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zeichen - setzen brings together a selection of works that conceived through experimental and exploratory ways, such as collages and sketches, point to larger context. Bernhard Rüdiger's ink on paper Rats and Pinocchio, 2006, prefigures his human size rats' silhouettes of aluminum, which are part of a complex installation. In dialogue with Machine à deux temps, 2008, a sculpture made of cherry wood, one might retrace the intermediate spheres between artistic projection and physical existence. In Diamantenlager, 2009, Cyrill Lachauer endues the image showing a mountainscape with cryptical signs and words indicating imaginary pathways and strategies.

The exhibition zeichen - setzen also includes works that consciously draw from signs well established, thereby producing contextual effects. Sammy Engramer proposes a graphic interpretation of a Schubert sonata partition. Public signs enter into Fabian Hesse's coloured collages seeming abstracts from the logbook of the artist's urban field research. Denis Stepanovic applies the words ?German Underground" in Gothic letters as subtitle to his painting of a basement situation in Berlin.

zeichen - setzen does consciously imply the question in how far a work of art can or should deliver a specific philosophy. Rather than rediscovering valid formulas and slogans, the viewer shall be inspired to start searching once again for the latent order in chaos.