RITA ACKERMANN

Dr. Pamela Kort on Rita Ackermann’s exhibitions:

Splits Titled ‘Splits,’ Ackermann’s latest paintings mark a pinnacle in the artist’s ongoing concern with the creation of dynamic, moving images. In these canvases, forms cascade downward and upward, at times merging seamlessly into one another. To optimize the potential of such chance transformative processes, Ackermann conceptualized the canvas as divided into three screens, as she aptly calls them. This enabled her not only to guide the flow of line and paint, but also to forestall the coalescence of drawing and painting. No sketch prefigured the images that surfaced, except those carved into the recesses of her memory. Instead, Ackermann allowed an instinctive force to guide her hand as it moved across the fields before her.

The fluctuation between the screens she populated with diaphanous lines and those carrying weightier, gestural strokes of color also conspired to infuse the paintings with an unexpected rhythm. In ‘Shut Eye’ (2023), for example, two screens brimming with fragments of drawn shapes entice the eye to actively pull open the middle register and thereby show more of the painted forms within. This occurs even as the upper and lower screens seem to press inward, creating a dynamic tension between revelation and concealment. To enhance this impression, Ackermann occasionally used luminous yellow pigment to further instill in these paintings a sense of lightness and transparency.

Composed as a sequence of stacked-up semi-translucent frames, these canvases can also be seen as the visual equivalent of images imprinted on a film strip. Ackermann, in fact, draws parallels between the transformative essence of the images in the ‘Splits’ and the dynamic permutations observed when montaged photographic images are projected in a cinema. In both mediums, meaning opens in the infinitesimal split between what the eye sees and the elusive. There, a unique motion also unfolds, one that oscillates between appearance and truth. In all these paintings, there is mystery, one that hints at the presence of the profound and unknowable. Through their enigmatic allure, the ‘Splits’ encourage the viewer to ponder the ineffable, reminding us that while transcendence eludes sight, its essence can nonetheless reveal itself.

Splits: Printing | Painting

In the thick of bringing to canvas the metamorphic forms that would become the ‘Splits,’ Ackermann embarkedon a new artistic endeavour, delving into the realm of printmaking. In the resultant seven large-scale silkscreens,which she produced in collaboration with master printer Keigo Takahashi, her concern with making manifest suchimages became imbued with a related objective: the transformation of paintings into prints, without recourse tothe reproduction of a model. Though these silkscreens diverge from the compositional principles of the ‘Splits,‘like them they probe the boundaries of optical perception. To emphasise this, the exhibition includes two recentpaintings. One of these—‘The Rule of Nature’ (2023)—which belongs to the ‘Splits,’ even bears the marks ofAckermann’s concern with combining monotype printing with painting. Viewers who perceive that will neverthelessfind it difficult to distinguish between the look of the other painting—‘Misfit’ (2023)—and the silkscreens.

This visual feat owes just as much to the artist’s decision to approach the making of these silkscreens as thoughshe were working on a canvas, as to any sleight of the hand enabled by their production. Ackermann began bylayering drawings onto paper and then gradually superimposed gestural brush strokes, colour stains and delicatedroplets of pigment onto the underlying drawings, welcoming the occurrence of accidents through this process.This not only made the contrast between emerging and disappearing forms integral to many of her paintingsvisible, but also conveyed a sense of the centrifugal motion that frequently ensues in them. As such, those whocontemplate these first silkscreens by the artist may well find themselves questioning whether the alleged splitbetween printmaking and painting is, in fact, purely theoretical.

Press release courtesy Hauser & Wirth