TEUN VERHEIJ: CAVITIES

TEUN VERHEIJ: CAVITIES

August 1 – September 1, 2026

Opening
Saturday, August 1, 2026
6:00 p.m.–10:00 p.m.

Galerie Linger
Boppstraße 2
10967 Berlin

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Galerie Linger is pleased to present "Cavities," a solo exhibition by Dutch painter Teun Verheij.

Bringing together a new body of paintings created for the exhibition, “Cavities” continues Verheij’s sustained engagement with the off-topographies of the end times. 

This exhibition marks Teun Verheij’s first presentation at Galerie Linger.

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ARTIST

Teun Verheij (b. 1990, Noordwijk, the Netherlands) lives and works in Berlin. He studied Fine Art at the Royal Academy of Art (KABK) in The Hague and Painting/Printmaking at the Academy of Fine Arts Leipzig (HGB), where he graduated under the guidance of Tilo Baumgärtel and Christoph Ruckhäberle.

His work has been featured in solo and group exhibitions in Germany, France, and the Netherlands, including Spinnerei Leipzig, Galerie Nicolas Silin (Paris), Pittlerwerke Leipzig, and TRIXIE in The Hague. In 2025, he completed the Eaxo Residency in Crete.

Verheij’s paintings are assembled, standing apart from illustration. Fragments of architecture, landscape, shipwrecks, and bones collide, separate, and recombine, giving rise to spaces that seem at once familiar and unfamiliar. They remain in a state of becoming, creating a pictorial field in which meaning is continuously formed, strengthened, and revived.

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PRESS

For press inquiries, high-resolution images, or additional information, please contact:

galerielinger@gmail.com


POSTER

byTina L Kuhl

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Thought has permeated these paintings. Elevated and still, they resemble monuments—an august, enigmatic presence in the landscape. And it’s hard to get a handle on this terrain. The madness of the sea. The giants in the wheat fields. Or something else. It is the force we are dealing with that will integrate its field. The vector of resemblance, then, is not a lure. It is generative. We are prompted to consider a different form of art.

Thought has permeated it completely. But this weave bears witness to a core that transcends thought. First, there is a mark of time—of when a certain image appeared, and anxiety vanished. When swathes of dark unease fell away, leaving cave-like forms that lead to places. Look again. Again. And again. Bone and mast lie stretched out before you.

Secondly, it is advisable to pause. Then—continue, at a slower pace. One is mindful, hopeful—place will differ, significantly, from space. Space is more like a road where the wind blows. Place is more like a tavern. Space has something of seafaring about it. And place is a lagoon. Both are necessary. Both form faces—two occluded sides of the canvases in question.

A Note:In fact, we don’t know—we can’t be sure—whether the painting has a presence right behind us as we stand before it. Whether it didn’t begin where the head turns, at the onset of a premonition.

Thought has traversed these paintings. We did not witness it directly, but we see and feel its passage. The work itself engages us. Even if it feels aloof, it still implicates desire in its resolute development.

Take heed, then, for this is a place of rigor. One cannot avoid it, so one must realize (on pain of nullity, of ill-fated expectations) what is at stake upon entering. The trace of thought does not coerce each new arrival, but it follows its own course, regardless.

Close your eyes. Look again. A buff carpet of the rite. Which is silent, patient, and as wide as waiting. It is a desert of initial understanding. Thought traversed these paintings, and where it passed, a hollowing occurred. Those who carry the experience of the temple will examine it, no doubt. For it is where the image began its work.

[byPawel Jankiewicz]