There are exhibitions that highlight their commonalities. This is not one of them. The works gathered here differ in almost every respect: in their visual language, their materials, their art-historical references, and their strategies of seeing. Precisely for this reason, they form a remarkably precise picture of the present. For our time is not characterized by unity, but by simultaneity. Different realities, attitudes, and forms of perception exist side by side, overlap, and influence one another.

The works of Tobias Degel, Trisha Kanellopoulos, Christine Loew, Tobi Olsen, and Brigitte Puschmann exemplify this diversity. Each piece has a distinctive style; at first glance, each seems clearly legible and rooted in a specific tradition. Yet this is precisely where the temptation lies to assume too quickly that one has already understood what one is seeing.

“Too Early for Certainty” therefore focuses less on the works themselves and more on our perception of them. The exhibition suggests that we should not confuse initial orientation with understanding. It invites us to look beyond the familiar categories of figuration and abstraction, gesture and system, material and sign, and to perceive the relationships that emerge between the works. It is only in their interplay that the works reveal their true power—not because they tell the same story, but because together they make visible just how multifaceted reality has become.

Perhaps that is why this exhibition also says something about our present. The world seems at once familiar and foreign, manageable and infinitely complex. The works in this exhibition respond to this not with explanations, but with attentiveness. They remind us that reality is not a fixed state, but something that is constantly being reconstituted. This is precisely where their relevance lies—and perhaps also their hope.