Some things can be left unsaid - the title of the publication as well as the first exhibition of Leipzig artist Sebastian Speckmann in Switzerland already relies on subtle irritation through fine shifts in wording: Some things should not be spoken, and some things can remain unspoken in the vein of "Talking is silver, silence is gold." Hidden or overlapped by the archaic black-and-white contrast, something irritating also creeps into the linocuts, woodcuts, and collages of the former student of Neo Rauch and Heribert C. Ottersbach. Civilizational remnants, landscapes, architecture, natural scenes, isolated people performing strange, meaningless actions - one always seems to recognize something, always with the uneasy feeling that something is off. Some things can be left unsaid showcases Speckmann's linocuts, some of which were newly produced for the exhibition, crafted with intricate cutting techniques and cross-hatching, transporting viewers to worlds where the familiar edges closer to the unreal and is eclectically blended into a fictional scenario. German industrial buildings from the 1930s might meet an Italian bell tower from San Gimignano, suggesting an image of suburban landscape between industry and village idyll. Sebastian Speckmann's works, which often occupy the entire space in large formats or installations within the exhibition context, seem to depict dystopia and utopia in a world of their own, which - as if out of time like old science fiction films - could belong to both yesterday and tomorrow. A tension in which perhaps only images can speak.