Curated by Johanna Petersen
23 January – 28 February 2026
What happens when observation does not result in confirmation; when perception is not rewarded with clarity but is instead set in motion? When the image does not explain but responds by withdrawing?
The exhibition Blickwechsel places the paintings of Eglė Otto and Alex Feuerstein in a field of tension in which seeing takes place not as a distanced act, but as a dynamic process in which the viewers themselves are inevitably involved.
In their painting, Alex Feuerstein and Eglė Otto move between abstraction and figuration without following formal boundaries. They develop pictorial spaces in which meaning is not fixed, but rather takes shape in the act of seeing. The gaze wanders between figure and surface, between compression and dissolution, between proximity and distance.
Alex Feuerstein's painting focuses on seemingly everyday situations. His works depict figures who appear lost in thought, engaged in actions that seem banal and yet simultaneously possess a peculiartension. The spaces remain unstable, perspectives shift, and objects lose their clear function. The paintings defy a straightforward narrative, opening up a space for interpretation in which multiple possibilities can coexist.
This openness is closely linked to Feuerstein's working method. Paint, pigment and resin are applied to wood, then removed again, sanded and scratched. Chance structures and unplanned moments are embraced and developed further. The work evolves from within itself.
Eglė Otto's painting directs the gaze inward. The body is at the centre of the works, not as an object of contemplation, but rather as a space of experience. Paint acts as an independent material entity. Thickening, layering and scratch marks create physicalness without defining it. The body is not depicted, but rather brought forth in the painting process.
Clear attributions such as identity, gender or age remain deliberately ambiguous. What becomes visible is not the external appearance of a body, but its inner constitution. The feminist dimension of Otto's work does not emerge through an explicit juxtaposition of visual regimes, but rather through the fundamental questioning of seeing itself.