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It's elucidating to look for the lightest spot in a painting of Cantemir Hausì\, or for the most intense spot in terms of color. Usuall y there is such a place\, often a detail\, working as a painterly accent. I n David (2012) the nose of a man is glowing\, while his eyes and lar ge parts of his face are hidden in shadow. In Back Yard Camping (201 2) it's the tent peg pinned in the ground\, in the lower part of the painti ng. Around it\, two men are kneeling down\, to secure the red tent behind t hem. The peg is only a small detail in a big painting but it lights up in r emarkable green\, drawing attention to the ground and contrasting with the rest of the canvas that is executed in a brownish red.

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Color and li ght offer a spectacle in itself in Hausì's paintings - apart from being a v ehicle for some kind of narrative. The painter could be called a restrained colorist\, creating local climaxes on the canvas with a light dot\, an exp licit shadow or a transparent veil. Most paintings show scenes with one or a few people and the suggestion of a story. In Three (2012) there is a magician with a pigeon and a top hat as his attributes. He seems to evok e the apparition of a second face in the background. In the earlier mention ed Back Yard Camping the two men appear as soldiers\, but their clothes cou ld also be training suits. Their identity and situation is not further defi ned.

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Looking at Hausì's work creates a feeling of complicity. There is some hidden meaning or mystery to be uncovered. Study over Three Poi nts of View (2012) shows a kitchen conversation between three friends\, next to the fridge. Or is it a cellar where a secret meeting is taking pla ce? The scene as a whole is kept vague and is executed in a quick and caref ree way\, which adds to the subversive atmosphere. Most parts are covered u nder a veil of green. But then again\, there are some light spots\, like th e pink face and arms of the left person\, distancing himself from the scene \, creating an second voice in the painting.

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In The Edge of a Ci ty (2012) seven small figures are posing on the top of a hill – gathere d in an outing. The scene looks Goyesque\, but in miniature. The clothes sh ow tiny color accents\, dots of white\, yellow\, blue and red\, in a furthe r green landscape of hills that surrounds the figures. The landscape is thi ck and so seems the atmosphere. Once it may have been colorful and joyful s cene\, but all is covered now under darker skies and layers of paint.

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Hausì's artistic enterprise appears as an act of balance between definin g a specific scene and leaving it open for multiple readings. In his approa ch the question where to stop painting\, is crucial. Restraint is one of hi s qualities. The work oscillates between high visibility and hidden meaning s covered under layers of color.

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Text: Jurriaan Benschop

DTEND:20130224 DTSTAMP:20140823T144539 DTSTART:20130119 GEO:52.5051334;13.3940077 LOCATION:Galerie Barbara Thumm\,Markgrafenstrasse 68 \nBerlin\, D-10969 SEQUENCE:0 SUMMARY: WHAT DO YOU SEE? \, Simon Cantemir Hausí UID:254272 END:VEVENT BEGIN:VEVENT DTEND:20130118T210000 DTSTAMP:20140823T144539 DTSTART:20130118T190000 GEO:52.5051334;13.3940077 LOCATION:Galerie Barbara Thumm\,Markgrafenstrasse 68 \nBerlin\, D-10969 SEQUENCE:0 SUMMARY: WHAT DO YOU SEE? \, Simon Cantemir Hausí UID:254273 END:VEVENT END:VCALENDAR