Regarding the Point of Restraint

Nina Roos

2017

Painting
Materials:

Collection: Courtesy of Galeri Forsblom, Helsinki.

Nina Roos’s entire oeuvre since the early 1990s is a thoroughly and sophisticatedly argued plea for painting as a thinking practice and mode of being in the world. Painting, for her, is an ever-developing precision instrument. It is not about things; it is things. It is its own language. Painting also doesn’t strive to create recognisable, easily read images or a signature personal style. Instead it is, and must be, ever changing. With Regarding the Point of Restraint, 2017, a series of five paintings (of which one is a diptych) and the pavilion-like structure that supports and displays them, Roos seems to be saying that the same goes for exhibition-making, another practice that privileges thinking and precision and wants to promote the new, the unrecognisable.

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