photography and to translate them into a liberated pictorial concept.