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To this day, the unproductive opposition between painting and conceptualism as two eternal adversaries in a mythical antagonism between painted/“bad” art market art and conceptually safeguarded/“good” exhibition art continues to have an effect. All the more surprising, then, is how much the debate over the pros and cons of painting—which reached its peak around 1980 with “wild” or “neo-expressionist” painting—still affects artists today who had only marginal involvement with that specific historical constellation.
The works created between 1981 and 1990 by Stano Filko (1937–2015), which are the focus of this exhibition, are also often labeled “neo-expressionist” in their reception. In fact, these works—especially his installation Love of Ontology (1982), presented at documenta 7—are frequently placed directly in the context of the then-emerging “wild painting” as it was especially promoted by the Neue Wilde movement in Germany. Among these works are primarily paintings, but also…
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Press Release
To this day, the unproductive opposition between painting and conceptualism as two eternal adversaries in a mythical antagonism between painted/“bad” art market art and conceptually safeguarded/“good” exhibition art continues to have an effect. All the more surprising, then, is how much the debate over the pros and cons of painting—which reached its peak around 1980 with “wild” or “neo-expressionist” painting—still affects artists today who had only marginal involvement with that specific historical constellation.
The works created between 1981 and 1990 by Stano Filko (1937–2015), which are the focus of this exhibition, are also often labeled “neo-expressionist” in their reception. In fact, these works—especially his installation Love of Ontology (1982), presented at documenta 7—are frequently placed directly in the context of the then-emerging “wild painting” as it was especially promoted by the Neue Wilde movement in Germany. Among these works are primarily paintings, but also…
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