1.Cindy Schmiedichen
o.T. 2014
Gips, Pigment
2. Katharina Immekus
Sonne killt Mond 2014
210 x 150 cm
Coloured pencil on paper
3. Arthur Zalewski
Photograms 2014
Courtesy ASPN, Leipzig
Anna Vovan
o. T. (Augustusplatz, Leipzig / Februat 2009 / á 10 Minuten)
136 glass plates
10 x 15 cm, permanent marker
Inka Nowoitnick
Memory 2014
various pairs of leaves from: Plant collection/sketchbook
2006-14 Pencil on paper

Bea Meyer
RB 14#1 2014
130 x 125 cm
Yarn on manilah on paper, embroidered
Oliver Kossack
PSYCHO-CUBO-DECONSTRUCT-I-VISM
2013/14
Lackstift auf Papier Courtesy

Abstraction in art has a complex history: Expression and reception are full of contradictions and obstacles. A transmission into the present can only be successful within the framework of a revision. Abstraction does not confine itself to a manifest, but instead is versatile and interpretable, which is why it survived not only as a quote but as a relevant contemporary expression.

In contradistinction to the time of origin of abstraction, visual culture today is teeming with abstract images and terms. It is mainly technical, medical, mathematical-statistical information that brings forth abstract images and allegories. At the same time, abstraction may also serve as an expression of productive trial in the field of art: approach and material, process and form, and subject and motif are put to the test. In this sense abstraction is not a translation, but proof of an independent reality. Exhaustion implies an exhaustive approach to production: to work on something continually until it has

seemingly encompassed all formal variables. In this way exhaustion may also be recognized as an act that defies the resource-saving economy of means and the simple logic of rationality and production. Simultaneously, abstraction can imply sensuality: a realm between experience and inspiration. Not a record of performance indicating used energy, but specification and revision, aggregation and permeation, reduction and reproduction. At this point exhaustion connects to abstraction, which simultaneously varies in structure and form, expression and appearance, and constantly debates notions of meaning and material. In the withdrawal of clear interpretation and the exhaustion of resources a contradiction is rooted.