Max Geisler Tipping Point
July 5 – August 16, 2025

Opening: Friday, July 4, 6–9 pm
Artist Talk: Thursday, July 10, 7 pm
📍 Mountains, Rosa-Luxemburg-Platz, Weydingerstr. 6, 10178 Berlin

DE Pressemitteilung
EN press release

Galerie Mountains is pleased to announce Tipping Point, the new solo exhibition by Berlin-based artist Max Geisler. This is Geisler’s third solo show at Mountains, following Collapse (2021) and Angetäuschte Isolationsübung (2020).

In his new exhibition Tipping Point, Max Geisler presents a multifaceted body of work that moves between painting, sculpture, and installation. The starting point is a large-scale, site-specific installation: a deformed party tent made of steel pipes and PVC tarps spans the space, acting both as a sculptural element and a conceptual framework. It becomes a resonance chamber for Geisler’s exploration of painting as a spatial, corporeal, and psychological experience.

The canvas paintings are created on meticulously prepared surfaces, where gesso and varnish are applied and sanded in elaborate processes. These are followed by layers of acrylic paint applied so fluidly that watercolor-like effects emerge in places. In other areas, the artist intervenes within a brief time frame while the paint is still wet, removing paint to reveal the white ground beneath—creating a porous, breathing depth in the image.

A special role is played by wall works that blur the lines between painting and installation: PVC panels stretched over stretcher frames—sourced from the ‘windows’ of the party tent—mimic the format and depth of the canvases. Installed alongside the paintings in a continuous, ribbon-like sequence with only two deliberate interruptions, these panels suggest a readable sequence, a continuum of painting that also engages with physical space and its perception.

Tipping Point marks a turning point in Geisler’s practice: while earlier works—including large-scale drywall installations and tent pieces—emphasized the expansion of painting into architectural and spatial realms, the artist now appears to adopt a more reflective, analytical stance. The return to canvas is not a retreat, but an expression of an expanded understanding of image-making—where material, body, space, and memory are inextricably linked.

A subjective dimension also permeates the exhibition: Geisler describes Tipping Point as his most personal show to date. During the creative process, he revisited places from his youth in the Hessian countryside—a biographical terrain associated with feelings of confinement and limitation. The party tent, with its possibly murky, blurred plastic windows, becomes a symbolic space of detachment and overwhelm: a place where the outside world dissolves, and the inside becomes a site of collective self-assurance.

Thus, Tipping Point is not only an exploration of painting as a medium but also a meditation on origin, perception, and social belonging.

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