Dierk Schmidt ^(DE)

Dierk Schmidt (1965) practices a contextual notion of painting that places great emphasis on research in historical and in particular in “factual space”. A recent series of abstract pictures focuses on the Berlin Africa Conference of 1884/85 from an international rights perspective. A second series uses the module of the museum vitrine–so to speak in a painting with other means–to treat the axes of gaze and discourse in (post)colonial argumentation as well as their power of appropriation and formulas of conflicting claims to possession in relation to objects in ethnological collections.