The exclusively designed publication “History Park” brings together a large number of Christian Vetter's early paintings. Following this series of works, the artist complements his own paintings with a compilation of dozens of those pictures and small images used as models and sources of inspiration, which he has compiled from books, the press and the Internet. On the one hand, this insight into the artist's archive allows for an almost boundless expansion of our (image) horizon, while on the other hand, leafing back and forth, exciting conclusions can be drawn about Vetter's works and place them in an existing cosmos.
For some time now, Vetter has been intensively engaged with the subject of staging – both real and mental stagings. He finds the motifs for his paintings in the visual material of historical landscapes, architecture, monuments, stage sets and film sets. The deserted pictures refer to a past or possible future action. The scene to the picture, however, takes place solely in the imagination of the viewer. The pictures create an atmosphere of tense silence and disquiet.
Vetter’s art is a fundamental search for truth, which makes it its task to make contemporary history tangible through the lie, i.e. the untrue staging and pictorial typification of it. By involving us in his deserted stage situations and seducing us with the silent pathos of his longing shaped imagery, Vetter pulls us out of the darkness of the auditorium onto the world stage.