Table Of ContentNickOberthaler
1. 10. 19.&20.
Liminals CorporateFatigue BlackPages
GalerieThaddaeusRopac,Paris NellyHaliti,ThomasJulier,NickOberthaler,JochenSchmith,AndreaWinkler 01-100
2022 NeuerKunstvereinWien FJK3RaumfürzeitgenössischeKunst,Wien
2017 2022
2.
DistinctOscillationsII(Versionforaprivatehouse,Deurle) 11. #1-#95
HouseDD,Deurle/Sint-Martens-Latem,Belgium ComfortableCut KunstvereinBielefeld
2020–2021 MartinvanZomeren,Amsterdam 2021
2017
3.
Insert 12.
ExhibitionINT’UBAGUofSamuelRichardot(withClémentRodzielski) ArtClub#12/Foliesd’hiver
Muséed'artcontemporaindelaHaute-Vienne,Rochechouart VillaMedici,AcadémiedeFranceàRome
2020 2016
4. 13.
M_o_b Eventuality
GalerieEmanuelLayr,Vienna Traklhaus,Salzburg
2019 2016
5. 14.
Sequel Whatkindofbirdisthis?
GalerieThaddaeusRopac,Salzburg LaetitiaBadautHaussmann,NickOberthaler,HugoScibetta
2019 LevyDelval,Brussels
2016
6.
Setdetable 15.
Pierre-OlivierArnaud&NickOberthaler Icanseethewholeroom!...Andthere’snobodyinit!
VIS,Hamburg&NÉON-Espaced’artcontemporain,Lyon GalerieMariaBernheim,Zurich
2018 2016
7. 16.
Topology DistinctFeaturesofFastOscillationsinPhasicandTonicRapidEyeMovement
GalerieMariaBernheim,Zurich GalerieEmanuelLayr,Vienna
2018 2015
8. 17.
DistinctOscillationsRevisited NoSubjectNoImageNoTasteNoMatterNoGraceNoStyle
AprojectincollaborationwithWilfridAlmendra BiancaD’Alessandro,Copenhagen
Adelaide,Marseille 2015
2018
18.
9. Piècedérivee
Cabrio GalerieThaddaeusRopac,Paris
NicoVascellari&NickOberthaler 2015
GalerieEmanuelLayr,Rome
2017
NickOberthaler
Liminals
GalerieThaddaeusRopac,Paris
21June2022-30July2022
Firstofall,onthesurfaceonwhichIamgoingtopaint,IdrawarectangleofwhateversizeIwant,whichIregardasan
openwindowthroughwhichthesubjecttobepaintedisseen.—LeonBattistaAlberti,DePictura,1435
LiminalsisanexhibitionofnewworksbyAustrianartistNickOberthalerexploringthefunctionofabstractpaintingsas
thresholdsfornewspatialandvisualexperiences.Hanginglowonthewall,thefourlarge-scaleworksconceived
speciallyforThaddaeusRopacParisMaraiswillactaswindowsintoshiftingvisualdimensionsofvivid,contrasting
hues,whilealteringthespacestheyinhabit.Alongsidethem,small,postcard-sizeworkswillprovideamoreintimate
insightintotheartist’sprocess,revealinghisinstinctualapproachtotextureandcolour.Inbothaphysicalandfigurative
sense,paintingshavelongbeenassociatedwithwindows,theirgrid-likearchitectureservingasamodelforthe
geometricobservationofnaturethatledtothedevelopmentofperspectiveduringtheRenaissancebytheoreticians
suchasAlberti.Oberthaler,inhisownvisuallanguagewhichdrawsonminimalismandgeometricabstraction,
reinterpretsthearthistoricaltrope,layeringitwithacontemporarydigitaldimensiontoreflectonthestructuresthat
underpinthemakingandconsumptionofimagestoday.
