Hans Aichinger Bilder von Tatsachen

Berlin 28 Sep 2018 – 18 Jan 2019

»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
»Bilder von Tatsachen« exhibition view 2018 REITER | Berlin prospect
When we take a closer look at his work, what catches our attention is a collar, an ear, the opulent drapery of an ordinary contemporary textile or a slightly mannered hand.
Hans Aichinger's usually youthful performers are adorned with apparently significant utensils and markings magnificent in their simplicity. The subjects subtle, melancholic gaze is directed towards the invisible, such as the unseen inner psychological space of the subject, or just outside the pictorial space. This gaze evokes the highest form of abstraction, inviting the viewer to make their own connections; it is up to us and our own imagination.
Aichinger bestows a painterly grandeur on seemingly unimportant or simple things. He elevates them and at the same time, creates the space for our individual, infinite narratives. The theatrical arrangement of figures, the pronounced light and the sense of spatial depth generated by his glazing technique, create a highly concentrated, stage-like and surreal situation. Where the works border on reality cannot be determined with certainty.