Till Megerle at Christian Andersen

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Megerle's earlier drawings with all their provisionality, like comic book schematics for inkblot architecture, retain some of that previous ambiguity here: the amorphous bulbs of lumpen potato people, forms of soft confusion, the graphic line replaced here with corpulence, a dumbness that flatters them, doubt as to what is taking place in them, uncertainty opens as possibility: art's usual interest in opacity replaced with a direct mystery.


See too: Mathew Cerletty at Office Baroque,

Till Megerle at Kunstverein Freiburg

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A simple means, the paired photographs suspends its object between two documents, a spot the difference game that delays the singular and elegiac moment in photography of death's recognition, and forced to live in a dualistic undeath, the artist's family. The last sentence doesn't translate so bad from German: "The mode of documentary photography accesses one of the most personal topics, while art considers it in a precise distance."