Memento 2010-06-04 - 2010-07-10
Daniel Hourdé
Without title
mixed media drawing, 180cm*146cm, 2002

01

Nicolas Spinosa
Estruvo: uno
Mixed Media on canvas, 95cmx100cm, 2007

04

Nicolas Spinosa
Estruvo: Siete
Mixed Media on canvas, 95cmx100cm, 2008

07

Robert Flynt
spinal
 unique inkjet print on vellum/ found book page 25cm*16cm, 2010

02

Gerhard Hintermann aus der Serie
Jims Welt
Fine Art Print auf Büttenpapier, 78cm*110cm, 2010
Ed. 1/5, signiert verso

05

Gerhard Hintermann aus der Serie
Jims Welt Portrait  Karlheinz Weinberger
Fine Art Print auf Büttenpapier, 42cm*60cm, 2010
Ed. 1/5, signiert verso

08

Robert Flynt & Nicolas Spinosa
untitled / sin nombre 
aus der Serie [:tandem]
unique inkjet print with mixed media, 42cm*30cm, 2010

03

Zachari Logan
Sebastian 2
Pencildrawing on paper,2009

06

Robert Flynt
3 skulls
light-jet chromogenic photo 16x20” ed. 1/5, 2010
 signiert verso

09

01

Daniel Hourdé
Without title
mixed media drawing, 180cm*146cm, 2002

02

Robert Flynt
spinal
unique inkjet print on vellum/ found book page 25cm*16cm, 2010

03

Robert Flynt & Nicolas Spinosa
untitled / sin nombre
aus der Serie [:tandem]
unique inkjet print with mixed media, 42cm*30cm, 2010

04

Nicolas Spinosa
Estruvo: uno
Mixed Media on canvas, 95cmx100cm, 2007

05

Gerhard Hintermann aus der Serie
Jims Welt
Fine Art Print auf Büttenpapier, 78cm*110cm, 2010
Ed. 1/5, signiert verso

06

Zachari Logan
Sebastian 2
Pencildrawing on paper,2009

07

Nicolas Spinosa
Estruvo: Siete
Mixed Media on canvas, 95cmx100cm, 2008

08

Gerhard Hintermann aus der Serie
Jims Welt Portrait Karlheinz Weinberger
Fine Art Print auf Büttenpapier, 42cm*60cm, 2010
Ed. 1/5, signiert verso

09

Robert Flynt
3 skulls
light-jet chromogenic photo 16x20” ed. 1/5, 2010
signiert verso

Memento

Robert Flynt, Gerhard Hintermann, Daniel Hourdé, Zachari Logan,
Gio Black Peter, Nicolas Spinosa

Exhibition Dates: 05.06.-10.07.2010
Opening Reception: 04.06.10 from 8-11 pm

The current exhibition is focussing on the body between life and death and is asking the question which traces are left behind after death and how visiual art can capture this.
One example can be seen in the mixed media installation from the sculpturer Daniel Hourdé in which a lifeseize pencildrawing of a male couple is underlayered with real linen.(180cm*146cm, 2002).

In his installation «Jims world» Gerhard Hintermann is giving a hommage to the Swiss photographer Karlheinz Weinberger (1921–2006), Photographer for the legendary gay magazine “Der Kreis”.
Weinberger led during the 50's and 60's, typical for those times a double life. Working daytime in a warehouse and in his sparetime, making erotically charged pictures of Beatniks, Rockers and men with tattoos.
From 2001 till 2006, Gerhard Hintermann attended Karlheinz Weinberger, his mentor and friend. During this time he also organized Weinbergers extensive archive.
Photos taken in Weinbergers home, shortly after his death, reflect his bourgois life mixed with the Beatnik lifestyle cult. Next to a sofa with crocheted covers, cherub figurines and a standard-lamp, attributes of bourgois „Gemütlichkeit“, hang the emblems of motorcycle clubs – mismatched worlds. The typical conflicts of gay men throughout the Post War aera.
Large-sized colour photos printed on vat paper stand for a posthume portrait and are also an allegorie for life as a gay in the 20th century. The photos are supplemented with a slide-show, with pictures which so far have not been on view.

The artists Robert Flynt and Nicolas Spinosa shared strong interest in the performative act in relation to the making of visual art, with an intensive focus on the body and its re-presentation.
Their initial meeting consisted of three intensive photo shoots built around Spinosa’s practice: initially he served as a model for Flynt’s idiosynchratic shooting technique: tracing the body with flashlights in a completely dark room over relatively long exposure periods. Then Flynt traced Spinosa during the “performing” of his painting creations, following the body as it was painting, imprinted, traced and drawn on large sheets of paper on the studio floor. Additional shooting with completed earlier paintings on both the walls and floor of the studio created additional imagery, and Spinosa was also actively engaged in the making of the photographs through drawing with light (via other flashlights), as well as through conventional mark making.
Flynt subsequently edited the photographic images, using many for his own work, often layered or sequenced with found imagery. The modified digital files were emailed to Spinosa, who had them printed out as light-jet prints and then further drew and painted on these already collaborative images: the [:tandem] series.
The final products are naturally unique images, neither entirely photographs nor paintings, the result of a multifaceted “conversation” between the two artists, where the line between one individual’s aesthetic and the other’s has become almost completely blurred.

Werkstattgalerie
Eisenacher Str. 6
10777 Berlin
Germany

Near Nollendorfplatz U1-U4, Bus 179

Web: www.werkstattgalerie.org
Email: info@werkstattgalerie.org
Phone: +49.30.21002158

Open: Tu-Fr 12-19h, Sa 12-18h


ter Hell : Movement Motion 2010-05-05 - 2010-05-28
Formation
Acryl, Spray,
200cm*190cm, 2010

