Nach dem Fall

For years, Moni K. Huber has been working on a contemporary, human-shaped aesthetic of landscape. Starting from personal stays at specific places (Malinska, Rijeka, Nuremberg, Potsdam, etc.), she develops a visual language for addressing nostalgic transience; this perhaps repeats in landscape painting what is known as the vanitas topos from Dutch still lifes of the 16th and 17th centuries, among others. A quality of Huber's paintings seems to be the creation of an homage to the past as well as a reminder of the future: the existing as that which always also contains the future transient.

Architecture and nature are particularly connected here, with Huber primarily concerned with an interrogation of viewing habits: the contemporary, multiple gaze. Since 2015, she has developed her works more than before through the combination of photographic fragments into archive-like visual conglomerates. Instead of a conventional central perspective, homogeneous visual systems emerge that do not obey any clear viewing hierarchy. Through the brush, fragments are connected in ways that only painting can achieve with surfaces. This produces trans-fragmentary overall constellations whose divided origins are rarely visible, but can be sensed. Based on the appropriation of photographic practices, an aesthetic emerges that allows no clear separation between photography and painting.

The Hollerei Gallery is pleased to present a focused series of new works from Huber's oeuvre.