TITLE_NAME :
PERPETUUM
23/11/2023 - 13/01/2024
DS Galerie
Using painting as a very direct medium of expression, Kolja Kärtner Sainz creates a body of work intersecting abstraction and figuration. Albeit his degree of spontaneity, Kärtner Sainz arranges his pieces as metaphorical elements so they will compose together a fictional structure; accentuated by its individual title, each finished painting plays a different role in a scenario. This assembly of pieces in one room generates an informative system, with strings sending inputs and outputs simultaneously, and the attempt to follow the linearity of transmission and reception becomes vain. From this logic stems the title of the show “Perpetuum” describing a utopic machine with the capacity to convert its loss of energy into gain, allowing it to run in endless motion.
With this unceasing movement in mind, one can think of science-fiction plots where the beauty of speed makes the world a better place. This literary genre involves an entangled conception of time : though it aims towards the future, it does so by leaning on imagery from the past, binding thus a bidirectional, contradictory motion. In Kärtner Sainz’s paintings Surface Probability, Urging or Fast Forward we observe brushstrokes at two different speeds, both accelerating and lingering. Although in some of the paintings presented in “Perpetuum” we can sense a certain technological dimension or even architectural, it coexists with bodily substances that seem like internal organs, synapses or skeletal beings. All these functional units do not obey a cohesive scientific logic here; on the contrary, they are composed in a free-flowing manner, glorifying the organic component of nature that cannot be calculated
23/11/2023 - 13/01/2024
DS Galerie
Using painting as a very direct medium of expression, Kolja Kärtner Sainz creates a body of work intersecting abstraction and figuration. Albeit his degree of spontaneity, Kärtner Sainz arranges his pieces as metaphorical elements so they will compose together a fictional structure; accentuated by its individual title, each finished painting plays a different role in a scenario. This assembly of pieces in one room generates an informative system, with strings sending inputs and outputs simultaneously, and the attempt to follow the linearity of transmission and reception becomes vain. From this logic stems the title of the show “Perpetuum” describing a utopic machine with the capacity to convert its loss of energy into gain, allowing it to run in endless motion.
With this unceasing movement in mind, one can think of science-fiction plots where the beauty of speed makes the world a better place. This literary genre involves an entangled conception of time : though it aims towards the future, it does so by leaning on imagery from the past, binding thus a bidirectional, contradictory motion. In Kärtner Sainz’s paintings Surface Probability, Urging or Fast Forward we observe brushstrokes at two different speeds, both accelerating and lingering. Although in some of the paintings presented in “Perpetuum” we can sense a certain technological dimension or even architectural, it coexists with bodily substances that seem like internal organs, synapses or skeletal beings. All these functional units do not obey a cohesive scientific logic here; on the contrary, they are composed in a free-flowing manner, glorifying the organic component of nature that cannot be calculated