01

Germany I
Acryl, Spray, 
150cm*160cm, 2009

04

Revolutionäre Energie
Acryl, Spray, 
Druckinstallation, 100cm*65cm, 2009

07

Holon
Acryl, Spray,
200cm*190cm, 2010

02

Germany II
Acryl, Spray,
163cm*111cm, 2009

05

Organisierte Rev. Energie ist Key
Acryl, 180cm*250cm, 2009

08

Multivision II
Acryl, Spray,
210cm*200cm, 2004

03

Germany III
Acryl, Spray,
200cm*220cm, 2009

06

Movement Motion
Acryl, Spray, 
Druckinstallation, 100cm*65cm, 2010

09

01

Formation
Acryl, Spray,
200cm*190cm, 2010

02

Holon
Acryl, Spray,
200cm*190cm, 2010

03

Multivision II
Acryl, Spray,
210cm*200cm, 2004

04

Germany I
Acryl, Spray,
150cm*160cm, 2009

05

Germany II
Acryl, Spray,
163cm*111cm, 2009

06

Germany III
Acryl, Spray,
200cm*220cm, 2009

07

Revolutionäre Energie
Acryl, Spray,
Druckinstallation, 100cm*65cm, 2009

08

Organisierte Rev. Energie ist Key
Acryl, 180cm*250cm, 2009

09

Movement Motion
Acryl, Spray,
Druckinstallation, 100cm*65cm, 2010

ter Hell : Movement Motion

Vernissage: Mittwoch, 05.Mai 2010 ab 20 Uhr
Ausstellung: 06.05.-28.05.2010

Die Ausstellung “ter Hell: Movement Motion” konzentriert sich auf das jüngste Schaffen des Künstlers ter Hell .

ter Hell's ungegenständliche Malerei hat Abstraktion von Farbräumen, Systematisierungen, Zeichen- und Schriftstrukturen zum Gegenstand.
In seiner Bildsprache postuliert er eine Veränderung von Bewusstseinsstrukturen, von Auflösung hin zum energetischen Verständnis und zur „Collage-Identity“.

Ausgangspunkt seiner Malerei sind präzise gesellschaftstheoretische Analysen, die uns die komplexen Wechselwirkungen zwischen Individuen und Gesellschaft verdeutlichen.
Als wesentliche Kraft dieser Wechselwirkung definiert ter Hell „X“, die organisierte revolutionäre Energie. Diese ist notwendig, um im Spannungsfeld widerstreitender egoistischer Einzel- und Gruppeninteressen ein neues Bewusstsein von Identität, der Collage-Identity zu entwickeln.

Werkstattgalerie
Eisenacher Str. 6
10777 Berlin

Tel.: +49.30.21002158

Nähe Nollendorfplatz: U1-U4, Bus M19
Öffnungszeiten: Di-Fr 12-20h, Sa 12-18h


OPTIMISTIC AMERICAN DISCORDS 2010-03-19 - 2010-04-16
Grant Vetter
Lacerate
oil on canvas over panel,
80cm*70cm*8cm, 2009

01

Grant Vetter
Marred
oil on canvas over panel,
100cm*80cm*8cm, 2009

04

Jon Barwick
Overload
102cm*102cm, 2009

07

Elizabeth Ferry
#\\\ and #\\\
184cm*92cm*4cm, mixed material arrangement, 2010

10

Roni Feldman
Blackfield
acrylic airbrushed on canvas, 
91cm*61cm, 2009

02

Casey Vogt
Against the Grain
House paint, collage, envirotex/panel, 61cm* 61cm, 2008

05

Jon Barwick
Overloading
102cm*102cm, 2009

08

Elizabeth Ferry
 ((((
 2cm*92 cm, mixed material arrangement, 2010

11

Roni Feldman
Lucent Embrace
acrylic airbrushed on canvas, 
91cm*61cm, 2009

03

Casey Vogt
Billy the Kid
House paint, collage, envirotex/panel, 61cm* 61cm, 2009

06

Ryan Peter Miller
Paint Stacked and Framed (Black)
cast acrylic paint, 23cm x 23cm x 15cm, 2009

09

01

Grant Vetter
Lacerate
oil on canvas over panel,
80cm*70cm*8cm, 2009

02

Roni Feldman
Blackfield
acrylic airbrushed on canvas,
91cm*61cm, 2009

03

Roni Feldman
Lucent Embrace
acrylic airbrushed on canvas,
91cm*61cm, 2009

04

Grant Vetter
Marred
oil on canvas over panel,
100cm*80cm*8cm, 2009

05

Casey Vogt
Against the Grain
House paint, collage, envirotex/panel, 61cm* 61cm, 2008

06

Casey Vogt
Billy the Kid
House paint, collage, envirotex/panel, 61cm* 61cm, 2009

07

Jon Barwick
Overload
102cm*102cm, 2009

08

Jon Barwick
Overloading
102cm*102cm, 2009

09

Ryan Peter Miller
Paint Stacked and Framed (Black)
cast acrylic paint, 23cm x 23cm x 15cm, 2009

10

Elizabeth Ferry
#\\\ and #\\\
184cm*92cm*4cm, mixed material arrangement, 2010

11

Elizabeth Ferry
((((
2cm*92 cm, mixed material arrangement, 2010

curated by Edward Lucie-Smith and Roni Feldman
19th March-16th April 2010

Opening Reception: Friday 19th March 2010 at 8 pm

BERLIN COLLECTIVE presents Artist Talks moderated by Marc Glöde and Sophie Eliot Sunday 21st March 2010 at 5 pm

Jon Barwick, Roni Feldman, Elizabeth Ferry, Ryan Peter Miller, Grant Vetter, Casey Vogt

The six young American artists in this show have formed a group that they have named ‘Cacophonic’. Forming groups is, of course, the traditional way in which young artists band together in order to get a hearing. Think, for example, of the Futurists at the start of the 20th century and of the Surrealists who followed them. Roni Feldman, a member of the group and my co-curator, says that their work is a reaction to a decade that began with planes crashing into the World Trade Center in New York, and ended with an equally resounding economic crash – a period of “complexity and dissonance, marked by a clamorous rise in technology, especially the technology of information, as well as by wars and other forms of disaster.” He and his colleagues engage with a world of conflicting values, in the visual arts as well as in politics, and welcome the uproar that results. “We are wary of didacticism.” He says, “and recognize that a work of art is, first and foremost, a unique sensory experience. The balance between content and physical presence in our work reflects an enduring optimism in the face of the odds that we believe is typical of our generation of American artists.”

