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The display "Slow Paintings" at Leverkusen, Germany is dedicated to the growth of an extremely involved form of painting as a continual policy in the history of art, which emerged as of the early 1960s beyond. By means of over 60 paintings and featuring no less than 32 artists, "Slow Paintings" provides a complete impression of the diverse painting techniques and theoretical approaches that distinguish this style of painting. The expanse of occasion invested by individual artists into the production of the paintings exerts its result upon the visitor via the unique experience of sustained deceleration.

The display starts chronologically with Ad Reinhardt's Abstract Painting from 1961 and Konrad Klapheck's Das Kinderfraulein from1964-two paintings, one abstract, the other figurative painting. Ad Reinhardt's work of art of a black cross on a black ground emphasizes, with an astonishing variety of superimposed layers of colored glazes, the thoughtful nature of the painting itself, as well as the facet of intense observation in this decidedly polyvalent work. Klapheck's portrait of a typewriter permitted Kinderfraulein shows the way in which the painting techniques of the Old Masters can also serve-precisely in the 20th century-an appealing, if troubling description of a strange pictorial world. John Currin's "Girl in Bed" from 1993 connects with this thought in a 'trashy' way, whereas artists, such as Tomma Abts, Adrian Schiess, or Ekrem Yalcindag, are responsible for the custom of abstract work of art in innovative ways.

For the duration of the course of the 20th century, artists have extended the customary limits of work of art in a variety of ways. Long-term projects, such as On Kawara's famous "Date Paintings" or "Roman Opalka's Details", with its incessant sequence of numbers, have introduced the thought of the project into the kingdom of slow painting. Opposing to their conservative interpretation as sculptural works, Reinhard Mucha considers his wall vitrines to be paintings as well. This means consigning their tonal valency to a two-dimensional plane: the overturn glass painting of the forward planes of glass and the internal relief's, the bituminized felt plank of 'found' ground coverings printed with a variety of patterns, the zones of glow and shade of the tinted surfaces of the door foliage with their panels and the pessimistic volume at the back them filled with felt-all of these 'painterly' aspects are crucial here.

Labels: Abstract Painting, figurative painting, glass painting, history of art, Old Master Paintings, painting techniques, paintings