Prof. Christian Sery

For a student, studies should include a discussion in which he/she learns, questions and reflects on the processes of conception, project and realisation within the framework of artistic thinking. In this process, the student first encounters the medium of painting. Painting is studied as an interdisciplinary as well as a self-serving medium.

What role do pre-fabricated imagery, pre-fabricated industrial materials and the tectonically defined space play in painting? And what consequences does all this have on the formal, content-related and aesthetic discussion? What role does the application of digital media play as a tool in the identification of topics and generation of images?

Sery C. has been creating architectonic topoi of museums worldwide for over fifteen years. He carefully turns to architecture and uses rubber to create specific places on a case-by-case basis using a specific selection procedure. He calls it self-installative painting, in order to subsequently remove this image, which has been created out of the tectonics of the room, as a sort of pictorial skin. His paintings are therefore a factual evidence of architectonic conditions on the one hand and potentially autonomous images on the other.
Jutta Mattern

I think the discussion about panel painting has now become irrelevant because it is fundamentally valuable in itself. For me, on the other hand, panel painting is important only as a landmark and interface (...). If I consider purely the image and its convention, then I have to ask: what is it that has value for itself as well as for me for it to be created on a surface. What concerns can I formulate in the convention of the image? In my mind, this is associated with the question: does the image in its convention and with its media suffice as a method of presentation? As a painter, how do I operate with this medium of painting? How can I penetrate through the image and reformulate it? What vehicle do I need to operate out of the interaction of the present and its content?
Christian Sery

Sery’s approach to painting, the openness of the processuality of his work, which touches on different sensations, our seeing and our spatial experience, makes a comprehensive claim on the observer, wants to contribute to expanding the perception and experience possibilities, invites the viewer to participate in reflecting about the painting as a medium. Sery gives precise hints for this. When he detaches the rubber from the wall and thus defines it as a painting, he refers to availability and displaceability as a characteristic of the traditional panel painting, which can be released from fixed functional and spatial relationships that the medieval image still had, travelling faster and faster to any place, and which can be included in any spatial context.
Udo Kittelmann