Jon Barwick constructs mixed-media paintings that acknowledge the hyper-paced, technology-driven, media-saturated society of the Twenty-First Century. The multi-layered compositions reflect the complexities of the information age, and capture the singular moment of everything happening at once. Imagery for these works originate as drawings and doodles but are scanned, photographed, printed, or redrawn before reaching the final composition. By maintaining a dialogue between the hand-drawn and computer-generated, Barwick creates visual metaphors for our day-to-day interaction with technology. The resultant fields of color and imagery are at once beautiful and overwhelming. They present a sublimation of information.

Roni Feldman applies the blurred, ethereal nature of airbrushed acrylic to paint multitudinous human features. He forms tensions between individual and crowd, abstraction and representation. Using varying degrees of matte and gloss black paint, the imagery may be invisible at first glance, but as viewers pass before them, the figures refract revealing an elaborate composition. In them, whirls of figures celebrate, mourn, protest, consume, dance, and embrace alongside others that drown, burn, and dissolve. Feldman’s crowds evoke the power and ecstasy of unified intention alongside a potential descent into mob mentality. The compositions recall the idealistic pursuit of 1960's psychedelia, van murals, and other airbrush art forms, but in Feldman’s work, airbrushed paint is like a thin veil that separates utopia and dystopia, civilization and chaos.

Elizabeth Ferry blurs the edges between the corporeal and ethereal. Ranging from simple grids to elaborate stacks of folded fabric, Ferry composes color and form into rhythms that perpetually, illusionistically reconfigure themselves. Through carefully cued light and site sensitivity, they shift from mundane materials to enigmatically charged visual sensations. For example, at first glance Ferry’s grids appear as formal white structures set upon a wall painted with bright colors. However, a move from side to side reveals that the edges of the structure are painted with discordant dashes of fluorescent hues that refract upon the wall. Subverting the fast pace of everyday transactions between people, places, and information, Ferry applies abstraction and illusion to offer moments of sensitive reflection.

Ryan Peter Miller uses paint as both his material and subject. Each of Miller’s works expresses an inventive application of paint. In one work, he applies paint as multitudinous stacked units in a tower. In another work he casts acrylic paint as puzzle pieces. In a third piece, Miller casts a full body self portrait in white acrylic paint. For Miller, paint is raw material, loaded with turgid historical significance, that can be grouped and restructured into non-traditional supports. Miller calls painting a democratic process, reflective and responsive to history and culture, but with endless potential for evolution and re-contextualization.

Grant Vetter’s Rendition paintings are slathered with sinewy gobs of fleshy hues. The works effect the transcendent painterliness of Abstract Expressionism, but also the corporeal gore and almost forensic examination of mutilated skin. The word “rendition” implies a subjective experience or recollection, but is also defined as “deportation for war crimes” and “torture by proxy.” Although Abstract expressionism was often seen as a symbol of democratic freedom and individual expression, Vetter explicitly takes up the themes of trauma, subjection and oppression as it relates to the current War on Terror.

Casey Vogt creates ornate, mandala-like compositions that serve as a backdrop for politically-charged figurative scenes. The most recent figures explore Americans' relationships to drug use, the War On Drugs, and the pharmaceutical industry. The backgrounds are composed of masses of layered dots and myriad colors, recalling a pharmacopoeia of pills.. They act as a painterly and metaphysical contrast to the
socio-political narratives presented by the figures. With their euphoric colors and psychedelic compositions, Vogt's work proposes painting as another mind-altering substance.

Werkstattgalerie
Eisenacher Str. 6
10777 Berlin Phone: +49.30.21002158

Near Nollendorfplatz:
Tube U1-U4, Bus M19
Open: Tu-Fr 12-8 pm, Sa 12-6pm


Iranian Bodies 2010-02-19 - 2010-03-12
Mitra Farahani
Bath (1)
charcoal on cardboard, 100cm*70cm, 2008

01

Fereydoun Ave
Rostam in late Summer Revisited
Inkjetprint on paper, 100cm*75cm, Ed. 30/50, 2009

04

Ramin Haerizadeh
Men of Allah
C-Print, 100cm*150cm, Ed.10, 2008
Courtesy B21 Gallery

07

Nikoo Tarkhani
From the series This is not a woman, 
oil on canvas, 120cm*100cm, 2008

10

Mitra Farahani
Le Couple Bleute
acrylic on canvas, 170cm*100cm, 2009

02

Mitra Farahani
Hammam
Foldingscreen, arcrylic on canvas, 170cm*400cm, 2009

05

Narmine Sadeg
Balancing Figures Man & Woman
Mixed technique – steel, wood, plaster, fabric and wax. ca.150cm*100cm*150cm, 2009

08

Ramin Haerizadeh
Men of Allah
C-Print, 100cm*150cm, Ed.10, 2008
Courtesy B21 Gallery

11

Mitra Farahani
The Shower
charcoal on cardboard, 120cm*80cm, 2008

03

Fereydoun Ave
Rostam in late Summer Revisited
Inkjetprint on paper, 100cm*67cm, Ed. 30/50, 2009

06

Ramin Haerizadeh
Men of Allah
C-Print, 100cm*150cm, Ed.10, 2008
Courtesy B21 Gallery

09

Nikoo Tarkhani
From the series This is not a woman, 
oil on canvas, 120cm*100cm, 2008

12

01

Mitra Farahani
Bath (1)
charcoal on cardboard, 100cm*70cm, 2008

02

Mitra Farahani
Le Couple Bleute
acrylic on canvas, 170cm*100cm, 2009

03

Mitra Farahani
The Shower
charcoal on cardboard, 120cm*80cm, 2008

04

Fereydoun Ave
Rostam in late Summer Revisited
Inkjetprint on paper, 100cm*75cm, Ed. 30/50, 2009

05

Mitra Farahani
Hammam
Foldingscreen, arcrylic on canvas, 170cm*400cm, 2009

06

Fereydoun Ave
Rostam in late Summer Revisited
Inkjetprint on paper, 100cm*67cm, Ed. 30/50, 2009

07

Ramin Haerizadeh
Men of Allah
C-Print, 100cm*150cm, Ed.10, 2008
Courtesy B21 Gallery

08

Narmine Sadeg
Balancing Figures Man & Woman
Mixed technique – steel, wood, plaster, fabric and wax. ca.150cm*100cm*150cm, 2009

09

Ramin Haerizadeh
Men of Allah
C-Print, 100cm*150cm, Ed.10, 2008
Courtesy B21 Gallery

10

Nikoo Tarkhani
From the series This is not a woman,
oil on canvas, 120cm*100cm, 2008

11

Ramin Haerizadeh
Men of Allah
C-Print, 100cm*150cm, Ed.10, 2008
Courtesy B21 Gallery

12

Nikoo Tarkhani
From the series This is not a woman,
oil on canvas, 120cm*100cm, 2008

IRANIAN BODIES

Opening Reception: Friday 19th February at 8pm

Curated by Edward Lucie-Smith and Janet Rady.

