Jossef Krispel’s new Solo Exhibition includes video art, an artist’s book and a series of new paintings.

The exhibition is named after the video (KILLING TIME), which shows a dazing sequence of pornographic drawings. These drawings, created over the past two years (2010-2011), were scanned and united as a hard back book (of 350 pages) and became the works ‘origin’. The drawings derive from pornographic websites, interwoven amongst them are images from the artist’s photographs. By combining the works title three different interpretations are evident (Time to kill, Kill time and Time that kills), however the artist doesn’t account for its contents, he is interested in the world of images, time and photography – elements that characterize Krispel’s painting. The entire exhibition deals with a process, in the diligence of painting and drawing in the studio and in the underlying potential in the search after the existent; in both the reduction and expansion.

The video art is a varying loop, it’s duration is 11:10 and is composed of 220 drawings, accompanied by music taken from a Magnificat of Bach, called Fecit Potentium (in Latin: “He who has done”; glory song to the creator). The video is a kind of paraphrase of the book; an accelerated animation of pornographic drawings. From time to time the sequence is interrupted and a single drawing is shown for a fraction of time, in away that seems coincidental, clarifying the content of the images whose sequence is shuffled.

The new paintings encompass an evident return to photography as the source that painting is drawn from. In the lighting, framing and in their contemporary essence to evoke form and character. The portrayed images are taken from worlds that Krispel has wandered amongst over the past decade; dioramas, classical remnants, deer and birds, flora, portraits and different scenes from the artist’s photographs. In the current series, motivation is focused directly towards body and expression, the artist moves between the images like a photographer but acts amongst them like a painter.

The new paintings encompass an evident return to photography as the source that painting is drawn from. In the lighting, framing and in their contemporary essence to evoke form and character. The portrayed images are taken from worlds that Krispel has wandered amongst over the past decade; dioramas, classical remnants, deer and birds, flora, portraits and different scenes from the artist’s photographs. In the current series, motivation is focused directly towards body and expression, the artist moves between the images like a photographer but acts amongst them like a painter.