The Immanent Horizon addresses the current status quo of painting as a practice. Against, on the one hand, the backdrop of institutional critique, and conditions of digital image production on the other, the exhibition enquires into the conditions determining practices of painting in today’s changed circumstances.
The late 1960s saw the dissolution of painting’s boundaries and its departure from its traditional location on the canvas. Painters devoted to critical analysis radically opened up the form of their artworks, placing medium-specific reception into question. Debates around questions of institutional critique focused on making visible the institution of art within the exhibition space. This was accompanied by a new reckoning with the conditions under which exhibition takes place. In this context, Daniel Buren remarked in 1970: “Only if we recognize the significance of the sequence of different frames/limits, can a work/product, as we understand it, be put in relation to these limits, revealing them.” However, this position was not simply yet another declaration of the end of painting. Instead, it made art’s immanent social preconditions palpable and recognizable.
Today, critical perspectives on painting address these questions under quite different circumstances. Painting has long since absorbed critical points of view, and has begun to question its own medial context. Nowadays, painting can be understood as a reflection on our conception of the image, which is expressed in diverse artistic practices and within a variety of socio-cultural contexts. With a view to reflecting on the critical potential of painting, in its various contemporary forms, the Kunstverein Bielefeld presents the painterly practice of Leda Bourgogne, Olivier Foulon & Alexander Lieck, Samuel Richardot and Charline Tyberghein.