With the exhibition "jETZT II", the Alf Lechner Foundation presents these six artists* with works from the past 30 years as well as new works created especially for the exhibition, thus showing an arc in the development of form and expression of these artists*. It is the first time since 1992 that these six artists are exhibiting together again, and it is the first exhibition in which they consciously and directly refer to the work of Alf Lechner.
In this kind of overview, the visitor gets an insight into the individual development of their practice and biographies. We see changes in the materials they use for their artistic expression, new forms of expression, processes and surprising similarities between Iceland, the UK and Germany.
Be it the Icelander Inga Jónsdóttir, who now curates art herself, Hilde Heigl, who is connected to theater and later trained in metal construction, Dieter Kunz, who was drawn to Iceland and England and a multimedia the interface with urban space and architecture, or Wolfgang Weileder, who is also active in the UK and exhibits and teaches internationally as an artist. Or Chris Kuttler, who from the beginning went in the direction of art education, or Jörg Steiner, who approaches the monumental in the work of Lechner in photography.
The exhibition explores the relationship between time and space, the interface between permanence and transience. In the open dialogue of these six artists*, a democratic field of tension emerges in a site-specific context, which, as a physical confluence of six different artist biographies in six different media (sculpture, spatial installation, painting, photography, film, and digital art), exhibits new paths, and overcomes categorical boundaries towards a new experiential space.The art of these six former students of Alf Lechner selects from the everyday known, familiar materials, objects or pictorial situations, highlights them, intervenes, reduces, selects, places them in new contexts and refers to the work of Alf Lechner and the working principles he imparted, such as the importance of the artwork in relation to the surrounding architecture; the need to rearrange form as a result of a physical intervention or the exploration of light as a form-shaping and independent element.