Fereydoun Ave, Mitra Farahani, Ramin Haerizadeh, Narmine Sadeg, Nikoo Tarkhani.

Iranian contemporary art, with the exception of the cinema, has only swum into western consciousness fairly recently. Because of the political tensions between the West and Iran, it is still largely misrepresented and misunderstood. Before looking at the specific cases offered by this exhibition, there are some general observations to be made. The first is that Iran possesses an extremely ancient culture, going back some three thousand years. The art of the present day has deep roots in that culture – to an extent often missed by western observers. The second is that Tehran, the largest city in the Middle East, with a population of nearly 8 million, has a lively indigenous art world. Most of the leading Iranian artists still live in their own country, at least part of the time and are proud to do so. The third is that, despite the Iranian Islamic Republic’s reputation for moral repression, the Iranian art of the present is often paradoxically very much concerned with the human body, and is frequently subtly infused with sexual connotation. The present show is designed to illustrate that fact.

Its contents will come as no surprise to anyone who has either visited Tehran, or who has any acquaintance with earlier Persian art and literature. Safavid miniatures from the time of Shah Abbas (1588-1629) often illustrate erotic subject matter. Hafez, Iran’s best-loved poet (ca. 1320-1390), as the entry on him in Wikipedia notes, “took as his major themes love, the celebration of wine and intoxication, and exposing the hypocrisy of those who have set themselves up as guardians, judges and examples of moral rectitude.” Striking features of today’s Tehran cityscape are huge propaganda murals. Many celebrate the tragic heroes of the bloody Iran-Iraq war of 1980-88. They are linked to an age-old Shia cult of martyrdom, but the protagonists are represented as if they were Hollywood film stars, looking out from the billboards on the Los Angeles Sunset Strip. With their handsome features and swimming eyes, these handsome young men seem designed to appeal to men and women alike.

The exhibition offers the work of five artists, two men and three women. The work of the men, Fereydoun Ave and Ramin Haerizadeh, demonstrates clearly how firmly rooted Iranian contemporary art is in Iranian popular culture. Fereydoun Ave’s series of digital prints, Rostam in Late Summer Revisited, refers to one of the heroes of the great Iranian epic, the Shahnameh or Book of Kings, written by the poet Ferdowsi around 1000 a.d. As Iranians know, Rostam's symbolic attributes of manly strength and martial valor reappear today in the wrestlers known as pahlavans, who are practitioners of a traditional Sufi cult of physical exercise. This cult of wrestling permits a greater degree of male nudity than is usually permitted in Iran, and encourages an admiration of the male body.

Ramin Haerizadeh’s Men of Allah series, with its lubricious, effeminate mullahs, based on self-portraits of the artist, is inspired by a kind of Iranian folk theater called Taaziye, popular in the 19th century and still current today, where women’s roles are played by men. In one scene, much liked by the Iranian public, Ghassem, the brother of Imam Hossein, the founder of the Shia branch of Islam, is married to a chador-clad female who turns out to be a bearded man. The result, in Harizadeh’s hands, is a sly satire on clerical manners and morals. It is worth noting that Iran is the only Islamic nation with a strong theatrical tradition, which often relates, as here, to an equally strong tradition of figurative art. This tradition embraces images of effeminacy as well as images of strength, as is witnessed by the numerous portrait miniatures of seductive page-boys from the time of Shah Abbas.

The images offered by the three women artists are even bolder than those offered by the men. Aficionados of contemporary art who know little or nothing about Iran are always surprised to discover how many gifted women artists the country produces. Yet the Iranian artist with the biggest international reputation is undoubtedly Shirin Neshat, who remains true to her roots though she has now lived for many years in America. Another reaction, when westerners discover that women create a good deal of the most interesting art now being produced in Iran, is to assume, despite this, that women artists are constantly inhibited by a struggle against the conditions Iranian society imposes on them. The truth is that Iranian art made by women does have a strongly feminist streak, but that this feminism is different from its western equivalent. In particular, women artists living and working in Iran do not want to give up their roots in Iranian culture, and are offended to be thought of as being victims perpetually preoccupied by victimhood.

The three artists featured here have been chosen to illustrate the boldness of their approach. Nikoo Tarkhani deals with the female body, and her sometimes fragmented nude self-portraits powerfully convey her sense that women in a contemporary Islamic society are struggling to piece together a contemporary identity. They can be compared, in this sense, with the very different self-portrait images of Ramin Haerizadeh. Mitra Farahani, who is a film maker in addition to being a painter and a maker of graphic works, tends to focus on the naked male body, which she treats on occasion with a boldness that easily exceeds most of the treatments of this subject one sees in the West. The sculptor Narmine Sadeg seems to refer to the strong tradition of puppet theater in Iran. The Iranian director Behrouz Qaribpour has become internationally famous for his puppet opera presentations, and recently received a major Italian award for his work. The puppet plays are closely related to the Taaziye school of live theater. The word Taaziye means ‘elegy’, and productions are typically presented in connection with the Day of Ashura, when Shia Muslims lament to death of the Imam Hossein. They can be thought of as the equivalents of Christian Passion Plays, yet, like the Passion Plays of the Middle Ages, tragic subject matter does not exclude an element of robust humor. It is noticeable not only that Sadeg’s figures can be swung about at will on the rods that pierce and support them, but also that her nude males have conspicuously small genitals. As a result they seem like images of powerlessness - a retort to Fereydoun Ave's images of strength.

Iranian contemporary art is constantly in dialogue with the society that surrounds and supports it. Like art in many Middle Eastern and Far Eastern societies, it invites the spectator to read visual images on several different planes, both linear and temporal. This gives a resonance and depth that is now often lacking in western equivalents.

