Geerk Domus Haus Basel
MASSIMODECARLO is pleased to present lautlos, the first exhibition by Lenz Geerk in Basel. On view during Art Basel 2025, lautlos brings Geerk back to his birthplace with a series of new paintings that deepen his exploration of stillness and emotional ambiguity.
Installed in the iconic Domushaus - a postwar modernist building that once housed Switzerland’s first museum for architecture - the exhibition unfolds around themes of intimacy, longing, and the gravity of endings.
The title, lautlos - German for ‘soundless’- serves as a prelude to a series of intimate, emotionally calibrated paintings where stillness becomes its own kind of presence. Each painting is anchored by a singular colour - green, red, orange - continuing Geerk’s ongoing investigation into tonal atmospheres. The rooms are sparse, the gestures minimal, the energy held rather than released.
Geerk has always been more interested in feeling than in narrative. In lautlos, he leans into that ambiguity. His figures don’t perform - they wait, they linger, they vanish. The paintings feel suspended in time, somewhere between memory and anticipation. They invite viewers into a space where nothing dramatic happens, yet everything feels on the verge.
A new series within the exhibition, titled A Lover’s Hair, centres on the near-invisible trace of a single strand of hair - held, forgotten, left behind on a bed or a stool. These small details hint at tenderness, absence, and secrecy. Geerk was drawn to the understated intensity of the motif and its narrative potential. It might be a trace left by a lover, the evidence of an affair, or even a token kept and offered in longing. They speak to the afterglow of intimacy - the way objects, gestures, and memories take on lives of their own, long after the moment has passed. In their restraint, they echo the show’s title: soundless, yet full of feeling.
An earlier work, Witnessing Death, introduces a different kind of stillness. There’s no spectacle, only presence, the act of watching something fade. Geerk’s composition is spare and controlled. What might first appear as a simple scene becomes a reflection on transience and the weight of endings. Without dramatising, the painting holds space for an experience that is both deeply personal and universally shared. It’s not about mourning but about noticing - being present in the delicate space between what remains and what is slipping away.
lautlos doesn’t seek resolution, nor does it require one. It offers something rarer: space to feel, space to stay with what’s unresolved. In the silence of these paintings, something lingers.
Artist
Lenz Geerk 于1988年出生于瑞士巴塞尔,现居住并工作于德国杜塞尔多夫。
Geerk 的绘画如同一种揭示——亲密而充满情感的场景,仿佛游离于时间之外。他的创作深受艺术史影响,却始终带有一种难以忽视的个人气息。画中的人物往往来源于梦境或白日幻想,其动作与姿态更由情感驱动,而非真实模特。
他通过微妙的身体语言构建画面——一侧倾斜的肩膀,一个停留过久的目光——这些细节虽小,却承载着无法言说的分量。他惯用柔和的色调,时而点缀温暖的色彩,使画面呈现出厚重、安静甚至稍带紧张的氛围。
Geerk 关注的不是孤独,而是一种内省的停顿。他笔下的人物与自己独处,也邀请观者停下脚步、进入同样的沉思。他的画面中常藏着一丝幽默或温柔,仿佛画作知道些什么,却不愿轻易说出。在他的绘画中,Geerk 捕捉着人类状态的本质,细致描绘心灵深处与情感的复杂性。