With the show SCHAUFENSTER (ger. showcase), Galerie Mazzoli at Glashaus presents a selection of the youngest crop of artists from the Düsseldorf area. Stemming from different traditions and employing different techniques, this group reveals to us how it accepts the challenge to confront with mammoths of the past and manages to deliver pieces that are imaginative, witty and original as they are diverse. Running from abstract surrealism to formalism, passing through Neo-dadaism, Neo-pop and Fluxus, the works of SCHAUFENSTER give us access to a generation that is not characterized by a revolutionary attitude, bur rather by a desire to subtly expound the multifarious, unbalanced features of the society – and the art world – of which they are an active part.

Light plays, reflections and structures characterize the natural surfaces that grouse Sofie de Coninck‘s interest. Photographs of these superficies form the starting point of her painting process: they are the medium to see again, to investigate and finally to translate the motif into painting. On these canvas, the original motifs are processed and reinterpreted; they are completely transformed, almost dissolved in forms and colors. (Padeborn, 1998)

A slide projector projects a weather map with the forecast for the day of the exhibition opening vertically upwards, through the glass roof of the gallery building into the sky. Felix Adam‘s work ‘apparently Eurocentric’ plays with the transformation of the meteorological weather forecast when it is caught up and surpassed by time.

The work ‘Confluence’ by Daria Nazarenko transforms the gallery space into a diorama. Fragments of nature and reflecting surfaces and a high-tech screen form an artificial ecosystem. In the video recordings of the artist in the snowy landscapes of Finland alternate with those of water-meadows near Düsseldorf. The human body can be virtually multiplied and present and at the same time in the different places-in contrast, the biotopes preserved in the video are threatened with disappearance and natural habitats in the Anthropocene are limited. A final attempt to merge with the landscape fails the closed space.

Timo Lütke Deckenbrock‘s work ‘1/x‘ plays with formal and material references to functionality: with the black PVC industrial floor foil, four aluminium handles and cut-outs on the sides, it first appears to be an industrial product or design object. Precise technical drawings guide step by step how the work can be produced and reproduced. The components and properties of ´1/x´, however, do not form a functioning product, but a work of art, thus making the expectations on materials in different contexts the actual object of observation.

Carpet and permanent marker on raw canvas‘ shows the floor plan of the artist’s apartment under a carpet that was there when he moved in. In one corner is the back of the first postcard that went to his new address.

Once I saw a border collie staring at the onyx marble as if her gaze had cut the holes in the stone, I laid down on the ground to return her gaze through the holes and smelled the light film of grape seed oil on the stone. I lied down on the ground to return her gaze throughout the holes and smelled the light film of grape seed oil on the stone. A mouse sat in one of the holes. The mouse said in a barely audible voice: “Words are familiar, the mind is even more familiar. Whoever speaks about wrong and right is a person of the wrong and right.” Arjan Stockhausen.