In his second solo exhibition, INVERTIGO, at Galerie Nothelfer, Geerten Verheus presents new sculptures and collages alongside older works and pieces that have rarely been exhibited before.

The title alludes to an "inversion of vertigo" and refers to the effect that inversion has on balance.

At the same time, INVERTIGO also refers to the inverted coaster.

Whichever way the viewer approaches, inversion runs through the artist's oeuvre as an unsettling yet alluring red thread. Through the interplay of materiality and form, objects that — at first glance — appear recognizable evoke a physically perceptible simultaneity of different perspectives. Such functional, external and, at the same time, semantic inversions are characteristic of the works of

Geerten Verheus. They often illustrate the painfully humorous twist into a different state of matter.

The works resemble optical illusions, lending the forms a quality that is by turns brittle and smooth,

or lush and wrinkled, and thus always imbuing them with novel meanings.

The sculpture DREIKREUZE (2026) stands almost impassable in the exhibition space. Finely handcrafted and carved from walnut, it is reminiscent of three "chevaux de frise" intertwined.

The tips invite close, intimate inspection, revealing themselves as fragments of the human body.

On the gallery walls hangs a new series of exquisitely delicate collages, which appear like dream images, in the final second before waking: featuring connections that seem both certain and inexplicable, and events that suddenly unfold staggered. These works, titled KEPCHUTE (2026), guide the wandering gaze across the picture plane as if on a wild rollercoaster ride.

Acting almost as a "basso continuo", three rubber floor sculptures from the series DIE GUNST DER KUFE (2026), each featuring the same evocative form on different scales, lend the exhibition a distinct, subdued undertone. Presented in this spatially alienated manner, the mystery of their origin – whether a church interior or a battlefield – remains largely unsolved

A similar material, straddling the line between stability and instability, also features in TOPSY TURVY (2013). A special wicker construction that illustrates the process of its own inversion: turned inside out, it is unclear at first glance how the exterior has turned inwards – making this relief-like object a paradigmatic example of INVERTIGO. This play on inversion is also evident in the inverted canvas forms, each of which denies its own status as front or back. The focal point of INVERTIGO is the kinetic sculpture LENGTHS (2006), which circles the faltering aristocracy of Geerten Verheus's art with a nervous composure.

Geerten Verheus (born 1965 in Amsterdam, Netherlands) studied photography and fine arts in Amsterdam and London. He has taken part in the Berlin Biennale and has held exhibitions at venues including the

Schinkel-Pavillon in Berlin, KW Berlin and the Brandenburg Kunstverein in Potsdam, as well as internationally in countries such as Iran, Peru, France and the UK. He lives and works in Berlin.