SILENCE explored the path of abstraction in art. Still waters run deep, the saying goes. There is a parallel in abstraction in general. Lying deep in our ways of perceiving the world and understanding the way of things is a great connection between the use of line, color, contrast and pattern. Artists may use bright colors and action in painting, but their analytical clearness can be as sharp as a cold blade. This clarity offers a chance to look way beyond the surface. Do you think a line is just a line? Do you strongly believe in black-and-white writing? Do you think a photorealistic painting is less an abstraction than a blue page? Do you think there was ever a first abstract painter? Does abstraction always begin with geometrical figures? Why do we remember Malewitsch’s Black Circle forever? Is a crispy black whole more magnetic than a chaotic flash of color? Do you think the universe transforms itself ultimately into unity or diversity? If you sometimes can’t see the forest for the trees this art experience of ESMoA silently gave a few hints as to how deep the empire of abstraction runs within you. Chaotic ingredients. Confrontations – for instance, the leading female French impressionist Rosa Bonheur’s painting of a forest with New Objectivity photographer Albert RengerPatzsch’s black-and-white forest – will challenge your inner priming effects in the same way that an exquisite line of boats by golden-age Dutch painter Jan van Goyen, French impressionist Edouard Manet, French Pointillist Paul Signac, and a surprising piece by American Minimalist Carl Andre does. Orchestrations of works from Wassiliy Kandinsky to Joseph Beuys, Johann-Wilhelm Preyer to Ellsworth Kelly, Piet Mondrian to Richard Serra, Wilhelm Leibl to Andy Warhol and, last but not least, contemporary artists such as Pia Fries, Ingo Meller and Rebecca Lowry presented an overview of abstraction through the light of the collection of Eva and Brian Sweeney, co- founders of ESMoA. A major floor drawing by young German artist Amely Spötzl set the pathway. Paradox disposition. If everybody looks for reasons and patterns to explain things, why do we often think that abstract art does not tell us a story? If everybody is bored with realistic reproduction, why do we keep looking at certain lines? Start Exploration. SILENCE may be boring in the century of lightening-quick Internet connections and ever-louder cries for attention, but it may also reveal some of our strongest sources of human evolution. Perhaps art with all its different uses of line and color lies at the bottom of understanding and communication. If chaos is the nutrient solution for development, the paradox could easily work as its trigger for creative thinking.