David Ostrowski
So kalt kann es nicht sein / It can´t be that cold
Sprüth Magers and Verlag der Buchhandlung Walther und Franz König

David Ostrowski is known for a reduced but complex formal expression and his minimalistic abstract canvases in white or black. The artist's most recent works mark his systematic approach to another "non-color" – a conventional, commercial gray. In this new group of works, Ostrowski repeatedly paints over the primarily small-format works while exposing isolated forms, highlighting them or adding to them. A process that is also reflected in the dating of his works, some of which indicate different years of creation (e.g. 2008/2020 or 2005/2021).

Ostrowski combines the titles of the new works from his typical F and names of well-known popular musicians, such as F (Faith Hill) and F (Chris Isaak). Authors of an eminently accessible music that surrounds us in everyday life – including the artist who listens to it on CD in his studio.⁠
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The catalog with texts by Fabian Schöneich and Oliver Tepel takes readers through our exhibition It can't be that cold and close to Ostrowski's work.

David Ostrowski
So kalt kann es nicht sein/It can't be that cold
March 3–April 10, 2021
Berlin

It can’t be that cold is David Ostrowski’s first solo exhibition at the Berlin gallery. The artist’s most recent works show a further mining of painterly codes and non-motif, though they also mark his first systematic approach to the color gray. In an echo of his earlier white as well as black works, Ostrowski pursues the idea of total reduction and a deliberate break with painterly traditions and precepts. Once again he strives for the “zero point” of painting, fully cognizant of the fact that any attempt is bound to fail.

David Ostrowski
The Thin Red Line
November 28, 2018–January 19, 2019
London

The Thin Red Line is David Ostrowski’s very first solo show with Sprüth Magers in London, for which he has developed a new body of paintings and materials that serve as a meditation on the colour red.

The series was begun earlier this year as part of a new red phase in Ostrowski’s practice, which has focused previously on minimal interventions of blue spray paint and applied elements on largely white or neutral canvases. The colour red had appeared in Ostrowski’s work as early as 2009, but it has taken nearly ten years for him to return to the colour exclusively.

Michail Pirgelis, David Ostrowski
Nothing Happened
November 15–December 23, 2016
Los Angeles

Art knows no zero point. It has no concept of an outside place, no indefinite expression; it is impossible to represent 'nothing'. French cultural theorist Roland Barthes was the first to point this out. According to Barthes, every work carries with it the illusions of the culture in which it was made. The mesh of everyday myths is unavoidable; art history’s thicket of codes impenetrable. But for all its impossibility, the desire for this kind of zero point, the yearning to see without codes and connotations, remains essential. We all long for it. Astonishingly, the works of young Cologne artists Michail Pirgelis and David Ostrowski diligently strive toward this precise way of seeing.