![\"126\"](\"http:\/\/www.reinisch-graz.com\/wp-content\/uploads\/126.jpg\")
<\/a>It is widely known that creativity cannot be tied to classical categories such as drawing or painting alone. The avant-gardes of the 20<\/span>th<\/span><\/sup> century fundamentally expanded the scope of art, both in terms of technique and content. Whether a drawing is done on a rock face or on a piece of wood, in chalk or ballpoint pen, is, consequentially, secondary. The cultural differences, which affect a largely globalised society, create further surprising forms of, for example, drawing and painting. Societies that traditionally do not practice panel or easel painting, such as in many parts of Africa, compensate this central and significant category of image creation through other technical genres \u2013 textile arts, body art or wall paintings, among others. <\/span><\/p>\nWhen the art gallery Reinisch Contemporary shows works by the Graz-based painter, graphic artist and sculptor Franz Yang-Mo\u010dnik alongside Moroccan Berber carpets, this may, at first glance, appear like a sales strategy. Yang-Mo\u010dnik\u2019s charcoal paintings on whitened canvas are expressive and testify to a basic existentialism, which depicts humans as struggling, suffering beings. <\/span><\/p>\n The carpets are predominantly white, with black-brown lines and plots \u2013 most are Beni Ourain or Azilal \u2013 and follow a tradition that may strike us as abstract. The bars, panels, symbols and stylised forms, however, appear abstract only to a Western perception. In the culture of their country of origin, Morocco, they are narrative. They are symbols of a comprehensive worldview and of a practical, real-life context as well as of a spiritual reality. <\/span><\/p>\n