As a programmatic contribution to the artistic reflection on the concept of world art, the exhibition is also significant for the Weltkunstzimmer (World Art Room). Humans exist within the world, yet simultaneously strive to grasp it in its entirety.
The question of our perception of the world is closely linked to the fundamental aspects of artistic work. Niklas Luhmann explored this in relation to the concept of "world art." By observing its own means, art directly addresses the world as a horizon. This horizon, however, remains unobservable; it becomes a blind spot.
The world cannot be experienced as a whole by the viewer. The artistic positions in the exhibition reflect the question of the observability and representability of the world on several levels. These forms of fundamental artistic research are not a reflection on the foundations, but rather a questioning and searching within artistic practice itself.
On canvas, paper, a trestle, or in the foundry, artists approach the world through the observation of something concrete. The world is not represented in art; rather, it forms the horizon for artistic creation.

Paul Czerlitzki (born 1986) finds highly radical forms of observation of his own artistic means. He uses the material means of painting as spatially structuring elements. Using canvas, stretcher, primer, and paint, he realizes folds, dissections, penetrations, and obstructions. The material foundations of painting enter into a tangible, physical relationship with the space and the viewer. Paul Czerlitzki has created a mural and a canvas fold in the space specifically for this exhibition.

Flora Hitzing (born 1978) engages with materials and surfaces in a unique way. Her sculptures cannot be understood solely as volumes in space; rather, she simultaneously explores the inherent formative potential of plaster, plastic, and clay. With a specifically sculptural eye, she utilized a special technical tool, the scanning electron microscope, to photograph the surfaces of fired clay, presenting them for the first time in this exhibition.

Stefan Löffelhardt (born 1959) uses the medium of drawing to explore inner landscapes in states between waking and sleeping. The unobservability of the world occurs here, in a sense, on paper. In his large-format, virtuoso pencil drawings, he pushes his depiction of the (inner) world beyond the limits of representation. In conjunction with three-dimensional objects, however, he also repeatedly establishes a grounding that builds bridges into the viewer's space.

Johannes Wald (born 1980) not only problematizes the sculptural process of creating form, but also examines questions of representability and the possibility of art relating to the world in general. By showing "lost forms," ​​molds that would be destroyed during the actual casting of the sculpture, he takes a position that simultaneously affirms and rejects. Bronze and wax casting channels give sculptural form to concepts such as "present, retrospection, longing, departure, and new territory" while simultaneously questioning the possibility of such forms.

© Achim Kukulies, Düsseldorf