upcoming: Pure Elegance
John Carter
Gerhard Frömel
Duks Koschitz
Ray Malone
Veronika Rodenberg
Opening: DO, 7.5.2026, 19.00 - 21.00 Uhr
19.30 Uhr: zur Ausstellung spricht Dr. Theres Rohde, Direktorin Museum für Konkrete Kunst, Ingolstadt / D
Laufzeit: 8.5. - 11.6.2026
Our exhibition Pure Elegance arises from the interplay of the most elementary geometric principles, from which an infinite diversity of forms unfolds. It is the dialogue between intellect and perception — the meeting of mind and the visible—that reveals a sense of pure beauty.
John Carter seeks to open a dialogue between painting and sculpture. His wall-based objects act as dynamic points of stillness, quietly sustaining our engagement with form and aesthetics. Tangible realities follow an underlying abstract order. The tension between what the eye perceives and what the mind comprehends becomes the source of each encounter’s vitality.
Gerhard Frömel invites us to reconsider perception through shifts in viewpoint and the act of positioning. While we do not construct reality itself by choosing a particular vantage point, we shape a reality of our own. Frömel confronts us with an organizational challenge of seeing — one that ultimately each viewer must resolve individually.
Duks Koschitz investigates how intricately complex spatial structures can emerge from a single plane, folded along two-dimensional curves. He situates his work within what he terms “Baroque Minimalism”: minimalist in its rigorously reductive process, yet Baroque in the expressive interplay of surrounding and interstitial spaces.
Ray Malone’s work is defined by order and quietude — by pause, and by a deep immersion in contemplation. Its appeal lies in a finely attuned choreography of monochrome harmonies, shaped through subtly modulated tonal variations. What unfolds is a quiet celebration of simplicity, imbued with a timeless and contemplative aesthetic.
Veronika Rodenberg’s minimalism extends beyond condensed rationality; it reaches toward a refined synthesis of mathematical harmony and emotional resonance. Within her radically reduced and compressed geometric language, the pure aesthetic of individual minimalism acquires a distinctive intensity.
John Carter seeks to open a dialogue between painting and sculpture. His wall-based objects act as dynamic points of stillness, quietly sustaining our engagement with form and aesthetics. Tangible realities follow an underlying abstract order. The tension between what the eye perceives and what the mind comprehends becomes the source of each encounter’s vitality.
Gerhard Frömel invites us to reconsider perception through shifts in viewpoint and the act of positioning. While we do not construct reality itself by choosing a particular vantage point, we shape a reality of our own. Frömel confronts us with an organizational challenge of seeing — one that ultimately each viewer must resolve individually.
Duks Koschitz investigates how intricately complex spatial structures can emerge from a single plane, folded along two-dimensional curves. He situates his work within what he terms “Baroque Minimalism”: minimalist in its rigorously reductive process, yet Baroque in the expressive interplay of surrounding and interstitial spaces.
Ray Malone’s work is defined by order and quietude — by pause, and by a deep immersion in contemplation. Its appeal lies in a finely attuned choreography of monochrome harmonies, shaped through subtly modulated tonal variations. What unfolds is a quiet celebration of simplicity, imbued with a timeless and contemplative aesthetic.
Veronika Rodenberg’s minimalism extends beyond condensed rationality; it reaches toward a refined synthesis of mathematical harmony and emotional resonance. Within her radically reduced and compressed geometric language, the pure aesthetic of individual minimalism acquires a distinctive intensity.