Within the Grid / Beyond the Grid
Viktor Hulik
Thomas Koch
Karl Kriebel
Christiane Reiter
Tonneke Sengers
On view: 11/02/2026 - 12/03/2026
The aura of a structure often arises at the moment it deviates — when an unexpected turn fractures the system from within. The five artistic positions presented here probe this space of disruption, where order gives way to the unforeseen.
In his series Small Mover, Viktor Hulik reduces form to the classical square, the archetype of geometry. Dividing it into four, tracing diagonals, and nesting squares within squares, he constructs a compact system that culminates in a smaller square at its core. This structure is then split horizontally, vertically, and across multiple layers, held together by a single pivot point. Once set in motion, the layers rotate and unfold into a powerful deconstructive burst of form.
Thomas Koch likewise fragments the pictorial field into squares — into what he calls “chapters without hierarchy.” Each segment contains a motif drawn from his immediate surroundings: still lifes that he abstracts through drawing and painting alike. Crossing the boundaries of the grid, lines and planes reconnect in a fluid, expressive gesture, coalescing into a harmonious whole.
Karl Kriebel’s work originates in glass architecture and expands into the realm of impossible space. He explores how such spaces interact, overlap, and transform one another. His process gains autonomy, leading him toward ever new constellations. Through continuous acts of overpainting, constructing, dismantling, and letting go, he breaks with the familiar. Guided by intuition, Kriebel develops deconstructions that appear transparent, fragile, and in constant flux.
With the series greying – a cycle of three chapters, each consisting of twelve drawings in the format 100 × 70 cm – Christiane Reiter rigorously advances her process of condensation. At its core lies a self-imposed framework in which all formal decisions are delegated to a pre-defined algorithm and to chance. Using colored pencil in precisely determined tonal sequences, she meticulously layers surface upon surface, allowing a quiet, unmistakably personal signature to emerge.
Tonneke Sengers constructs architectural impossibilities in subtle rhythms imbued with a Bauhaus sensibility. Simple geometric forms are translated into refined constellations within her grid-based vocabulary of bold lines and planes. The order is gently disrupted through black-and-white modulations, shades of grey, occasional color accents, and deliberate omissions. These minimalist spatial illusions evoke avant-garde architectural formations on two-dimensional panels. As light shifts, the openings cast real shadows — deepening the ambiguity of spaces that resist clear perception.
In his series Small Mover, Viktor Hulik reduces form to the classical square, the archetype of geometry. Dividing it into four, tracing diagonals, and nesting squares within squares, he constructs a compact system that culminates in a smaller square at its core. This structure is then split horizontally, vertically, and across multiple layers, held together by a single pivot point. Once set in motion, the layers rotate and unfold into a powerful deconstructive burst of form.
Thomas Koch likewise fragments the pictorial field into squares — into what he calls “chapters without hierarchy.” Each segment contains a motif drawn from his immediate surroundings: still lifes that he abstracts through drawing and painting alike. Crossing the boundaries of the grid, lines and planes reconnect in a fluid, expressive gesture, coalescing into a harmonious whole.
Karl Kriebel’s work originates in glass architecture and expands into the realm of impossible space. He explores how such spaces interact, overlap, and transform one another. His process gains autonomy, leading him toward ever new constellations. Through continuous acts of overpainting, constructing, dismantling, and letting go, he breaks with the familiar. Guided by intuition, Kriebel develops deconstructions that appear transparent, fragile, and in constant flux.
With the series greying – a cycle of three chapters, each consisting of twelve drawings in the format 100 × 70 cm – Christiane Reiter rigorously advances her process of condensation. At its core lies a self-imposed framework in which all formal decisions are delegated to a pre-defined algorithm and to chance. Using colored pencil in precisely determined tonal sequences, she meticulously layers surface upon surface, allowing a quiet, unmistakably personal signature to emerge.
Tonneke Sengers constructs architectural impossibilities in subtle rhythms imbued with a Bauhaus sensibility. Simple geometric forms are translated into refined constellations within her grid-based vocabulary of bold lines and planes. The order is gently disrupted through black-and-white modulations, shades of grey, occasional color accents, and deliberate omissions. These minimalist spatial illusions evoke avant-garde architectural formations on two-dimensional panels. As light shifts, the openings cast real shadows — deepening the ambiguity of spaces that resist clear perception.