Louisa Elderton

Kito Nedo

The Dissolution of the Object. At first glance, Eberhard Havekost's work is determined by discontinuity. Some of his latest paintings from 2017-2019 are almost perfect in their appreciation of realism. The kangaroo on the title fixes its eyes on the viewer; it appears blinded by the bright light, possibly the headlights of a car. Its body is frozen, the pose an anticipation of rigor mortis. Some paintings are abstract, combining dynamic and gestural brushstrokes with the scraping-off of paint. In other pictures, colors such as a bright orange, lemon yellow and scarlet are smudged, suggesting a smoky mist. Then again, a sulfurous green again appears almost uniform and thus a little yellowish, as if it were seeping acridly, stifling and biting through the canvas. The process of painting becomes a chemical process when Eberhard Havekost removes layer upon layer of paint with turpentine, in fact liquefying it again, in order to seemingly dissolve it. The images by Eberhard Havekost thus go beyond reality. They revolve around the dissolution of the object, since his work is about reconstruction, seeing something and rebuilding it. Yet the image remains flat, is not just imagination, but remains an object, soft and hence open to various meanings. Exhibition: CFA Contemporary Fine Arts Berlin, 26/4-1/6/2019.

Kat. CFA Berlin

Eberhard Havekost: U Say Love

Kiran Desai

Francesco Clemente

Emblems of Transformation

Michael Bracewell

Barry Schwabsky

Marius Bercea

Blain/Southern (Gallery : London, England)

This is the first monograph on Romanian painter Marius Bercea, featuring over 60 colour images, three new essays and an interview with the artist.Marius Bercea was born and grew up in Cluj, Romania. At the age of 10 years old he experienced the demise of the communist period as the USSR disintegrated and the 1989 Romanian Revolution took place.The effects of this history are evident in the pictorial space that Bercea creates as he alludes to a post-communist, early-capitalist Romania.The artist's works are highly distinctive, as memory, recollection and reality seemingly merge upon the canvas' surface, giving rise to a visual sensuality that has made Bercea one of the leading artists of the Cluj School.Published to accompany the exhibition Marius Bercea: Hypernova, at Blain Southern, London, 28 March - 17 April 2014.

Tim Smith-Laing

Nathan Peter lets the ornament balance on the thin line between the figurative and the abstract. His still lifes are confronted with repetitive forms or reveal a recurring pattern. Sometimes the meandering movement seems to take up the entire pictorial space. But more than just color and form are integrated into these repetitive rows. The canvas itself becomes the most strongly expressive figure. It becomes permeable, creating folds or fluidly taking in the space, which is cut into strips like a sophisticated network. Thus, Peter creates an oeuvre of abstract objects and painted installations that dissolve the boundaries between genres with virtuosity. This publication is the first to offer a comprehensive view of the artist's fascinating work.

Nathan Peter

Louisa Elderton

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