Something Old, Something New, Something Borrowed at VAN HORN: Experience material and space anew


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A dialogue of line, material, and memory
With Something Old, Something New, Something Borrowed, VAN HORN in Düsseldorf opens an exhibition that presents two artistic positions in a surprisingly precise resonance space. Pip Culbert and Gerhard Hoehme meet here not as opposites, but as related seekers: Both free materials from their original context and transform them into open image and spatial structures.
Material as Language
Pip Culbert works with shirts, bags, fabrics, and textiles. What began functionally becomes for her a sensitive drawing in space, a reduced form of sculpture and installation. Seams, edges, and cutouts stand out and make visible how closely everyday objects, bodies, and memories are connected. Her works open a quiet, concentrated exhibition atmosphere, where emptiness becomes as meaningful as form.
Gerhard Hoehme and the Expansion of the Picture Space
Gerhard Hoehme is one of the defining figures of post-war German art and Informel. His works transcend the boundaries of painting as he allows threads, hoses, lines, and drawing elements to extend into space. The picture is not considered a closed surface, but as an energetic field that includes the viewer. This attitude gives the exhibition a special art history: Here, it becomes visible how radically Hoehme has redefined the relationship between surface, object, and space.
Between Deconstructing and Reordering
The connection between both artists lies in the precise gesture of changing. Culbert reduces textile objects to their supporting structures, Hoehme expands painting into an open spatial structure. Both work with lines that do not delineate but connect. This creates an art experience that makes viewing the work an experiential thought movement: The old does not disappear but appears in new form, carried by traces, tension, and aesthetic experience.
A Visit with a View on Art History and the Present
The exhibition is more than a mere juxtaposition. It reads as a clever curatorial setting across generations, different cultural contexts, and the ongoing relevance of reduction, materiality, and spatial effect. Especially in the interplay of textile, drawing, painting, and object, the artistic openness unfolds that fascinates art lovers equally in contemporary and historical positions.
Visitors to this exhibition experience a precisely staged encounter with two artists who create something radically their own from what is present. Something Old, Something New, Something Borrowed promises quiet intensity, art historical depth, and impressive spatial effect. A visit to VAN HORN is absolutely worthwhile, as this exhibition rewards attentive viewing with a rare formal clarity.
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