COME TOGETHER shows paintings by Futo Akiyoshi, Philip Grözinger, and Alexander Iskin, drawings by Caroline Kryzecki and Thomas Feuerstein, photographic works by Isabelle Graeff and Ornella Fieres, woodwork by Jay Gard, and a work by Jeewi Lee that is picture, sculpture, and ready made in one.
There are analog photographs by Isabelle Graeff, classic c-prints without any digital processing, which portray people and plants with empathy and respect; on the other hand, there are manipulated and recalculated Fourier transformations by Ornella Fieres, in which historical photographs are altered by digital means.
There is a large black ballpoint pen drawing by Caroline Kryzecki with thousands of lines that at first glance looks computer-generated and on the other side a figurative charcoal drawing by Thomas Feuerstein, which most viewers initially think of as a black-and-white photograph.
While a large oil painting by Iskin was created in the context of an elaborate performance, minimalist oil paintings by Akiyoshi have the medium painting itself as the subject. And while Akiyoshi's paintings are made with the utmost accuracy, Philip Grözinger painted book covers with great painterly freedom close to the bad-painting tradition. One of them shows the legendary title of Karl Kraus, which could also have been a current exhibition title in pandemic times: The last days of mankind.
All exhibited works have in common that they reflect their production process, sharpen the viewer's perception, expand and focus the view into the outer and inner world and also stimulate further thinking, perception, amazement and questions.
And despite the different ways in which this goal is to be achieved, one thing seems beyond doubt: they all COME TOGETHER.