As a “vacation” from his lifelong obsession with painting, Philip Grözinger’s Notes from Underground* intends to organize an exhibition of three positions that purport to have nothing to do with painting: (1) Heiner Franzen’s practice has, in discrete works and in combination, employed drawing, collage, installation, and video that defies the conventions of its apparatus in order to evoke spatial constructs that find their corollaries in psychological states; (2) Adrian Lohmüller, whose complex objects are metonyms devised to represent narratives of his own invention, and which therefore oscillate between their material and dematerialized aspects; and (3) Caroline Kryzecki, who uses ballpoint pens to create arrays of lines that ultimately contravene, in the perception, their own linearity. Perhaps it was inevitable that, despite everything, these works would inspire Grözinger’s painting after all. (Text: Drew Hammond)

* Fjodor Michailowitsch Dostojewski,  Записки из подполья (engl. Notes from Underground), Skt. Petersburg 1964