Fourteen Years of Passivity
If we speak about painting and passivity in the context of todays painting discourse, it might sound like some beloved couple of terms: The producing person, while subjected to the will of the painting, receives the next step which will bring him/her to the successfully done painting. This emphasis on the intelligence of art pieces, the wry reference to higher powers, the stress of the autonomy of painting and also the devaluation of the author while revaluing the pieces itself can be necessary, delightful and productive. In his first solo-show in gallery b2_ Tobias Hild refers to a problem of connection of those primarily mentioned terms under the title Fourteen Years of Passivity. Authors have to be sensitive observers of the before done decisions, they always have to accept the painting as the painting itself, but every step till the successful enclosure of the art piece must be described as an active decision. That this emphasis of the active decisions in addition to an open observation of the piece can be good, and that painting at best oscillates between activeness and passivity is shown by Tobias Hilds new paper works and paintings.