History, Memory or Geometry
Galerie Krinzinger is hosting Waqas Khan´s second large exhibition in Austria. I haven´t seen the first one, but the current show certainly is an experience: If you start on the right side, you first enter a room covered with some sort of turning and slanting mirror. On one hand it reflects the visitors onto themselves, but on the other hand multiplies them; and sort of channels them into the next room which is painted completely black. On two walls opposite each other are two large, darkly glowing abstract images, also mainly black. At first one only perceives a circle, maybe ressembling a planet, and a triangular form. On approaching it becomes clear that the paintings´ surfaces consist of delicate structures of superfine ink-lines, which add an organic touch to the neutral and space-like atmosphere. Beautiful but at the same time slightly uncanny. Apart from these impressions the works also own a very meditative quality. Well, they have to. You´d think, facing a task as executing such a drawing, it might be rather easy to despair...
The room left of the entrance is – in contrast – completely white: Eight sheets with „praise poems“ - fine white ink structures on white paper – are more or less let into the wall and lead up to the large format white-on-white piece „margin of the hours“. I dare say there is no better way to hint at the invisible in culture, like the accompanying text proposes as one of the cores of Waqas Khan´s work.
Header, 1: Ausstellungsansicht
2: co-gravitating II, 53 x 68cm, Tusche auf Papier, 2018
3: untitled, 240 x 262cm, Tusche auf Papier, 2018
4: Ausstellungsansicht (margin of the hours, 240 x 262cm; praise poems I (6 von 8), 34 x 26,5cm; alle Tusche auf Papier, 2018)
5: praise poems II (3/12), 34,5 x 26,5cm, Tusche auf Papier, 2018