Speech on occasion of the Kunstraum 28130 exhibition on 25th February 2005

Written by Dr. Adelheid Teuber, art historian


Karin Kutsch began to examine and interpret the theories of Josef Albers, Max Bill, Le Corbusier and the Bauhaus parallel to her studies of architecture, with a focus on design, in Aachen. She worked as a professional architect in Cologne and Düsseldorf for a number of years, before fully applying herself to the fine arts in 1997/1998. During this period, her interest in the works of Agnes Martin and Blinky Palermo became a deciding factor in her career. Since 1998, Karin Kutsch has taken part in numerous solo and group exhibitions in Cologne, London and elsewhere.


I wish to pose one important question straight away: How can one lend form to the individual value of colour and the autonomy of surface without alienating or confining this form? Or: How can one express emptiness and silence, how can one depict nothingness; how is it possible to say, in a memorable and direct way, that one wishes to say "nothing"? (The effect of the work is based purely on the interplay of form, colour and the space around it?)


The formal significance of the images is confined by the basic element of the square, this foundation is a sober reduction to mathematics - and forms the basis for an unencumbered approach to the materials and space.


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