(Edward Lucie-Smith)


Werkstattgalerie
Eisenacher Str. 6
D-10777 Berlin

Nähe Nollendorfplatz U1-U4, Bus M19, 187
Opening Hours: Tu-Fr 12-20h, Sa 12-18h
Phone: +49.30.21002158
Mail: info@werkstattgalerie.org


British Art Now 2009-11-13 - 2009-12-22
Oleg Tolstoy
aus der Serie "Hands on Knees-Shoulder to Shoulder"
C-type Print on board, 100cm*100cm, 2009
Ed 6+1AP

01

Sam Jackson
Doubles
Öl auf Holz, 60cm*60cm, 2009

04

Luke Jackson
History Painting
Öl auf Karton, 29cm*28cm, 2009

07

Hugo Dalton
Lightprojection
Maße variabel, 2009

10

Oleg Tolstoy
aus der Serie "Hands on Knees-Shoulder to Shoulder"
C-type Print on board, 100cm*100cm, 2009
Ed 6+1AP

02

Sam Jackson
Tales out of  Innsmouth
Öl auf Holz, 60cm*60cm, 2009

05

Luke Jackson
The Prague Spring
Öl auf Karton, 28cm*15cm, 2008

08

Hugo Dalton
Flower_Spot
Tanzgruppe Morphoses mit Lichtprojektionen von Hugo Dalton
Photoprint 46,5cm*34,5cm, 1/3, 2009 signiert

11

Oleg Tolstoy
aus der Serie "Solitary"
C-type Print, 50cm*50cm, 2009
Ed 1/6

03

Sam Jackson
The Gullet and the Grumpet
Öl auf Holz, 60cm*60cm, 2009

06

Luke Jackson
Politics
Öl auf Karton, 28cm*15cm, 2009

09

Hugo Dalton
The Rehersal
Bleistiftzeichnung, ca. 40cm*30cm, 2009

12

01

Oleg Tolstoy
aus der Serie "Hands on Knees-Shoulder to Shoulder"
C-type Print on board, 100cm*100cm, 2009
Ed 6+1AP

02

Oleg Tolstoy
aus der Serie "Hands on Knees-Shoulder to Shoulder"
C-type Print on board, 100cm*100cm, 2009
Ed 6+1AP

03

Oleg Tolstoy
aus der Serie "Solitary"
C-type Print, 50cm*50cm, 2009
Ed 1/6

04

Sam Jackson
Doubles
Öl auf Holz, 60cm*60cm, 2009

05

Sam Jackson
Tales out of Innsmouth
Öl auf Holz, 60cm*60cm, 2009

06

Sam Jackson
The Gullet and the Grumpet
Öl auf Holz, 60cm*60cm, 2009

07

Luke Jackson
History Painting
Öl auf Karton, 29cm*28cm, 2009

08

Luke Jackson
The Prague Spring
Öl auf Karton, 28cm*15cm, 2008

09

Luke Jackson
Politics
Öl auf Karton, 28cm*15cm, 2009

10

Hugo Dalton
Lightprojection
Maße variabel, 2009

11

Hugo Dalton
Flower_Spot
Tanzgruppe Morphoses mit Lichtprojektionen von Hugo Dalton
Photoprint 46,5cm*34,5cm, 1/3, 2009 signiert

12

Hugo Dalton
The Rehersal
Bleistiftzeichnung, ca. 40cm*30cm, 2009

BRITISH ART NOW

Exhibition curated by Edward Lucie Smith.

Oleg Tolstoy, Luke Jackson, Sam Jackson, Hugo Dalton

Opening: Friday 13th November 2009 from 8 pm with an introduction
from Edward Lucie-Smith.

The Artist will be present.

Sunday, 15th November at 4 pm
MannSbilder Fotosalon with Edward Lucie Smith: Flesh & Stone
@ Werkstattgalerie

Though the exhibition features only four artists, it is intended to give a kind of snapshot view of what is happening in the London art world today.

The current view of London as a center for avant-garde activity was formed rather more than a decade ago, and was linked to the rise of the so-called BritPop artists or YBAs (Younger British Artists). It reached an early culmination with the Sensation! Exhibition of 1997, seen at the Royal Academy. The works in this were drawn entirely from the holdings of one individual, the advertising magnate Charles Saatchi.

Some of the artists closely associated with the YBA movement have gone on to major international celebrity, chief among them Damien Hirst. Some have faded from the scene. One at least is dead. Angus Fairhurst committed suicide in 2008, at the age of 41. The fact is that the survivors are no longer young- they are now all in their forties.

The British, and indeed the international, art worlds have however been unwilling to recognize that times have changed, that there are newer kinds of art being made in London. Indeed, the tendency has been to feature artists who are felt to be ‘typically British’ because they are paler carbon copies of those who immediately preceded them.

The four artists featured here have been chosen to stress difference, not likeness. One, Oleg Tolstoy, is a photographer. In London, as elsewhere, photography is increasingly important as a creative medium. As his name suggests, he is not of British descent, and perhaps this gives him a sharper eye for what is happening in British society. However his work belongs entirely to the contemporary London context and stresses, in particular, the variety of types that are now to be seen in the streets of a huge, ethnically diverse city. His images speak of togetherness, and at the same time of apartness. That is typical of London today.

Hugo Dalton is a maker of projections, who also produces a wide variety of other kinds of installation work. He has undertaken commissions in New York and in Hong Kong, and recently collaborated with Christopher Wheeldon’s international dance company Morphoses. When they performed last month at Sadlers Wells, several reviewers commented that they represented a revival of the eclectic, experimental spirit of the Ballets Russes, as this existed in the 1920s, after Diaghilev’s severance from Russia. One way in which Dalton differs from his seniors is that, like Diaghilev and his designers, he is not afraid of elegance.

The two painters, the brothers Sam and Luke Jackson, offer a radical break from the giganticism of much recent painting. Their work is radically miniature, and is intended as a rebuke to the rhetorically overblown quality of much recent art. A similar spirit can be found in some of the recent work made by artists of the Leipzig School in Germany. The Jacksons’ link to their YBA predecessors is that they are not afraid to be provocative. Their small works often ask large questions about sexuality, politics and aspects of human personality. Their paintings are the tip of an iceberg: I know of a number of other young artists now working in Britain who paint on the same scale and in a similar fashion, though perhaps (it must be said) with a little less punch. In the Jacksons’ hands, a small painting can be a karate-chop.

