Landsberg - The sound is getting rougher. What shows up in society also spills over onto the 33. Annual exhibition of the Regional Association of Visual Artists Upper Bavaria West (RBK), which can be seen in the columned hall until October 3rd. Sculptures, photographs, collages and paintings - and many of them appear rough, not calm, show leaving rather than arriving. That can be exciting. And fits the time, which art reflects. The fact that the structure of the columned hall adapts to the rough tone is less desirable.
It is somewhat reminiscent of MC Escher's “Treppauf Treppab”, which Gertrud von Winckler presents as a “dice game”. The stairs are created by roughly pruning shavings out of wide wooden triangles. A 'rough' work than its almost transparent-seeming rows of acrylic panes with 'scratches' that create spatial figures. Barbara Manns also shows herself from an unfamiliar side: “The training” is dark gray and black, three young people who are equipped with virtual reality glasses enthusiastically experience something - playing at the same time, but everyone is playing in their own, non-real world. And Katharina Schellenberger also deviates from the usual: The "head" hung like a room divider, a large-format painting,seems more clearly elaborated than usual and in its ornamentation - the rampant head - is reminiscent of a chaotic Klimt. And Ulrike Schroeter's sculpture “Leap in the Bowl” moves away from the smooth, incorporating the existing structure of the material - here a wide crack - into the work.
Marlen Peix can be recognized by her typical pinhole camera images. In the pillared hall she shows “Alles im Wandel”, kangaroos in a glistening red and yellow world with a green moon. “An environmental issue,” she says, originated when the fires raged in Australia. Svea Graf's photo work “Zeit der Verwandlung”, created on a landfill in Utting, also uses the environment as a theme: bundled waste paper, neatly piled up, but each bundle is a jumble of scraps of paper and paint sprinkles. The environment may also be the theme of Sivia Mühleisen's “Christmas tree plantation”: roughly painted coniferous branches in circles arranged next to one another, which give an idea of the Christmas tree balls and thus the tree that was cut.
But there is also less rough.
Seven children dance in Leila Morgenstern's “Leichtigkeit”, each of them painted in a flowing, closed line.
At the beginning of these movement images was a logo that she had designed for a children's dance school.
"Then the forms never let go of me."
“The annual exhibition is always exciting for me,” says RBK chairman Silvia Großkopf.
“Who did what, in which direction are the artists going?” She is currently working experimentally: rice paper, which she paints with watercolors gestural, without conception, and then processes the thin paper by crumpling or fixing varnish.
She likes it, she says.
But she doesn't yet know where it is going.
Too much "shabby"
Großkopf's picture cannot be seen in the exhibition, however: it is too damp in the room, the rice paper became too heavy and sagged.
The reason for this is the heavy rain from which the pillared hall also suffered: mold stains, peeling covers, in the back in the corner you can hear it dripping - which goes with Christoph Franke's hypnotic-magical forest photo "Deep", but not even for a photo ideal environment.
Something urgently needs to be done here.
Because 'shabby' only has charm up to a certain point.
And that is crossed in the portico.
The exhibition is open from Tuesday to Friday from 4 p.m. to 8 p.m. and on Saturdays and Sundays from 2 p.m. to 8 p.m.
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