Geerten Verheus. BEAU SAKE

11 September to 6 November 2021 ⟶ Showroom

Installation View Showroom Galerie Georg Nothelfer

Hondsdag / Dog Day #8, 2021, Rubber, 170 x 24 x 35 cm (SOLD)

Eine Freude und eine Ehre in Rot, 2021, Acrylic on canvas, 130 x 147 cm

Eine Freude und eine Ehre in Rot, 2021, Acrylic on canvas, 130 x 147 cm (Detail)

Vista, 2007, Framed collage of newsprint, black acrylic glass, 42 x 60 x 4 cm

Vista, 2007, Framed collage of newsprint, black acrylic glass, 42 x 60 x 4 cm (Detail)

Installation View Showroom Galerie Georg Nothelfer

Groter Geel, 2020, Acrylic on canvas, 160 x 117 x 6 cm

Unendlich und endlich, 2021, Stainless steel, 82 x 75 x 8 cm

Unendlich und endlich, 2021, Stainless steel, 82 x 75 x 8 cm (Detail)

Installation View Showroom Galerie Georg Nothelfer

Angebot (Cape), 2021, Rubber, glass, acrylic, 110 x 100 x 70 cm

Drei Freuden und zwei Ehren, 2019, Acrylic on canvas, 84 x 69 x 5 cm

To an extent, 2005, Framed collage of newsprint on airbrushed cardboard, 30 x 42 x 4 cm

To an extent, 2005, Framed collage of newsprint on airbrushed cardboard, 30 x 42 x 4 cm (Detail)

Strangers in the night, 2021, Acrylic on canvas, 115 x 95 x 6cm

Angebot (Ladenhüter), 2021, Rubber, 50 x 40 x 35 cm

View of the Showroom Galerie Georg Nothelfer

BEAU SAKE

September 16 – November 6, 2021

Galerie Georg Nothelfer is pleased to present the first Solo Show by Geerten Verheus in the gallery Showroom.

In the exhibition titled BEAU SAKE, Geerten Verheus shows eight new sculptures: five of them on the wall and three installed in the gallery space. Four of the wall sculptures are made of painted canvass, one of them is done in polished stainless steel. The room sculptures are made with black rubber and refer to functional objects that are in some sort of limbo. Two older collages complete this, the artist's first solo exhibition in the showroom Galerie Nothelfer. Its title mirrors the appeal of the work on display: both are borne by abstraction and elegance, and put these same qualities in quotation marks in a dissociative manner.

"The sculptural wall works stem from my investigations into the objectness of the painted canvas. The question, to what extent paintings are also objects is probably as often discussed as it is dismissed as irrelevant. For me, this question is anything but devious. For as a sculpturally thinking artist, I am more aware of how my own physical presence relates to that of an object than I am of the relationship between myself and a (painted) image.

The wall works I show in this exhibition are canvases whose stretcher frames are missing. The applied paint enables the canvass to retain its shape. I inverted the bottom edges of these canvases. As a result, the visible surface of the canvas presents itself as being the front side at the top and shifts into the back side towards the bottom. The middle part of the canvass, which is folded neither backwards nor forwards, shows its full width. It adopts a physical shape that suggests a generous self-opening, inviting everything, revealing everything, an exhibitionism in the true sense of the word.

This shape inhibits substantial qualities that I also recognize in the other sculptures in the show and that I consider essential to art in general: it is recognizable yet enigmatic, it comprises the revealed as well as the concealed, it is a simple shape in every respect, it operates on a physical level, it is visibly affected by gravity, and it is a positive form." (Text: Geerten Verheus)

Biography:

Geerten Verheus (*1965 in Amsterdam) often works with inversion in his work. He inverts sculptures, collages, paintings and objects into a different aggregate state and thus always gives the original form new kinds of functional and aesthetic content. Geerten Verheus studied at the Gerrit Rietveld Academy in Amsterdam and at Chelsea College of Art & Design in London. He lives and works in Berlin.

Geerten Verheus