Edward Lucie-Smith

With many thanks to Kay Saatchi, for her help with this project.

Werkstattgalerie
Eisenacher Str. 6
10777 Berlin

Nähe Nollendorfplatz U1-U4, Bus M19, 187
Öffnungszeiten: Di-Fr 12-20h, Sa 12-18h
Tel: +49.30.21002158
info@werkstattgalerie.org


Comet Prussia 2009-09-24 - 2009-10-31
Klaus Vogelgesang
Preußisch Blau
Mischtechnik auf Karton, 200cm*150cm, 2009

01

Alexander Zakharov
Hier wird Brandenburg sein
Ölminiatur auf Holz, 20cm*16cm, 2009

04

Edward Lucie-Smith
Imaginary China-Imaginary Prussia
Photoprints,je 29*33cm, 2007-2009

07

Bernhard Heisig
Friederizianische Totenrede
Öl auf Leinwand, 110cm*170cm, 1997
Courtesy of Galerie Brusberg Berlin

02

Genia Chef
Königin Luise
Öl auf Leinwand, 180cm*140cm, 2009

05

Solveig Karen Bolduan
Windspiel und Kartoffeln
Installation aus benähten
Skulpturen ca. 110cm*100cm*35cm, 2009
und Kartoffelbildern, je 74cm*50cm, 2009

08

Ter Hell
Wiederkehr des ewig Gleichen
Acryl auf Leinwand, ca.160cm*200cm, 1993

03

Jean-Ulrick Désert
Morgensglück (Ehepaar Gertrud Perlig & Gustav Sabac el Cher)
Cyanotypie auf Büttenpapier mit Künstlerpägestempel, 40cm*30cm, 2009

06

Sylwek Luczak
Farenheid 51

09

01

Klaus Vogelgesang
Preußisch Blau
Mischtechnik auf Karton, 200cm*150cm, 2009

02

Bernhard Heisig
Friederizianische Totenrede
Öl auf Leinwand, 110cm*170cm, 1997
Courtesy of Galerie Brusberg Berlin

03

Ter Hell
Wiederkehr des ewig Gleichen
Acryl auf Leinwand, ca.160cm*200cm, 1993

04

Alexander Zakharov
Hier wird Brandenburg sein
Ölminiatur auf Holz, 20cm*16cm, 2009

05

Genia Chef
Königin Luise
Öl auf Leinwand, 180cm*140cm, 2009

06

Jean-Ulrick Désert
Morgensglück (Ehepaar Gertrud Perlig & Gustav Sabac el Cher)
Cyanotypie auf Büttenpapier mit Künstlerpägestempel, 40cm*30cm, 2009

07

Edward Lucie-Smith
Imaginary China-Imaginary Prussia
Photoprints,je 29*33cm, 2007-2009

08

Solveig Karen Bolduan
Windspiel und Kartoffeln
Installation aus benähten
Skulpturen ca. 110cm*100cm*35cm, 2009
und Kartoffelbildern, je 74cm*50cm, 2009

09

Sylwek Luczak
Farenheid 51'52''
Video- und Diainstallation, 2009

„Comet Prussia"

Exhibition 24.09.-31.10.2009

Opening: Thursday 24th September 2009 from 8 -10 pm
with an introduction by Edward Lucie-Smith

Solveig Karen Bolduan, Genia Chef, Jean-Ulrick Desért,
Bernhard Heisig, Ter Hell, Edward Lucie-Smith, Sylwek Luczak, Klaus Vogelgesang, Marc Wayland, Alexander Zakarov


No state unites so many contradictions as are to be found in Prussia. The name comes from a Baltic tribe; this tribe had nothing to do with the Brandenburg heartland. It became a kingdom outside the framework of the Holy Roman Empire. For the most part of its history its territories were never contiguous with those of the imperial realm. Prussia was first and foremost an idea, a world conjured up by force of will. Sometimes it was a vision of an ideal community. It was a kingdom whose rulers invited intellectuals to be their guests, and which offered refuge to Huguenots. It was also a kingdom that made its rebellious soldiers run the gauntlet.

It gained its intrinsic energy from its own contradictions, and flew like a comet through history until its fall in 1945. Prussian virtues – diligence, honesty, loyalty and simplicity –were the virtues of an organism with a delicate constitution, of a state always in danger of catastrophic collapse. Carl Zuckmayer described the Prussia of Wilhelm II as exhibiting a shrunken version of its original ideals.
This country, which had spawned a number of fundamentally different protagonists – among them Frederick II, Alexander von Humboldt, Otto von Bismarck, Wilhelm II and Marlene Dietrich – lost its material identity at the Potsdam Conference of 1945, which banned the very idea of Prussia.

Works by artists examining this idea are now on show at the WerkstattGallery, Berlin from 24 September to 31 October.
They attempt to show what the Prussian state-idea has become today, purging it of nostalgia (as was of course necessary) and projecting it on to a contemporary screen.

Artists from America, Germany, Great Britain, Poland and Russia use this screen to exhibit their own personal view of Prussia, thus extending seemingly broken lines of development into the present.

