der feine unterschied: nicht vergessen/unvergessen 2015

Curator: We're now in front of Malte Sonnenfeld's 2015 piece, "der feine unterschied: nicht vergessen/unvergessen." It’s a mixed-media work employing acrylic paint and stencils. Quite striking, isn’t it? Editor: Indeed. The immediate effect is one of fractured elegance—the layering and graffiti elements clash intriguingly with the poised portrait. The tension in this work is palpable. Curator: Absolutely. Observe the interplay between the stenciled portrait and the seemingly random, abstract background. Sonnenfeld deliberately juxtaposes recognizable figuration with gestural abstraction, typical of the Neo-Expressionist movement. What statements could this be trying to produce with its elements? Editor: Well, the title itself gives us a clue: "the subtle difference: not forgotten/unforgotten." The techniques he employs point toward accessibility—stencil work brings connotations of mass production and urban art, demystifying traditional portraiture and the subject's assumed status. Curator: The hand rendered with a grayscale stencil hovering above introduces another layer of semiotic richness. It acts almost as a disembodied memory, a gesture of acknowledgement or perhaps a warning, looming over the composed figure below. What do you see reflected in that formal dynamic? Editor: The layering creates a narrative—it emphasizes how history and memory (represented by the hand and abstract elements) interact with identity. Perhaps this "fine difference" lies in understanding how social narratives shape individual perception. Curator: Notice also how Sonnenfeld leaves visible traces of his process: the drips, the layering of paint. These aren’t concealed, but celebrated as part of the artwork's identity. Editor: Yes, that emphasis on process reflects an honest engagement with the making of art itself, emphasizing the labor and intentionality that goes into producing this layered effect. It also invites the viewer to engage in the dialogue, rather than simply passively observing a finished object. Curator: It really opens up a space for pondering memory and material practice. Editor: A powerful work that asks us to consider what and how we commemorate.