Push, Press, Drive

The artist Nina Bachmann is interested in this feeling. Her paintings deal with pushing, shoving, and the hustle and bustle. Yet for Bachmann, the city is by no means viewed solely in a negative light. She draws inspiration from its density. The multitude of people and impressions generate an energy that can both invigorate and exhaust.

“You’re so driven, and at the same time, you need that in some way,” says Bachmann, describing this very conflict.

The starting point for her work is often her own surroundings, because for her, societal and social issues begin right there. In her work, therefore, the city appears less as a specific place. It serves as the framework through which one can observe how people interact with one another and how these interactions change under pressure. Even the titles of her works read like snippets from this everyday life. “Rush Hour,” “Rail Replacement Service,” or “Staying Home” do not refer to specific events. On the contrary.

Language itself provides a gateway to Bachmann’s body of work. “Driving, pushing, pressing—these are all terms from hunting,” explains the artist. In a drive hunt, animals are herded together. An animal “presses itself” when it seeks cover. Suddenly, the ordinary movements of the city take on a new meaning. One moment you’re the one being hunted; the next, you’re the one chasing someone else through the streets. The pressure Bachmann describes is passed on. The artist herself observes a shift in how people interact with one another, but she does not pass judgment on it. Those who have to juggle work, commutes, family, and financial worries often have only limited attention for what’s happening around them. A privilege in the city: peace, space, and retreat. Making that possible isn’t equally

. Those with enough money can afford a quiet apartment, shorten their commutes, or leave the city from time to time. What appears to be a personal feeling of stress is therefore also related to the conditions under which people live.

Nina Bachmann translates these observations into a visual language that appears lighthearted. Her figures are luminous, physically exaggerated, and, at first glance, whimsical: oversized hands, elongated limbs, and perspectives that are out of alignment. Bachmann studied communication design and found her way to painting through graphic design and illustration. This is still clearly evident in her direct, figurative visual language. At first glance, the figures in her works may seem cute or absurd, and even the titles often have a laconic, almost humorous quality. Bachmann uses humor as a point of entry. Upon closer inspection, however, feelings of insecurity and exhaustion come to the fore. The paintings therefore work not in spite of their humor, but precisely because of it. The figures can be read more as conveyors of a feeling that many people recognize. One tries to keep up, to set boundaries, and yet not to disappear completely into one’s own world. It is precisely this act of setting boundaries that is ambivalent. Noise-canceling headphones make a crowded subway more bearable while simultaneously blocking out the surroundings completely. A means of coping with overwhelming demands thus also removes one a bit from the shared space.

In addition to the paintings, Bachmann displays numerous sketches of urban scenes. They are deliberately compiled on plain paper. Their sheer volume creates a swarm of figures, situations, and small observations. “Rush hour” normally refers to the hours when the city is at its busiest. In Nina Bachmann’s work, the term describes a way of life. This sense of being driven continues into everyday work life. The artist offers no solution to this. Her

works are more of an observation of a state of being. Perhaps this is precisely where a small alternative lies: talking to one another and sharing experiences. People can recognize themselves in the works. The city remains contradictory. It can be loved and questioned. Perhaps this is exactly the state that Bachmann’s paintings so aptly capture. We drift, push, and shove. And sometimes, despite all that, we pause briefly and are present in the moment.

• Exhibition opening: 10 September, 6.00 pm – 9.00 pm