We are pleased to present the group exhibition DIALOGFELDER. BILDER ALS APPELL at the Kienzle Art Foundation, curated by Dr Anne Simone Kiesiel. The exhibition opens as part of CHARLOTTENWALK.

Can images change the world? Can they influence people’s actions in a positive way? What makes an image compelling enough to appeal to its audience—even to the point of provoking action, whether mental or physical? By bringing together works by Franz Erhard Walther (*1939), a multiple documenta participant, and those of younger artists, the exhibition explores visual structures that spark a dialogue between the artwork and the viewer.

Through selected artistic positions, the exhibition highlights a formal and aesthetic phenomenon that emerged in response to the social upheavals of the 1950s and 1960s and still has an impact today. The artists featured in the exhibition create unconventional works that stand out through radical omissions. These absences act as catalysts—encouraging thought processes and prompting (mental) action.

The starting point of the exhibition is a selection of three early works by Franz Erhard Walther from the Kienzle Art Foundation’s collection. In these pieces, Walther takes a provocative and radical approach, challenging conventional ideas of imagery. He strips his works down, gradually removing composition and colour. His form of iconoclasm—paradoxically—creates dialogue fields: by emptying the image, he opens up unexpected possibilities. This formal openness leads to an appeal structure, where the viewer’s imagination becomes an integral part of the work.

In his watercolours, Achim Riethmann (*1979) dissolves forms to open up the image and create spaces for projection. His figures are characterised by deliberate gaps. Depicted in postures of protest, they remain fragmented—the artist consistently leaves out their faces. This amplifies their message: instead of portraying “the others”, they come to represent “everyone”. These gaps give the images a universal quality, transforming them into dialogue fields.

Dialogue is also central to Merlin Reichart’s (*1991) “Trace Fossils” series. Here, handprints appear as traces of past actions, imprinted on a black surface. Are they signs of an apocalyptic future, or proof of human existence? Relics of protest actions by the “Last Generation”, or fossils from an unknown future? These negative spaces act as mirrors for our own perceptions, prompting personal associations and reflections. They call for action—without dictating a specific meaning.

Similarly, Jana Schumacher’s (*1983) “Blank Future Sets” place the viewer in a role of co- authorship. Inspired by tarot cards and humanity’s enduring attempt to predict fate, she presents a vision of the future as a blank slate. It is up to each individual to project their own ideas onto these empty cards. Once again, (mental) action is required.

Until now, art history lacked a term to describe images like those featured in this exhibition. Dr Anne Simone Kiesiel introduced the concept of dialogue fields in her doctoral research. As part of the exhibition, and in particular during the book presentation, the concept of dialogue fields in imagery will be explored and discussed.

Text: Dr. Anne Simone Kiesiel

 
Dr Anne Simone Kiesiel (*1986) studied Art History and German Studies at the University of Hamburg, where she completed her PhD in 2023 on the early works of Franz Erhard Walther. Alongside her studies, she worked for various galleries in Hamburg. Since 2015, she has been active as a freelance writer and curator, contributing to numerous projects, writing catalogue texts, delivering opening speeches, assisting with academic publications, and working as an editor. From 2020 to 2023, she held teaching positions as a freelance lecturer at the University of Hamburg and the JAK Academy Hamburg. Since 2024, she has been a regular contributor to monopol online.