Whispering in the Noise – Quiet Assumptions: Contemporary Art in Erlangen

Event: Whispering in the Noise – Quiet Assumptions in Galerie Treppenhaus - 2. Stock, Henkestraße 91, 91052 Erlangen on 23. October 2026

Date and Time

23. October 2026 09:00

Location

Galerie Treppenhaus
Henkestraße 91, 91052 Erlangen, Germany

Price

Free

About this Event

Exhibitions & Museums

Mood

Relaxed

Venue Type

Inside

When images speak softly: Thomas R. Hoess at the Treppenhaus Gallery

Usually, images are silent. In the exhibition Whispering in the Noise – Quiet Assumptions, they nevertheless engage in a thoughtful dialogue with their audience. From September 23 to November 10, 2026, Thomas R. Hoess presents around 45 object images, collages, and sculptures at the Treppenhaus Gallery in Erlangen.

Between Object Image, Collage, and Sculpture

Thomas R. Hoess combines found objects, image fragments, and spatial elements into distinctive visual constellations. His works traverse the realms of assemblage, object art, and collage. Everyday materials are liberated from their familiar contexts and gain new, often disturbing presences within precisely composed image worlds.

The works tell, assert, pose questions, and analyze the spirit of the times. Their visual language remains concentrated and subtle. Lines, surfaces, forms, and spaces direct the observation of the works toward the seemingly trivial. From the interplay of irony, observation of time, and poetic ambiguity, quiet assumptions about life in the present emerge.

An exhibition atmosphere full of nuances

The Treppenhaus Gallery provides an unusual architectural setting for the works. In the light-flooded stairwell of the Medical Valley Center, art, movement, and everyday life intersect. As one passes by, individual details initially appear fleetingly, before a deliberate viewing reveals their narrative and often subtle effects.

Hoess works with the tension between the familiar and the alien. An object remains recognizable while also appearing enigmatic. Materials seem both concrete and mysterious, forms transcend their original functions. This aesthetic experience demands no quick solutions but rather a curious approach to material, space, and meaning.

Art Historical Context and Cultural Education

The exhibition connects to central methods of modern and contemporary object art: collecting, reinterpreting, and rearranging existing things. Like in assemblage, materials are used not only as formal elements but are also read as traces of social reality.

Observing the works opens a vivid access to questions of material aesthetics, meaning-making, and curation. What happens when an object loses its function? How does an image change once it engages with space? And what stories arise from the connection of seemingly incompatible elements? The art experience connects sensory perception with cultural education.

The artist Thomas R. Hoess

Thomas R. Hoess lives and works in Hetzles. His artistic output includes object images, assemblages, sculptures, and photographic works. The publication Lichtverlangen documents his engagement with image effects, material, and concentrated perception. Previous presentations in the Treppenhaus Gallery and other venues showcase his ability to transform everyday objects into independent visual narratives.

This exhibition also does not provide clear answers. Its 45 works initiate thought movements and leave room for irritation, memory, and personal associations. Quiet assumptions become a method of art that sharpens the gaze without confining it.

Conclusion: An art experience between silence and observation of time

Visitors can expect a concentrated, sensory, and intellectually composed exhibition. Object images, collages, and sculptures connect material, space, and societal observation into a distinctive visual language. Those wishing to not only view contemporary art but to experience it as an aesthetic experience should definitely visit Whispering in the Noise – Quiet Assumptions at the Treppenhaus Gallery live.

Official Channels of Thomas R. Hoess:

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