Thinking Through (13 Years): Pieter Schoolwerth
Kraupa-Tuskany Zeidler is pleased to announce PIETER SCHOOLWERTH's third solo exhibition with the gallery, Thinking Through (13 Years).
PIETER SCHOOLWERTH
Thinking Through (13 Years)
Kraupa-Tuskany Zeidler, Berlin (DE)
12.09.2025–25.10.2025 (solo)
Opening Reception: 11.09.2025, 6-10 pm for Gallery Night during Berlin Art Week 2025
Thinking Through (13 Years) premieres this fall during Berlin Art Week. The project began from the artist’s impulse to distill a body of data, in this case 13 years of exhibition images displayed on the K-T Z website, in Schoolwerth’s words: ‘a space that has been hugely important for progressive experimentation in contemporary art in Europe and a welcoming community of people I’m continually inspired by who have supported my work for years.’ The exhibition tackles questions of authorship, mnemonics, and simulation - giving expressive form to the ubiquitous question of “Is this real?,’ which is so prevalent in today’s digital landscape.
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Thinking Through (13 Years), exhibition view, Kraupa-Tuskany Zeidler, Berlin, 2025
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Thinking Through (13 Years), exhibition view, Kraupa-Tuskany Zeidler, Berlin, 2025
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Thinking Through (13 Years), exhibition view, Kraupa-Tuskany Zeidler, Berlin, 2025
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Thinking Through (13 Years), exhibition view, Kraupa-Tuskany Zeidler, Berlin, 2025
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Thinking Through (13 Years), exhibition view, Kraupa-Tuskany Zeidler, Berlin, 2025
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Thinking Through (13 Years), exhibition view, Kraupa-Tuskany Zeidler, Berlin, 2025
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A Selection of Works Presented in 2012 (Thinking Through)
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Thinking Through 2012 (13 Years)
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A Selection of Works Presented in 2013 (Thinking Through)
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Thinking Through 2013 (13 Years)
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A Selection of Works Presented in 2014 (Thinking Through)
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Thinking Through 2014 (13 Years)
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A Selection of Works Presented in 2015 (Thinking Through)
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Thinking Through 2015 (13 Years)
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A Selection of Works Presented in 2016 (Thinking Through)
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Thinking Through 2016 (13 Years)
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A Selection of Works Presented in 2018 (Thinking Through)
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Thinking Through 2018 (13 Years)
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A Selection of Works Presented in 2019 (Thinking Through)
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Thinking Through 2019 (13 Years)
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A Selection of Works Presented in 2020 (Thinking Through)
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Thinking Through 2020 (13 Years)
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A Selection of Works Presented in 2021 (Thinking Through)
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Thinking Through 2021 (13 Years)
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A Selection of Works Presented in 2022 (Thinking Through)
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Thinking Through 2022 (13 Years)
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A Selection of Works Presented in 2024 (Thinking Through)
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Thinking Through 2024 (13 Years)
Thinking Through (13 Years) unfolds from the gallery’s website archive, recasting thirteen years of exhibitions as a mutable script of images, gestures, and recollections.
At the heart of the project are two bodies of work that double and echo each other. First, a series of small paintings, quick gestural condensations of each gallery year, gathered into a one third scale model of K-T Z itself. Here the viewer looks down into memory, as if peering through the aerial logic of SketchUp or the database structure of an online archive. Opposing these, large canvases derived from the small works stretch across the gallery’s exterior walls. These are not straightforward enlargements but translations: the modest studies photographed, embedded into 3D models, printed onto canvas, and then reinscribed with paint, with exaggerated brushstrokes. The result is a hybrid surface of hand and machine, pixel and brushstroke, where authorship is dispersed and unsettled.
This recursive passage, small to large, model to gallery, hand to printer, enacts the instability of memory itself. Details collapse, return, or distort. A delicate mark scaled up becomes a swaggering gesture, just as a private photo posted online becomes a public sign. Schoolwerth’s “Z-axis” space, composed in CGI FX software, places painting in dialogue with the shallow, simulated depth familiar to gaming and other virtual environments - through which we now navigate images daily.
Within this shifting ground, models take on multiple roles at once: archive, artwork, and orientation device. They structure the viewer’s relation to time and space while refusing any fixed position. The exhibition becomes not a monument to the gallery’s past but a meditation on how we remember now—through websites, databases, screenshots, and fragments. Each painting acts like a souvenir of the corresponding year’s program - some fragments clearly ‘remembered’ in passages of oil paint, others ‘forgotten’ and lost to photographic reproduction - like a collage of compressed time memorialized in a calendar.
What emerges is a generative proposition: that painting can model our new mnemonic condition, where memory is outsourced to the cloud, where authorship flickers between human and machine, and where the real and the simulated are bound in recursive loops. Thinking Through (13 Years) does not reconstruct the past; it makes visible its distortions, misregistrations, and echoes. The exhibition insists that we look at paintings, unmediated and in person, so that the medium can remain a site where these frictions may still be felt, embodied, and thought through.