About

Like Tears in Rain:
Matthias Groebel’s Replicant Paintings

Cologne in 1990. Over a decade of painting’s temperamental, triumphant and facetious return has resulted in what, with reference to the work of Martin Kippenberger, has been called the “post-studio practice”. This means that paintings achieve their true value and significance only after they leave the studio and emulsify with the artist’s persona as it is performed in the “art scene”, a particular network of people and locations which (mal-)functions by the Domino-logic of if you know, you know. The problem with that, of course, is …