Artists

Gary Kuehn, Nicolás Lamas, Dorota Gawęda & Eglė Kulbokaitė, Michael Venezia, Lou Jaworski, Sophronia Cook

Press release

With _objects in mirror are closer than they appear_, max goelitz presents a two-part group exhibition in Berlin and Munich that explores variations, shifts, and feedback as a formal and conceptual principle. The works emerge from processes of reflection, translation, and repetition—loops in which perception, consciousness, and material mutually transform. The title is borrowed from the well-known warning on rearview mirrors, reminding us that perception and reality do not always align. Here, the quote serves as a symbol for the transience of the visible, within which material, meaning, and medium merge and where observation itself becomes a process of change. Positions from the 1960s and 70s, pivotal for the development of Process Art, enter into an open dialogue about the mutability and autonomy of the artwork. [Gary Kuehn](https://www.maxgoelitz.com/artists/29-gary-kuehn/) and [Michael Venezia](https://www.maxgoelitz.com/artists/32-michael-venezia/) represent a generation that radically interrogated and expanded the language of abstraction—balancing formal rigor with procedural openness. In contrast stand the younger artists [Lou Jaworski](https://www.maxgoelitz.com/artists/51-lou-jaworski/), [Sophronia Cook](https://www.maxgoelitz.com/artists/76-sophronia-cook/), [Dorota Gawęda & Eglė Kulbokaitė](https://www.maxgoelitz.com/artists/75-dorota-gaweda-and-egle-kulbokaite/), and [Nicolás Lamas](https://www.maxgoelitz.com/artists/69-nicolas-lamas/). Their works intertwine material, body, language, and technology, opening new fields between physical presence and digital projection. The exhibitions are linked by a common exhibition architecture of stainless steel panels, where light, movement, color, and space are refracted and subtly mirrored. In these reflection spaces, the artists negotiate the ongoing process of shifting perception and meaning. Gestures, narratives, and temporalities overlap within the works, and their duplications and deformations reveal multifaceted references between body, material, and space. Thus, two exhibitions emerge, showing historical approaches of process and reduction meeting contemporary strategies of boundary dissolution, hybrid materiality, and digital mutability.