Werkstattgalerie
Eisenacher Str. 6
10777 Berlin

U1-U4 Nollendorfplatz
Open: Tu-Fr 12-8 pm, Sa 12-6pm and by appointment


Master Patrick "Berlin Years"  & Gio Black Peter 2009-08-20 - 2009-09-07
Master Patrick
NYC-Spunkmagazin
Photographie, 30cm*40cm, 2008

01

Gio Black Peter
Smoke II
Acryl und Ölpastel auf NYC-U-Bahnplan, 82cm*58cm, 2009

04

Master Patrick
Brian
Photographie, 30cm*40cm, 2009

02

Gio Black Peter
Love & Marriage
Acryl und Ölpastel auf NYC-U-Bahnplan, 82cm*58cm, 2009

05

Master Patrick
Rosa
Photographie, 30cm*40cm, 2008

03

Gio Black Peter
Best Worst
Acryl und Ölpastel auf NYC-U-Bahnplan, 82cm*58cm, 2009

06

01

Master Patrick
NYC-Spunkmagazin
Photographie, 30cm*40cm, 2008

02

Master Patrick
Brian
Photographie, 30cm*40cm, 2009

03

Master Patrick
Rosa
Photographie, 30cm*40cm, 2008

04

Gio Black Peter
Smoke II
Acryl und Ölpastel auf NYC-U-Bahnplan, 82cm*58cm, 2009

05

Gio Black Peter
Love & Marriage
Acryl und Ölpastel auf NYC-U-Bahnplan, 82cm*58cm, 2009

06

Gio Black Peter
Best Worst
Acryl und Ölpastel auf NYC-U-Bahnplan, 82cm*58cm, 2009

Ob Kunstevents, Society- und Glamourpartys oder schwule Szeneveranstaltungen, auf dem roten Teppich mit Filmstars oder im queeren Underground mit Subkulturgrößen – Master Patrick ist mit seiner Kamera immer vor Ort. Als der „Mann mit der schwarzen Ledermaske“ ist der in Freiburg im Breisgau als Patrick Bartsch geborene Multi-Media-Künstler längst zum unübersehbaren, omnipräsenten Szenefigur geworden.
Von Österreich aus führte sein Weg über Frankreich und Köln schließlich nach Berlin. In seiner Ausstellung „Berlin Years“ zeigt Master Patrick nun eine Auswahl seiner in den vergangenen fünf Jahren in der Hauptstadt entstandenen Fotoarbeiten.

Neben klassischer Studiofotografie – inszenierte Porträts beispielsweise von Filmregisseur Rosa von Praunheim und Männeraktstudien – stehen dokumentarische Bilder von Laufstegen, Konzertbühnen und roten Teppichen (mit Bildern u.a. von Tom Cruise und Nina Hagen). Einen ganz besonderen Stellenwert nehmen jedoch seine Momentaufnahmen aus dem vielfältigen queeren Leben in Berlin ein.
Für Master Patrick gibt es keine Perfektion: weder den perfekten Menschen, die perfekte Stadt oder das perfekte Kunstwerk. In jeder seiner Arbeiten wird man Fehler finden: „bewusst gesetzte wie z.B. Steckdosen in einem Porträtbild oder unbewusste wie unkorrigierte Farbspritzer bei Acrylarbeiten“, erklärt Master Patrick. In den für die Ausstellung ausgewählten Arbeiten stehen Schnappschüsse gleichberechtigt neben aufwendigen Inszenierungen, Glamour neben Trash. Weltstars im Rampenlicht finden sich einträchtig neben Underground-Exzentrikern, klassische Dokumentation kollidiert mit dem ironischen Spiel mit Klischee und Banales mit Erhabenen.

Als graphische Ergänzung zeigt die Ausstellung neueste Arbeiten des Undergroundkünstlers Gio Black Peter. Dieser inszeniert sich in seiner Heimatstadt mit exzessiven Sex-Performance-Shows und –Videos, arbeitet als Maler, Zeichner, Fotograf, Musiker und Gelegenheitsschauspieler. So war er beispielsweise in Bruce LaBruce letztem Film, dem in Berlin gedrehten schwulen Zombie-Trash-Streifen „Otto Or Up With Dead People“, zu sehen.
Die Bilderwelten des in Guatemala als Giovanna Andrade geborenen und im Alter von fünf Jahren in die USA emigrierten Künstlers beschäftigen sich gleichermaßen mit der sexuell aufgeladenen queeren Subkultur und der farbenfrohen New Yorker Straßenkunst.
Gio Black Peter verwendet für seine Zeichnungen vorgefundene Materialien wie z.B. U-Bahnpläne und Plakate als Malgrundlage. Seine expressiven Kunstwerke werden so in vielschichtiger Weise zu einer Reminiszenz an das alte New York - ein mit Graffiti bedeckter Dschungel, in dem das Gefühl der Gesetzlosigkeit regierte und jede Nacht ein neues wildes Abenteuer versprach.
(Text:Axel Schock)

Vernissage:
Donnerstag 20.August 20-22h, mit einer Einführung von Rosa von Praunheim , danach Afterparty@SLUM

2.September: MannsBilder -Master Patrick führt durch die Ausstellung,
um Anmeldung wird gebeten

Finissage: 5.September 15-18h

Werkstattgalerie
Eisenacher Str. 6
10777 Berlin


Tania Kandratsenka - Spielzeit 2009-06-18 - 2009-07-25
Ikarus (2008)
Öl auf Leinwand, 122cm*142cm

01

Die Szene (2009)
Öl auf Leinwand, 100cm*130cm

04

oT (2009)
Öl auf Leinwand, 70cm*90cm

07

Benjamin und Pauline (2009)
Öl auf Leinwand, 130cm*90cm

10

Die Nacht (2007)
Öl auf Leinwand, 90cm*120cm

02

Der neue Standard (2008)
Öl auf Leinwand, 65cm*80cm

05

oT (2008)
Öl auf Leinwand, 70cm*90cm

08

Touristen (2009)
Öl auf Leinwand, 120cm*90cm

11

Die Spielzeit (2008)
Öl auf Leinwand, 142cm*244cm, 2tlg.

03

Die Flucht (2008)
Öl auf Leinwand, 90cm*80cm

06

Spielzeit II (2008)
Öl auf Leinwand, 52cm*60cm

09

Manipulation (2009)
Öl auf Leinwand, 100cm*120cm

12

01

Ikarus (2008)
Öl auf Leinwand, 122cm*142cm

02

Die Nacht (2007)
Öl auf Leinwand, 90cm*120cm

03

Die Spielzeit (2008)
Öl auf Leinwand, 142cm*244cm, 2tlg.

