With their freehanded interlacing of nonrepresentational and figurative passages, the painted and drawn formations deployed by Tobias Pils are a battle between the logic of consecutive steps and its overturning. Doubling like a hare, Pils plays himself free from himself; elements like ribbons, eyelashes, feet, and grids are set against opaque color patches, washes, or neglected areas. This unstable mass is defined by transitions, which, in a movement of parallel addressing and rejecting, keep the tension of the achromatic picture at a peak.

Although his paintings are self-contained units, Pils intensely reflects the character of the spaces in which his works are presented. In the painting installation he conceived for the Central Hall of the Kunsthalle Krems, he takes the opportunity to stage this atrium as a daylight space. He also resists the logic of the space in that he refrains from the obvious solution of using the wall as a presentation surface. By activating a zone of impossibility—the only glass wall—he submits the space to the necessities of his painting.

Curator: Verena Gamper

Tobias Pils, Untitled, 2017, Courtesy Galerie Gisela Capitain, Köln, Galerie Eva Presenhuber, Zürich, Galerie Capitain Petzel, Berlin und Tobias Pils. Foto: Jorit Aust

Tobias Pils, Untitled (Room), Art Basel Unlimited 2016, Courtesy Galerie Gisela Capitain, Köln, Galerie Eva Presenhuber, Zürich, Galerie Capitain Petzel, Berlin und Tobias Pils. Foto: Jorit Aust

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