Veronika Wenger, "wanted", 2014, spray and watercolor on paper, 60 cm x 50 cm, Photo Daniel Geiger
Veronika Wenger 2014
60 cm x 50 cm, spray and watercolor on paper

You cannot approach the work of Veronika Wenger with your bulky clothes. You cannot walk on her lines in high heels. How do I know it? Because I fell down.

First, I was so confident: It has to be the “surface problem” of the “formalist artist.”

As she used the wall directly; the lines, the tapes, the phosphorus colors, the stains, she had to point out the surface. She was constructing her space on the surface. There was nothing to be afraid of. I was in my comfortable analytic position, until I decided to go after her, Hedda and the multidimensional movement of her work.

At first sight, the work of Veronika Wenger has an elegant equilibrium, a well moderate climate, an open clear sky. Her work doesn’t insist, doesn’t impose itself. But in her serene silence there is hospitality for every first step. You’ll go to her and let yourself in. If you trust her, suddenly you will find yourself in an unimaginable action. This calm work encourages you to move through the lines, bare hands and bare feet. When you jump in the work of Veronika, the action will become a total-free body experience, through the uneven bars, high, horizontal bars, still rings, climbing ropes, pommel horse; tension and extension, ruptures, grips, swinging, flipping. Here you are: upside down. Don’t be afraid. I can’t say that she is prudent for herself, but she definitely is, for the others. When you stumble, hesitate or have doubts she will see it. She takes you by the hand and invites you to continue to play. This is just the beginning. When your body is warm and stretches enough, the bars, the ropes, the rings will turn into your agile dance partners. The pommel horse gallops. You are in a dance training that prepares you for the third step.

Of course they are not paintings. They are the drawings of an imaginary four-dimensional space, seen from a bird’s eye. When you are in, during your artistic gymnastic or your dance improvisation, you should create your own space „from the perspective of the eternal.“ ( Spinoza‘s „eternal“ perspective is reflected in his Ethics (Part V, Prop. XXIII, Scholium), 1677. ) This is the freedom and the plurality of the action which generates new subjectivities.

Veronika’s fashion design background, her movies and her collage books give me the courage to go on this idea: She is a scenographer in the precise meaning of the word. In Greek, skēnographia is not the painting of scenery but is the drawing or the writing of it. That’s why maybe, sometimes her lines look like they are coming from the act of writing or sewing. However, between text, texture and textiles, her work is deeply semiological, by the way of passing through the language, separating the signifier and the signified and opening a beautiful, tin and silent space for the unexpected “unwritten poetic text.” Mallarmé would call it a dance:“the unwritten body writing.”

I thought about all this when I saw the Hedda Gabler sketches on her book. The silhouette of the inconvenient heroine, whom the play of Henrik Ibsen was named after, faces to a microphone stand, a repetitive dark line, a refrain crossing all her work for all these years of artistic creation. Hedda is not only a body standing in between the voice, the silence and the language. She gives a body to this void. What language and the body have in common is the voice, but the voice is part neither of language nor of the body. ( Mladen Dolar, A Voice and Nothing More, p. 73, The MIT Press, 2006. )

Hedda is a void space, an empty dress to become cram-full of all the pluralities. She is a trace on the wall that; you cannot read. She is a corporal distance between sound, voice and silence, past and future. Now, we are in the third stage. We are in an uncanny, yet fascinating space where our dance partner has already been gone. We become one with the emptiness defined by Hedda’s newer heard song. Hedda is the Elif (aleef) of Veronika’s alphabet.

“Elif and Âyet-el”
anonymous Artist

Elif is the first letter, the first line of the Arabic alphabet; one straight line and the “1” of the Arabic numbers. In the tradition of Sufism, Elif is the symbol of “oneness” that expresses the unique- ness of Allah. According to this Elif is the source and the reason of all letters, the ere of all letters. It is the point of view mirrors the others. Thats why knowing Elif is knowing everything. As Mevlana Jalaluddin Rumi says:

“Elif is like love, hidden in the name but it’s not legible. Without Elif the basamala (in the name of the God) don’t arrive to the voice. Elif is inside everything, but you can’t see her anywhere.” ( Jalaluddin Rumi, Sun Of Tabriz: A Lyrical Introduction to Higher, Johnston & Ne- ville, 1964. )

Veronika Wenger takes the action and draws a straight line. This is the action in Hannah Arendt’s sense of the word. It generates plurality, irreversibility, unpredictability, uncontrollability and also the fragility. For this reason, action is dangerous properly like Hedda herself(s). However the action is the unique way to create something new. Thus, action is directly linked to freedom. Freedom, in the Arendtian sense, does not refer to freedom of choice or will; but to the contingency, the inherent spontaneity and the unpredictability of action. Action, in this theatral or performative sense, has also an individuating aspect. Action is the lifelong process of individuation. There is nothing, no essential identity behind the masks. So, there is no backstage for Hedda. Here is no Hedda. In her eternal performative appearance she is everywhere and she in nowhere.

