Opening: February 15th, 2020 | 5 – 8 pm
RSVP required: rsvp@circleculture.com


We are pleased to present works by Michael Wesely and Adrian Falkner at Hotel de Rome La Banca & Opera Court in partnership with the Arts & Nature Social Club.


Michael Wesely‘s photographs are better understood as palimpsests: Taken usually over an extended period of time up to year-long exposures, the images are overwritten from present and future. His pioneering techniques have allowed him to capture cities, architecture, still lifes, interiors, and portraits. Wesely uses special cameras with extremely sharp lenses to create his photographs, which are concerned with ideas of temporality and ephemera, and present still images that literally embody the passage of time.

In 1997, he began using this unique approach to photography to explore major urban construction projects in Berlin. In 2001, when the Museum of Modern Art in New York underwent a three year renovation and expansion, they invited Wesely to setup his cameras around the museum construction site. He photographed the destruction and re-building of the MoMA until 2004 – leaving the shutter open for up to 34 months. His latest exhibition at the Barcelona Pavilion by Mies van der Rohe on the occasion of the 100th anniversary of the Bauhaus is asking questions about our past as well as about our future, as referred to in the title of the work “1:100, Past and Presence“. Wesely lives and works in Berlin.

Painting with less thinking going on. Unleashing the hand’s movements by preventing the mind from telling it where to go. This expressionist precept is the main thrust of the work by Adrian Falkner, who asserts himself as a contemporary painter by reclaiming his civilian identity and shedding the pseudonym he’d been using until then as a graffiti writer: Smash137.
Starting from the observation that, ever since he started painting, his work has been highly controlled, precise and meticulous, Adrian Falkner is striving to attain a form of freedom by experimenting with thought-free – but not uncontrolled – gestures. The construction based on the letters of his pseudonym has been replaced by circular movements repeated again and again to form multiple layers. No two circles are the same; they overlap without ever becoming superimposed. His most recent paintings and works on paper nod towards the artist‘s interest in Eastern philosophies and their related aesthetic ideas around notions of eternity, incompleteness and imperfection.

In partnership with:


images: Michael Wesely, Giverny (17.5.-11.11.2016), 2016, swiss quilt print, site-specific installation, Hotel de Rome La Banca Restaurant, 2019, 305 x 1000cm / Adrian Falkner, Yet Untitled (#5), 2018, acrylic on linen, framed, 180 x 145 cm