A Question of Perspective
GRIMM is pleased to present: A Question of Perspective. Curated by Jane Neal, the exhibition seeks to create a platform where painters: Farah Atassi, Ali Banisadr, Matthias Bitzer, Constant, Rene虂 Danie虉ls, Christian Hidaka, Vicken Parsons, Daniel Piti虂n, Daniel Richter, Caroline Walker, Suling Wang and Matthias Weischer, bring fresh perspectives on the representation of space and question art鈥檚 relationship to time, from distinct and different positions.
Our perception of space, our engagement with space, and through it, our interaction with each other, has never been more pertinent as a topic for exploration. Just as the adoption of perspective as a means of representing reality became synonymous with how Europe positioned itself with a view to the rest of the world in the 15th Century and beyond, so our attempts to re think this use of perspective in art, could have a profound effect on what happens in our age, and in the future.
We are all bound by pre-conceived notions, by our own and others鈥� expectations and by rules we accept and adhere to, often without question. Time and space are not excepted: these two dimensions have been meas- ured and boxed into systems and formulae that we can quantify, and 鈥� to a certain extent 鈥� manage and control. In Western art history, the artist鈥檚 relationship to time and space has been intrinsically linked to art鈥檚 evolution; nowhere is this more evident than in the practice of painting.
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GRIMM is pleased to present: A Question of Perspective. Curated by Jane Neal, the exhibition seeks to create a platform where painters: Farah Atassi, Ali Banisadr, Matthias Bitzer, Constant, Rene虂 Danie虉ls, Christian Hidaka, Vicken Parsons, Daniel Piti虂n, Daniel Richter, Caroline Walker, Suling Wang and Matthias Weischer, bring fresh perspectives on the representation of space and question art鈥檚 relationship to time, from distinct and different positions.
Our perception of space, our engagement with space, and through it, our interaction with each other, has never been more pertinent as a topic for exploration. Just as the adoption of perspective as a means of representing reality became synonymous with how Europe positioned itself with a view to the rest of the world in the 15th Century and beyond, so our attempts to re think this use of perspective in art, could have a profound effect on what happens in our age, and in the future.
We are all bound by pre-conceived notions, by our own and others鈥� expectations and by rules we accept and adhere to, often without question. Time and space are not excepted: these two dimensions have been meas- ured and boxed into systems and formulae that we can quantify, and 鈥� to a certain extent 鈥� manage and control. In Western art history, the artist鈥檚 relationship to time and space has been intrinsically linked to art鈥檚 evolution; nowhere is this more evident than in the practice of painting.
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