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Torsten Slama is perhaps the great blind spot in the narrative of the now proverbial “Cologne of the 1990s”—that generation of artists, gallerists, critics, and curators who enlivened the Rhineland before and after the turn of the millennium, only to shape the Berlin dynamic in the early 2000s. His work, on the other hand, has always been solitary, even hermit-like. It operates from a position disguised as retreat, which has enabled him to comment indirectly and subtly on societal developments. Characteristic of Slama’s oeuvre of drawings and paintings in a strong graphic style is a symbolically oversaturated conception of the image, which almost collapses under its intertextual correspondence with references and other works by the artist. Obvious points of friction are Pierre Klossowski’s transgressive bodies, Carl Grossberg’s deserted landscapes, and Konrad Klapheck’s erotically charged machinery. In equal measure, Slama’s eclectic visual worlds were informed by MAD magazine,…
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Press Release
Torsten Slama is perhaps the great blind spot in the narrative of the now proverbial “Cologne of the 1990s”—that generation of artists, gallerists, critics, and curators who enlivened the Rhineland before and after the turn of the millennium, only to shape the Berlin dynamic in the early 2000s. His work, on the other hand, has always been solitary, even hermit-like. It operates from a position disguised as retreat, which has enabled him to comment indirectly and subtly on societal developments. Characteristic of Slama’s oeuvre of drawings and paintings in a strong graphic style is a symbolically oversaturated conception of the image, which almost collapses under its intertextual correspondence with references and other works by the artist. Obvious points of friction are Pierre Klossowski’s transgressive bodies, Carl Grossberg’s deserted landscapes, and Konrad Klapheck’s erotically charged machinery. In equal measure, Slama’s eclectic visual worlds were informed by MAD magazine,…
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