In 1988, KAESEBERG took part in the spectacular and message-laden exhibition ‘After Beuys’ organized by the EIGEN+ART connection, which meanwhile keeps expanding into all corners of the globe. However, the core elements of Beuys’ material-based iconography have not quite been cast off, nor has their human promise of giving energy to an increasingly cool and indifferent world been abandoned. It is in Palermo’s work that KAESEBERG recognizes the constructive and mediating function of a catalyst, which does not quite free him form such promises – but protects his intellectual property against wear and tear. Just like Palermo, he loves colour – the earthy paint on crumpled silk-paper radiates with ultramarine. Just like Palermo, he favours the aesthetic shorthand constituted by ‘basic signs’. He too keeps his distance when he feels threatened by theoretical interpretations and claims. In an interview he says in a matter-of-fact fashion: “Part of my work is not conceptual. This is what cannot be explained. It has to do with myself or with pure chance.”
To such ‘basic signs’ as the triangle, the square and the disc he adds the cross. These signs obviously carry meaning – they can be signs of warning, metaphors for energy, and media of transformation – and they serve as steppingstones to an intellectual attitude to problems (combining intuition and rationality). But these signs are also forms that organize a special aesthetics of the pictorial space. In this way, KAESEBERG alludes to the artists who inspired him (Beuys, Penck, Palermo), but remains free to speak out in his very own fashion on the multitude of sources as a historical transition phenomenon and on the crisis of the generations.

Quoted from:
Prototyp und Existenz: Palermo in Leipzig (‘Prototype and Existence: Palermo in Leipzig’), by Dr. Klaus Werner (in memoriam)
An exhibition by the sponsors of the ‘Gallery of Contemporary Art’ in collaboration with the ‘Leipzig Museum of Fine Arts’, Catalogue, Leipzig 1993