Since emergence of digital imagery, the grid has functioned as both organizing principle and boundary. True Grid brings this underlying structure to the foreground as an object of transformation and intervention, while the title itself questions this concept: an absolute, pure grid does not exist. Its tension arises precisely from instability, when established coordinates shift and structure inevitably moves toward dissolution. In this exhibition, six artists engage with this instability in fundamentally different ways.

In Gyula Sági’s work op261125 and op200126, the grid’s underlying pattern serve as a core variable within a rigorous procedural logic: treating mark-making as a time-based operation, his serial ink applications produce subtle but systematic deviations. These “controlled errors” function as an indexical record of duration (durée) within a rule-governed structure.

Harriet Groß, by contrast, actively distorts those constraints. Her cushioned aluminum objects present grid structures that imply stability, yet an overlying layer of painted metal mesh transforms fixity into flux. With the viewer’s shifting position, these superimpositions suspend the grid in continuous oscillation, producing a fluid structure open to multiple interpretations—maintaining the grid in a positive state of flux that echos the philosophy of Michel Serres.

For Robert Czolkoß and Tula Plumi, the grid appears not as predetermined pattern but as structural trace, which serves as a starting point rather than a structuring principle. Robert Czolkoß’s practice questions socially relevant structures and familiar orders. He understands art not as spectacle but as a process that raises questions. Working hands presents product photographs in systematic grid arrangement. The images isolate hands engaged with tools and materials, whereby commercial imagery is recontextualized as archive of labor gestures. The photographs remain open to continuous reframing rather than fixed documentation. Prototype (modular object) constructs a modular structure with variable materials, referencing the brutalist facades of socialist architecture ubiquitous in the former GDR where Czolkoß was born. The work is conceived not as finished object but as prototype for something still emerging. Through these works, Czolkoß avoids repetitive reproduction, opening spaces for development and the unexpected.

Plumi reconfigures elements from domestic objects. In Reds, linear elements pierce transparent surfaces with red hand-drawn marks and bind them to metal supports. Artist thus animates inorganic materials into networks suggesting organic growth. Nightscape presents a dual-sided landscape topography. One side simulates a landscape, blurring interior and exterior, while the reverse maintains the material’s repetitive logic to form flat planes that recall material’s former functional state and natural tendencies. Her works questions where spatial potential emerges: in the repetitive structure’s original function or in the intervals their reconfiguration generates.

Jens Becker investigates the promise of order through the reconfiguration of found materials and used everyday objects. In for travelers he layers and shifts these elements into apparatuses that appear functional but offer no structural stability. Within these frameworks, the illusion of utility gives way to latent physical tensions. His video work distortion transform this material tension into light and rhythm, shifting physical structure into immaterial fields.

DAG builds paintings from geometric elements: triangle, square, circle and line, Influenced by Malevich and Kandinsky. In the presented works, dense networks of colored lines intersect and disrupt one another. Organic forms emerge within geometric structures. The grid is reduced pictorially or appears only as a suggestion, shifting from a definitive organizing principle to a visual residue.

Despite what the title “True Grid” implies, a pure paradigm serves only as conceptual precondition. Across these six practices, the grid’s tension emerges not from the structure itself, but from the moment this order begins to loosen.