BIJANKA BACIC
THE WANDERING DOT

KÖNIG GALERIE
ALEXANDRINENSTRASSE 118–121, 10969 BERLIN

16 JANUARY – 5 APRIL 2026

OPENING
15 JANUARY 2026 | 6 – 8 PM

KÖNIG GALERIE is pleased to present THE WANDERING DOT, a solo exhibition by London-based artist Bijanka Bacic, on view in the Chapel of St. Agnes. The exhibition brings together a new body of works that examine the mark as a living, active element, one that produces meaning through movement rather than fixed representation.

Bacic’s process unfolds through a sequence of translations. Each work begins with a film photograph that serves as an anchor to the external world. These images are then reinterpreted in small gouache drawings where contours soften and color fields shift. When brought onto canvas, the image undergoes a further transformation as stripes of oil paint are introduced, crossing the surface in alternating rhythms that conceal, reveal, and redirect attention. Through these interventions, the initial scene steadily gives way to an exploration of gesture, structure, and material presence.

Bijanka Bacic, THE FALL, 2025

Across the paintings, lines wander and drift. Dense accumulations open into spare passages. Marks appear, dissolve, and reassert themselves, creating a field shaped not by stable forms but by forces in motion. In this environment, the wandering dot becomes both a visual trace and an unfolding event. Here the hand finds purpose through movement, negotiating pressure, resistance, light, and time.

Ideas from Paul Klee’s reflections on the active line resonate throughout the exhibition. The simple action of a point moving forward becomes a way for form to emerge through gesture. Bacic extends this principle into her own vocabulary, allowing each mark to shift direction, weave between layers, pause, or deviate in response to the painting as it develops. Structure arises from motion rather than prescription.

The works invite viewers into an experience of oscillation. Images hover between recognition and dissolution, intention and chance, figure and field. Rather than delivering a single reading, the exhibition opens a space where gesture, surface, and temporality interact. Meaning emerges through the encounter between viewer and mark.

THE WANDERING DOT proposes a way of thinking about painting as a form of inscription shaped by movement and material resistance. In treating the mark as both agent and event, Bacic reveals the conditions through which thought takes shape in matter, offering a contemporary perspective on the evolving language of abstraction.