this period was held at the Alexander Ochs Galleries Berlin|Beijing in Berlin. Kühnemann showed two groups of paintings in the exhibition: large scale paintings on wood from 2007–2008, alongside paintings in which the photographs are only a conceptual point of reference, falling apart into abstraction. 2014–2017: Abstraction and free association, oil and paper In the 2014 Turpentine Dreams exhibition, that was held at the Fienberg Projects gallery in Tel Aviv, Kühnemann displayed a group of paintings which were the result of his search for a new visual language. At this stage, he completely detached himself from photos and external images, and consciously attempted to paint without creating a narrative or images that might be recognized and related. "Kühnemann is seemingly undermining the visual expertise he has accumulated, and creates paintings mediating between abstraction and delusion," wrote the exhibition's curator, Yam Hameiri. "On the canvas, with many layers of paint, he creates manual, unique, naïve and sophisticated gestures that mix together to create a feeling of urgency and heat that is lacking in narrative." Following this exhibition, Kühnemann continued developing ideas around abstraction and free association, while experimenting with creating a workspace out of paper, inside of which his direct and indirect work processes were allowed to accumulate: newspapers that were used for covering the floor became pieces of art, parts of bicycles, the skin of fruit, the background music – at this point, Kühnemann chose to accumulate the by-products of his work instead of editing them out. The Heartworn Highways exhibition at CIRCLE1 gallery in Berlin served as a unifying and nurturing stage for this process. The exhibition revolved around impulses, and assembled moments of excitement and beauty. The exhibition has in fact presented Kühnemann's new work processes, which were meant to allow play and experiment with ideas of control versus surprise, discovering and interpreting the covered layers behind the paintings and in the subconscious. Topics of identity and belonging are still at the heart of his work, but at this stage, they are mediated and treated in new ways. Kühnemann takes an interest in creativity that develops precisely out of the dead-end position of routine work in the studio, and through the challenge of being productive and finding inspiration. In 2015, he was accepted to Künstlerhaus Bethanien residency program in Berlin. During his 15 months of participating in the program, he produced over 1000 A4 size works on paper.