TEUN VERHEIJ: CAVITIES
1 August – 1 September 2026
Opening
Saturday, 1 August 2026
18:00–22:00
Galerie Linger
Boppstraße 2
10967 Berlin
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Galerie Linger is pleased to present "Cavities", a solo exhibition by Dutch painter Teun Verheij.
Bringing together a new body of paintings created for the exhibition, "Cavities" continues Verheij's sustained engagement with the off topographies of end times.
This exhibition marks Teun Verheij's first presentation at Galerie Linger.
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ARTIST
Teun Verheij (b. 1990, Noordwijk, the Netherlands) lives and works in Berlin. He studied Fine Art at the Royal Academy of Art (KABK) in The Hague and Painting/Printmaking at the Academy of Fine Arts Leipzig (HGB), where he graduated under Tilo Baumgärtel and Christoph Ruckhäberle.
His work has been presented in solo and group exhibitions in Germany, France and the Netherlands, Spinnerei Leipzig, Galerie Nicolas Silin (Paris), Pittlerwerke Leipzig and TRIXIE, The Hague. In 2025 he completed the Eaxo Residency in Crete.
Verheij's paintings are assembled, aloof to illustration. Fragments of architecture, landscape, shipwrecks, bones, collide, separate and recombine, giving rise to spaces that seem at once remembered and unfamiliar. They remain in a state of becoming, giving rise to a pictorial field in which meaning is continuously formed, strenghtened, and revived.
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PRESS
For press enquiries, high-resolution images or additional information, please contact:
galerielinger@gmail.com
POSTER
by Tina L Kuhl
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Thought has traversed these paintings. Elevated, still, they resemble monuments – august, enigmatic presence in the landscape. And it’s hard to have a grasp on this terrain. The madness of the sea. The giants in the fields of wheat. Or else. It’s the force we’re dealing with that will integrate its field. The vector of resemblance, then, is not a lure. It is generative. We are prompted to consider a different form of art.
Thought traversed it through and through. But this weave bears witness to a core which surpasses thinking. First, there is a mark of time; of when a certain image had appeared, and anxiety vanished. When swathes of dark disquiet fell away, leaving cave-like forms that lead to places. Look again. Again. And more. Bone and mast lie stretched ahead you.
Secondly, it is advisable to pause. Then – continue, in a slower mode. One is mindful, hopeful, place will differ, significantly, from space. Space is more a road, where wind blows. Place is more a tavern. Space has something of seafaring. And place is a lagoon. Both are necessary. Both form faces; two occluded sides of the canvases in question.
A Note: In fact, we don’t know, we can’t be sure, if the painting has no presence right behind us, as we stand before it. If it didn’t start where the head turns, on the advent of a premonition.
Thought has traversed these paintings. We didn’t witness it directly, but we see, we feel its passing. The work itself engages us. If it feels aloof, it still implicates desire in its firm development.
Take heed, then, because it’s a site of rigour. One cannot avoid it, so one must realize (under pain of nullity, of untoward expectations) the stakes on entering. The trace of thought does not coerce each new arrival, but it runs its way, regardless.
Close your eyes. Look again. A buff carpet of the rite. Which is silent, patient, and as wide as wait. It’s a desert of initial understanding. Thought traversed these paintings, and where it passed, a hollowing occurred. Those who carry the experience of the temple will examine it, no doubt. For it is where image had begun its work.
[by Pawel Jankiewicz]
