The individual components of the objects are mostly geometric shapes such as rectangles, diamonds and ellipses, which are translated into three-dimensional space and then tilted, laid, hung on one another or pushed into one another. Basic physical bodies such as cylinders and pyramids validate this new spatiality of the actually two-dimensional geometries. Even lines are given a third dimension and thus become poles or scaffolding. Shadows, color gradients and horizons open up spaces in the depth of the image, which in their reduced color appearance suggest virtual, computer-generated scenographies, evoke cyberspace, and appear like projections or backlighting. The technical, artificial-looking tint of the room reinforces the clear colors of the objects in the foreground. Some also seem to be illuminated by invisible light sources outside the boundaries of the image, which is shown in sharply contoured shadows and corresponding spots of light. The color and materiality of the object elements also have something technical about them. Semi-transparent and opaque, neon-colored and metallic, polychrome and monochrome surfaces reflect the light and direct the gaze, always keeping it in motion along the constructed lines.

The conceptual starting point for Genti Korini is the eclectic post-communist architecture of his hometown of Tirana. There, the seemingly endless stylistic possibilities of the new creative design scope are explored with a great deal of individualistic motivation, which regularly produces very unusual results. This architecture explores and stretches the boundaries of the imaginable. The special visual character of its surroundings as a visible sign of systemic and cultural change is the source of a diverse vocabulary of colors and shapes. It is a rich source of components and materials that the artist digitally abstracts on the computer and incorporates into his own image constructions. On the basis of the objective calculations of the computer, he then creates the medium to large-format oil paintings, which he develops even more in his subjective style compared to the digital sketches. The painted objects are technically calculated and could therefore theoretically be spatially realizable, but in real space they elude practical realization due to physical conditions such as gravity, mass and weight.

The title of the exhibition, ›Speculations / Simulations‹, is also an indicator of the purely theoretical physicality of the objects and the space in which they are located: they speculate about space, they simulate architecture. Both speculation and simulation are theoretical, pre-practical processes that are still open to results, but work within a given framework and with existing elements. Genti Korini's artistic concept is based on the three levels that build on each other: architecture, computer and painting, which he seamlessly combines to playfully explore the infinite possibilities of postmodernism and the present. In his abstract constructions, he splits a multifaceted cityscape into many individual parts, reassembles them digitally and finally reconstructs them in painted form. These surreal architectural objects are both a commentary and a homage. - Kristina von Bülow