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New abstract works by Benjamin Badock on view at Parrotta
Benjamin Badock, »OFA-Flagger Ahead 07s« 2013. Relief print on magazine paper, 43 x 27 cm.

STUTTGART.- In newsrooms, the control and distributing centres of news agencies, incoming messages are collected, filtered and edited for different transmissions, before rushing back to the continuously ongoing stream of messages to generate brief moments of attention.

The new abstract works by Benjamin Badock refer to these spaces, their structures and processes that take place therein. Benjamin Badock covers daily newspapers by countless layers of paint. Usually without pre-machined plates, just by folding and partially laying the paper on the printing block, the works of the series OFA are made under a meticulous folding and printing process. The newspaper reports disappear almost completely or partially appear in some "color-free" points. New and visible is what the artist adds to the paper; color, fractures, folds.

The process of their production between folding, printing, folding again etc. formally pictures a series of new works caused by this procedure that seems to be frozen at a certain point. This creates luminous three-dimensional, only approximately geometrical, filigreed paper structures.

In addition to media-reflexive considerations, the works of Benjamin Badock pervade the poetry of everyday life, which is dedicated to the reduction. This is especially evident in his "module series". Known by previous exhibitions at Galerie Parrotta and Museum of Art Spendhaus Reutlingen Badock creates here images between geometrical abstraction and striking realism in the formal language of concrete art, with print modules such as square, triangle and circle segment.

Benjamin Badock develops an abstract world of simultaneity, where surface and depth, past and present, old and new, front and back come to rest side by side, without levelling their differences.

With NEWSROOM Gallery Parrotta presents current works of Benjamin Badock, the "rising young star of Printmaking in Germany" (Christian Rümelin in: Print Quarterly, XXX, 2013, 2, pp. 218-219).

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