Ruttkowski;68

Meuser

Info: Meuser (b. 1947 in Essen, DE) presents his second solo exhibition Hol die rein, sonst geh’n die ein! with Ruttkowski;68 in Düsseldorf. That’s how cultural heritage works! Because art made from scrap metal is not only an expression of creative puzzles, but also a powerful symbol of sustainability and transformation — turning old into new, industrial history into living culture, or poetically: wings to travel on. Sheet metal joins the power of fire and ash to dedicate an unvarnished monument to the rock-hard underground mining industry. Meuser’s works unfold their impact and aura with a natural heaviness of deconstruction inherent in the material, whose playful rearrangement catches the eye and gets under the skin with ease. Both the structure of the sculptures and the plea Hol die rein, sonst geh’n die ein! emphasise the protection of art and the culture of the region. These works should not be protected from rust, corrosion or other environmental influences. On the contrary, they thrive on the irritation of the metal. What they need is a different kind of care or protection in order to be preserved for a long time. (…) – Excerpt from a text by Gregor Jansen

Nadine Lohof

Info: Nadine Lohof (b. 1987 in Kassel) presents her first solo exhibition Werkzeug with Ruttkowski;68 in Düsseldorf. As something that concentrates intention while remaining fundamentally ambivalent, tools can care for and injure, shape and damage; they inscribe marks, cut into surfaces, smear, and leave traces that cannot be fully undone. Lohof’s paintings depict figures caught in transient situations: children, costumed bodies, ambiguous beings that evade fixed identity. Laughter recurs as a central motif, oscillating between warmth and aggression, intimacy and derision. Bared teeth, exaggerated gestures, and heightened expressions never settling into clarity. Soft pastel tones and gently worked surfaces lend the paintings an immediate, almost inviting quality, while subtle disruptions emerge on a closer look. The scenes remain fragmentary, allowing absence and implications to resonate as strongly as what is shown. The installation Alphatools casts axes in chocolate, translating the painterly exploration of trace, violence, and seduction into tangible form. Chocolate, both sensual and alluring, carries the promise of pleasure, yet it also exposes the persistence of marks: when one tries to wipe away stain, the residue remains, hinting at mess, a touch, or bodily traces. (…)