Theartistuseswhathereferstoas‘high-pitchedcolours’intheworksonview,hisfluorescentyellowandsilverygrey
givingthepaintingsadistinctlytechnologicalappearance.Alongsidethem,groundsofultramarineblueandgestural
strokesofterracottaredinvokeapalettemorecommonlyfoundinpaintingsfromthe15thand16thcenturies.Working
inlayersasonewouldoncomputerdesignsoftware,theartistjuxtaposesthesecolouristicuniverses,allowingthemto
clashandworktogetherinturntoprovokeviewersintoanactivecontemplation.Acrossthecanvases,precise,geomet‐
ricshapesseemtoprovidereal-worldspatialindications,evoking,ascuratorMariedeBrugerolleremarks,computer
screens,piecesoffoldedpaperandactualwindows.Thesmall,pixel-likesquaresfoundontheedgesofOberthaler’s
paintings,inparticular,resemblethemarkersfoundondesignsoftware,whichactashandholds,allowingusersto
orientthemselvesandretainasenseofscaleintheimmaterialdigitaluniverse.Intheexhibition,thesegeometricforms
challengeandperturbvisionasmuchastheystructureit,revealingtheelementalgridalsoasabarriertoobservation
andgeneratingalossofscalethatisatoncedisorientingandfreeing.
In2019,Oberthalerbeganmakingsmallerworks,whichhesenttofriends,artistsandcollectorsas‘SOSpostcards’
withnowritingonthebackbutthedateonwhichtheyweremade.Theybecamewhathecalls‘travellingpaintings’,
evokingtheprecedentofMarcelDuchamp’sBoxinaValise(1935–41)inwhichhecarriedminiaturesofhisworks,as
wellasthepostalartofthe1960sand1970s,whenartistswouldsendideasandartworksasawaytoavoid
censorshipandcircumventtherigidstructuresoftheartworld.‘Ontheonehandthesecouldbeideasfornotyet
realisedworks,’saysOberthalerofhissmallerworks,‘ontheother,theycouldbeseenaszoom-insorouts:windows
offeringaviewontoalandscape.Inthemostreducedsensetheyaresimplepaintings,questioningcompositional
parametersandtheinterplayofcolouronaverysmallpictureplane.’
ThemostgraphicamongthepostcardpaintingsismadeupofbandsofcolourtakenfromtheGoogleMapscolour
chartofgreys,yellows,greenandblues.Onthetoprightcornertheartisthastypesettheletters‘SO’,and‘S’onthe
bottomleft.Togetherformingacallforhelp,separatelythelettersactascoordinates‘sud-ouest’(south-west)and
‘south’,echoingthetopographicalindicationsthatcanbefoundacrossthelargerworksonviewandhintingatthe
landscapesthatmightliebeyondthewindow-likecanvases.Ascientificapproachtoimage-makinghasfosteredthe
ideaofverisimilitudeinartsincetheRenaissance,wherethepaintingactsasawindowtoanewvisualdimensionthat
isnonethelessreal.Suchanapproachcontinuestoinfluencethewayweconsumeimages,particularlythoseproduced
bytechnology,whichstilllayclaimtotheobjectivityofscience.InLiminalsOberthalerrevealspaintingsasmoving Untitled(LiminalLandscape#1),2022
planesofcolourandformthat–morethanportalsintonewworlds–arespacesofinvention,unstableand Acrylicsonpaper
unconstrained,poisedontheedgesofreality. 14,8x10,5cm
Installationview
Liminals
GalerieThaddaeusRopac,Paris
2022
Installationview
Liminals
GalerieThaddaeusRopac,Paris
2022
Untitled(Liminal#1),2022
Acrylicsoncanvas
160x120cm
Untitled(Liminal#2),2022
Acrylicsoncanvas
160x120cm
NickOberthaler
DistinctOscillationsII(Versionforaprivatehouse,Deurle)
2020–2021
Designandconceptionforasilk-woventapestryforaprivatediningroom
incollaborationwithWimGoesArchitectuur,Gent
HouseDD,Deurle/Sint-Martens-Latem,Belgium
Productionassistant:LisaBaerschneider,Antwerp
Architect:WimGoes,Gent
Manufactureroftapestry:ManufacturePrelle,Lyon
Installationview
DistinctOscillationsII(Versionforaprivatehouse,Deurle)
HouseDD,Deurle/Sint-Martens-Latem,Belgium
2020–2021
Installationview
DistinctOscillationsII(Versionforaprivatehouse,Deurle)
HouseDD,Deurle/Sint-Martens-Latem,Belgium
2020–2021
Installationview
DistinctOscillationsII(Versionforaprivatehouse,Deurle)
HouseDD,Deurle/Sint-Martens-Latem,Belgium
2020–2021
Description:Thus some works call to mind pixelated computer geometric forms, has recently radicalized and amplified his œuvre by . and graphic design; at times he renders the works into three dimensions, which gives them a distinctly spatial . ornament and concept Annik Wetter, Geneva/Zurich (pp.