“Hedda?l” 2008
Sketch book

After all, I found the courage to say that art is not all about freedom but it is the realization of the freedom. And the artwork makes you devoid of yourself, reveals from you new potential subjectivities, and puts you in a dynamic intersubjective world, as on the stage. There you are in the bodily drawn scenery by Veronika Wenger, without bulk clothes nor high heels; but “alive inside.”

Published in the catalog:

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Veronika Wenger

German / English
120 pages
56 color photos
220 x 210 x 13 mm
500 g

EUR 24,90

Special thanks for your valuable cooperation and creation of this catalogue to

Contributed text


Photo editing


Overall production

The first edition of this publication was generously supported by

ISBN 978-3-945296-85-1

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Veronika Wenger | The Line / Die Linie | Artist Talk

Ezgi Bakçay
Sophie-Charlotte Bombeck
Veronika Wenger
Michael Wright

Istanbul – London – Munich
April 24, 2020

„You cannot approach the work of Veronika Wenger with your bulky clothes. You cannot walk on her lines in high heels. How do I know it? Because I fell down. […] Veronika Wenger has an elegant equilibrium, a well moderate climate, an open clear sky. Her work doesn’t insist, doesn’t impose itself. But in her serene silence there is hospitality for every first step“

Dr. Ezgi Bakçay 2020, In: The Stages of Eternity, The Line / Die Linie, Veronika Wenger, Catalog (coming soon!)

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EXHIBITION 23.04 – 29.05.2020 

Veronika Wenger’s works require a sensitivity and truth for the material, in the way the material embodies the consciousness of an artist. In the search for truth, ‘the beautiful work’ is a by-product of this search. The artistic production embodies the invisible and inner, a remnant, left behind traces of the experienced. The power of her works becomes visible in super+Centercourt. Our conscious experience is based on a complex accumulation of memory and unconscious material, which forms both our sense of self-identity and the basis of our relationship to experience. Wenger attempts to “hold” this in an intense performative act of drawing. In addition to the two large-format drawings, the artist will create a wall piece in the super+Centercourt during the course of the exhibition and allow us to participate in this very process of creation. 

Black and white lines that fling in and out of each other, centripetal and centrifugal forces, rhythms, dynamically flowing traces, both positive and negative; remnants. Between found and invented, unconscious and conscious, past and present, between original and alienated, Veronika Wenger’s works reveal a sensual insight to us.

Outlines and volumes of a woman’s body, a dancer barely recognizable – the plastic appears only as a formal quality. The physical not only determines our perception, the physical is found on the side of the perceived. The abstract drawings make it clear that the body has by no means been abolished, but (merely) the modalities of its representation have been transformed. To see Wenger’s drawings is like listening to them read aloud in another language that simultaneously evokes linear and open spatial surfaces, to put it somewhat paradoxically. Her works move between a free figuration, free from all description of the object, and a poetizing figuration of often only vaguely hinted at architectures, figures or language. The possibilities of drawing are carefully explored: linear and coloured movements, rhythmic structures, still and delicate, dynamic and rapid. But the drawings on paper, MDF and cardboard show nothing of physical reality, they are not even abstract in the sense that they are a shortage of something found, they are simply non-representational. On a monochrome ground, lines, fleeting strokes, are to be found, which stretch, cross and circle. Colour is added, but remains locally limited – which makes them all the more expressive. 

They are fragments, signs, forms, traces, letters and lines of a mental, inner world. It is the presence and absence of the trace, its appearance and disappearance, its storage and being remembered or its loss and lost absence that draws us into the spell of her works. 

The proximity of memory to writing, one of her vehicles, is obvious. Writing frees daily facts from the pull of forgetting. But at the same time it translates all primary experiences (what we see before us, what happens to us, even the shaking of love and death). Thus the works appear as a meaningful juxtaposition of chaos and straightforwardness that creates a dialogue between memories of traces, choreography, dance or performance. A cosmos of connections and references that can be found again and again in the serial works. A continuous element is the line, it separates and connects at the same time. The emotional-objective lines, whose beautiful autonomy can be addictive, frees the line from the ground or the ground from the line, and yet both are preserved. It connects the visible forms to an endless connection between inside and outside, surface and form. It reinforces a symmetry of depth dimension. Through its rhythmic division, the experience of depth, movement, the conscious and the unconscious is created, whereby the works not least gain in temporality. 

Veronika Wenger, 1967, lives and works in Munich. She studied from 1990 – 1996 at the Academy of Arts in Munich. She teaches at various academies in Germany and abroad, including Wuhan, Zurich, University of Hertfordshire, Tehran. Numerous exhibitions at home and abroad, e.g. Amsterdam, Istanbul, London, Odessa, Berlin, Istanbul Art Fair Tüyap. Further information about the artist can be found at

The super+Centercourt will be temporarily closed. However, on request and in a private setting, we offer you guided tours and discussions with the artist. If you are interested, please register via mail or by phone at 01724703315. 

The exhibition program will also be accompanied by talks, interviews and the catalogue of the same name published on the web via Facebook, Instagram and on our homepage.

Curated by Sophie-Charlotte Bombeck

opening times by appointment only 

adalbertstr. 44
80799 münchen
mobil: +49 172 470 3315

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