Text Sarah Juergel

In the intimate 18-square-meter gallery space at Leipzig’s Spinnerei, the protagonists of Oskar Rink’s exhibition Group Session gather. In this solo show, the Leipzig-based artist presents five large canvas works, each depicting chairs as single or paired portraits. On raw canvas, black and blue contours act swiftly, sketch-like and alive. Rink captures fleeting moments of the wild, idiosyncratic chairs that seem to resist being pinned down in their dynamic, rapid movement.

Rink’s compositions are both figurative and abstract, powerful yet fragile. Drawing initially with pen, the artist works with a constructive and artisanal approach: precise oil-on-canvas lines evolve into shapes that, despite their unruly taming, assertively claim their space, even beyond the frame. A wooden structure supports the canvases, merging with their stretchers. Yet, despite employing oil on canvas, this is not traditional painting. Rink blurs the lines between drawing, painting, and installation. Like her rebellious protagonists, the artist playfully challenges boundaries: defying the conventional separation of artistic disciplines with light-footed audacity.

These portraits reveal nothing about the original material or color of the chairs but instead imbue them with human traits and individuality. Crossing aesthetic boundaries, these protagonists engage with viewers, demanding attention and a deeper dialogue.

The motif of chairs and other seating furniture has appeared in Oskar Rink’s earlier works. A fan of antique furniture, she owns an impressive collection of chairs. Universally functional, the chair has long been a cultural staple, whether at the kitchen table, in the garden, the office, or as a trusted companion in therapeutic circles. As an irreplaceable friend to humanity’s need for a daily seat, a chair also serves as a silent witness to past events, bearing their memories. Taking a seat slows us down, provides rest, and offers grounding.

In contrast, the expressive chairs of Group Session exude little calm. Instead, they convey uncertainty, instability, and chaos rather than order and comfort. The tall, narrow canvases depict specific chairs owned by the artist, each tied to personal events. These personified objects are imposing but uncomfortable, their gestures occasionally threatening or overwhelming.

The relationships between these chairs are intense and uneasy. For example, two stacked chairs suggest unresolved hierarchies. Piled, tangled, and interlocked, they engage in a robust dance between play and competition. One movement follows another—they never stand still. Each chair in this self-help group seeks its place in the world.

Within this emotionally charged interplay, Oskar Rink sets the stage for the negotiation of social and emotional dynamics. Her space is both tangible and imaginary—a blend of fantasy and reality. Through these deeply personal works, the artist explores open-ended questions and invites reflection: Which chair would you choose to sit on? Where would you position yourself? And which chair best represents your own personality?