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Julian Irlinger’s third solo exhibition at Galerie Thomas Schulte, Sleepwalkers, presents an animated film alongside paper sculptures and graphic works.
The animation The Curtain of Time (2025) pans through an office interior where architects and urban planners are either sleepwalking or lying asleep at their desks. While no one is working inside, cranes outside move mechanically back and forth as part of an ongoing construction project—a cityscape suspended between repetition, reinvention, erasure and preservation. Models of modernist landmarks are replaced by timber-frame structures, reflecting the shift from postwar modernism toward historical reconstruction that has shaped German cities in recent decades.
The hypnotic, rhythmic movements of certain figures and objects seem to measure time in intangible ways: in breath, in water dripping from a cooler, smoke rising from a lit cigarette, or a projector’s flickering beam.…
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Press Release
Julian Irlinger’s third solo exhibition at Galerie Thomas Schulte, Sleepwalkers, presents an animated film alongside paper sculptures and graphic works.
The animation The Curtain of Time (2025) pans through an office interior where architects and urban planners are either sleepwalking or lying asleep at their desks. While no one is working inside, cranes outside move mechanically back and forth as part of an ongoing construction project—a cityscape suspended between repetition, reinvention, erasure and preservation. Models of modernist landmarks are replaced by timber-frame structures, reflecting the shift from postwar modernism toward historical reconstruction that has shaped German cities in recent decades.
The hypnotic, rhythmic movements of certain figures and objects seem to measure time in intangible ways: in breath, in water dripping from a cooler, smoke rising from a lit cigarette, or a projector’s flickering beam.…
