\u201eIm Licht der letzten Haltung \u2013 Erinnerung tr\u00e4gt den Frieden\u201c<\/strong> is a reflection on what remains when everything else recedes. It asks about those moments in which certainties begin to waver and stance emerges as the last visible form of resistance.<\/p>\nWhat remains when structures collapse?
\nWhen political orders end or inner certainties begin to falter?
\nIn the light of the last stance, that moment appears in which nothing secure remains\u2014except for what we uphold within ourselves.<\/p>\n
This exhibition is not merely a group show. It spans over 80 years of lived stance.<\/p>\n
Three generations\u2014born in 1942, 1963, and 1992\u2014enter into an open dialogue. Their works in sandstone, gouache, ink, acrylic, charcoal, and graphite reveal how differently peace, memory, and inner resilience can be understood\u2014and at the same time, how closely these questions remain intertwined.<\/p>\n
May 8, 1945 marks the end of the Second World War\u2014a historical turning point that signified liberation while also establishing a new responsibility. Yet the end of a system does not automatically bring peace. History persists. In bodies, in families, in narratives\u2014in what is passed on unspoken and cannot be resolved across generations.<\/p>\n
What has been passed down?<\/strong>
\nWhat have we inherited\u2014consciously or unconsciously?<\/strong>
\nWhich inner landscapes have grown from this?<\/strong><\/p>\nBetween collapse and reorientation, between vulnerability and resilience, images and sculptures emerge that make the state of in-between tangible. When bombed earth gives rise to life again over time, this too becomes an image of human resilience. From destruction, something new emerges\u2014yet this new is never detached from what came before.<\/p>\n
Memory is not a nostalgic glance backward, but a foundation. Perhaps even a prerequisite for peace\u2014for understanding, and for a conscious, embodied awareness of what has been and what may become.<\/p>\n
Three artists\u2014three generations.<\/strong>
\nTheir works resist fixed meanings and open a space in which stance becomes visible.<\/p>\nWhat becomes apparent in this intergenerational context is a shift in artistic language\u2014not as a linear development, but as a change in tone. In the works of Marguerite Blume-C\u00e1rdenas<\/span><\/strong>, experience manifests directly within the material. Stone remains stone. The form is clear, the gesture decisive. Nothing is softened. The sculptures carry the weight of what has been lived\u2014what has been seen, what has been passed on. Here, stance is physical. Presence means endurance. Moving two decades forward, one encounters in Christopher Balzer<\/strong><\/span> a different form of condensation. The concrete dissolves into structure, into rhythm, into line. History appears not as documented memory, but as a lingering tension. His drawings oscillate between figure and sign\u2014they sound an alarm without explaining. In the works of Wiebke Conrad<\/strong><\/span>, the focus ultimately shifts into the innermost space of the body. Proximity, vulnerability, and touch replace monumental gesture. Fragility becomes visible\u2014not as weakness, but as potential. Here, peace appears not as a political event, but as an interpersonal condition. What emerges is not a \u201csofter\u201d narrative, but a shift from the external event to the inner realm.<\/p>\n <\/p>\n
<\/p>\n
<\/p>\n
<\/p>","protected":false},"excerpt":{"rendered":"
IM LICHT DER LETZTEN HOFFNUNG (\u201cIn the Light of the Last Stance \u2013 Memory Carries Peace\u201d) Erinnerung tr\u00e4gt den Frieden Marguerite Blume-C\u00e1rdenas \u00b0 Christopher Balzer \u00b0 Wiebke Conrad 02nd May – 26th June 2026 Vernissage: Sa, 02nd May 6-10pm The exhibition will open with a speech by the laudator Andreas Wessel. This will be followed by a concert by Gina Pietsch and Frauke Pietsch. The exhibition, \u201eIm Licht der letzten Haltung \u2013 Erinnerung tr\u00e4gt den Frieden\u201c is a reflection on what remains when everything else recedes. It asks about those moments in which certainties begin to waver and stance emerges as the last visible form of resistance. What remains when structures collapse? When political orders end or inner certainties begin to falter? In the light of the last stance, that moment appears in which nothing secure remains\u2014except for what we uphold within ourselves. This exhibition is not merely a group show. It spans over 80 years of lived stance. Three generations\u2014born in 1942, 1963, and 1992\u2014enter into an open dialogue. Their works in sandstone, gouache, ink, acrylic, charcoal, and graphite reveal how differently peace, memory, and inner resilience can be understood\u2014and at the same time, how closely these questions remain intertwined. May 8, 1945 marks the end of the Second World War\u2014a historical turning point that signified liberation while also establishing a new responsibility. Yet the end of a system does not automatically bring peace. History persists. In bodies, in families, in narratives\u2014in what is passed on unspoken and cannot be resolved across generations. What has been passed down? What have we inherited\u2014consciously or unconsciously? Which inner landscapes have grown from this? Between collapse and reorientation, between vulnerability and resilience, images and sculptures emerge that make the state of in-between tangible. When bombed earth gives rise to life again over time, this too becomes an image of human resilience. From destruction, something new emerges\u2014yet this new is never detached from what came before. Memory is not a nostalgic glance backward, but a foundation. Perhaps even a prerequisite for peace\u2014for understanding, and for a conscious, embodied awareness of what has been and what may become. Three artists\u2014three generations. Their works resist fixed meanings and open a space in which stance becomes visible. What becomes apparent in this intergenerational context is a shift in artistic language\u2014not as a linear development, but as a change in tone. In the works of Marguerite Blume-C\u00e1rdenas, experience manifests directly within the material. Stone remains stone. The form is clear, the gesture decisive. Nothing is softened. The sculptures carry the weight of what has been lived\u2014what has been seen, what has been passed on. Here, stance is physical. Presence means endurance. Moving two decades forward, one encounters in Christopher Balzer a different form of condensation. The concrete dissolves into structure, into rhythm, into line. History appears not as documented memory, but as a lingering tension. His drawings oscillate between figure and sign\u2014they sound an alarm without explaining. In the works of Wiebke Conrad, the focus ultimately shifts into the innermost space of the body. Proximity, vulnerability, and touch replace monumental […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/galerie-kuchling.de\/en\/wp-json\/wp\/v2\/pages\/4","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerie-kuchling.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/galerie-kuchling.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/galerie-kuchling.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/galerie-kuchling.de\/en\/wp-json\/wp\/v2\/comments?post=4"}],"version-history":[{"count":1581,"href":"https:\/\/galerie-kuchling.de\/en\/wp-json\/wp\/v2\/pages\/4\/revisions"}],"predecessor-version":[{"id":5847,"href":"https:\/\/galerie-kuchling.de\/en\/wp-json\/wp\/v2\/pages\/4\/revisions\/5847"}],"wp:attachment":[{"href":"https:\/\/galerie-kuchling.de\/en\/wp-json\/wp\/v2\/media?parent=4"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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