04

Die Szene (2009)
Öl auf Leinwand, 100cm*130cm

05

Der neue Standard (2008)
Öl auf Leinwand, 65cm*80cm

06

Die Flucht (2008)
Öl auf Leinwand, 90cm*80cm

07

oT (2009)
Öl auf Leinwand, 70cm*90cm

08

oT (2008)
Öl auf Leinwand, 70cm*90cm

09

Spielzeit II (2008)
Öl auf Leinwand, 52cm*60cm

10

Benjamin und Pauline (2009)
Öl auf Leinwand, 130cm*90cm

11

Touristen (2009)
Öl auf Leinwand, 120cm*90cm

12

Manipulation (2009)
Öl auf Leinwand, 100cm*120cm

Die Malerin Tania Kandratsenka (*1980) lebt und arbeitet in Minsk/Weißrussland. Sie ist Dozentin an der dortigen Kunstakademie. Erstmalig in Berlin zeigt sie einen Bilderzyklus in dem sie Kindheitserinnerungen und historische Zitate zu kompositorisch kraftvollen Bilder verarbeitet.
Tania Kandratsenka ist zur Eröffnung der Ausstellung anwesend.

Werkstattgalerie
Eisenacher Strasse 6
10777 Berlin-Schöneberg


www.werkstattgalerie.org Phone: +49.(0)30.2100 2158
info@werkstattgalerie.org Tu - Fr 12 - 20h, Sa 12 – 18h


Mankind: Versions & Perversions 2009-04-03 - 2009-05-15
Frank Gabriel
Rise II
Photographie hinter Epoxy, 60cm*60cm, 2009
Unikat

01

Gianluca Chiodi
Anfibi Enkaustik, Photo auf Leinwand, 100cm*50cm, 2007
Unikat

04

Roberto Rincon
David
Photoprint, 60cm*60cm, 1/5, 2009
signiert, nummeriert

07

Edward Lucie-Smith
CRW
A3 Inkjetprints, 25er Auflage, 33*48,3cm, 2008
signiert , nummeriert

10

Dimitris Yeros
Cow
Photographie, 48cm*33cm, 2000, ed. 25

02

Robert Flynt
untitled (jc) aus der Serie Haven
Installation ca. 170cm*50cm, 2008

05

Marc Wayland
Portrait of Aiden Shaw
Photographie auf Lagen von Seide, ca. 110cm*135cm, 2009

08

Vladimir Tatarevic
oT aus der Serie Spartaner
Photo auf PS, 100cm*100cm, 2008
Unikat

03

Jonathan Webb
Gino
Photoprint, 60cm*60cm, 2004, ed 1/10
signiert, nummeriert

06

Tobias A. Feltus
The Fear of Leaving the House
Having Forgotten Half of Ones Clothes1.24
45cm*30cm, Hand print on RC paper, 2007

09

01

Frank Gabriel
Rise II
Photographie hinter Epoxy, 60cm*60cm, 2009
Unikat

02

Dimitris Yeros
Cow
Photographie, 48cm*33cm, 2000, ed. 25

03

Vladimir Tatarevic
oT aus der Serie Spartaner
Photo auf PS, 100cm*100cm, 2008
Unikat

04

Gianluca Chiodi
Anfibi Enkaustik, Photo auf Leinwand, 100cm*50cm, 2007
Unikat

05

Robert Flynt
untitled (jc) aus der Serie Haven
Installation ca. 170cm*50cm, 2008

06

Jonathan Webb
Gino
Photoprint, 60cm*60cm, 2004, ed 1/10
signiert, nummeriert

07

Roberto Rincon
David
Photoprint, 60cm*60cm, 1/5, 2009
signiert, nummeriert

08

Marc Wayland
Portrait of Aiden Shaw
Photographie auf Lagen von Seide, ca. 110cm*135cm, 2009

09

Tobias A. Feltus
The Fear of Leaving the House
Having Forgotten Half of Ones Clothes1.24

45cm*30cm, Hand print on RC paper, 2007

10

Edward Lucie-Smith
CRW
A3 Inkjetprints, 25er Auflage, 33*48,3cm, 2008
signiert , nummeriert

„Mankind:Versions & Perversions“

Exhibition curated by Edward Lucie-Smith from 4st April – 15th May 2009

Opening: Friday, 3rd April 2009 8-11 pm


Participating Artists:
Gianluca Chiodi (Milan), Tobias A. Feltus (Edinburgh), Robert Flynt (New York),
Frank Gabriel (The Hague), Edward Lucie-Smith (London), Roberto Rincon (London),
Vladimir Tatarevic (Belgrade), Marc Wayland (London), Jonathan Webb (Paris),
Dimitris Yeros (Athens).
This selection of male imagery is an attempt to break through some of the stereotypes that now
characterize this particular photographic genre. On the one hand, photographs of the nude or nearnude
male are thought of as controversial, because of their homoerotic content, which contravenes
social norms in many cultures. On the other hand, they are avant-garde in a fashion that doesn’t
usually apply to female nudes. The latter tend to annoy entrenched feminists, who see them as proof
of the theory of the ‘controlling gaze’ – proof of the way in which male scopophilia demeans
women. The rest of the world simply tends to think of them as kitsch, which is to say as images that
may indeed provide erotic stimulation, but which have little or no presence as artistically intended
object.
The link between erotic representation and the idea of avant-gardism is of course a long established
one. Erotic content tends to guarantee the bold, controversial nature of images that, without this,
would seem tamely unexceptional. In other words, eroticism is the easy route to shock, and shock
and artistic experimentation are now, at least in the minds of the general public, inseparably joined.
Additionally, where nudes are concerned, naked males have somehow achieved a position of artistic
if not social respectability that is now for some reason denied to females.
The present, extremely international anthology of photographic images of the male uses an
extremely wide variety of techniques, and shows how far the term ‘photography’ can now be
stretched. It also demonstrates very different approaches, on the part of individual photographers, to
the same subject matter. Human bodies have been a central theme for art, and particular for western
art, since the time of the Greeks and the Romans. And for long periods, it was the male body that
preponderated, while representation of women, clothed or naked, took a very secondary place. This
show is intended to interrogate that tradition, and also to revive it. If anything in it can be regarded
as truly avant-garde, that is an accident of history. Indeed, if there is anything revolutionary about it,
this can be found in the way it questions many clichés about the nature of artistic innovation.

Edward Lucie-Smith (March 2009)


The first Day of Spring 2009-02-10 - 2009-03-07
Marianne Hopf
Körperfragmente
Mischtechnik/Papier, 50cm*70cm, 2007

01

Marianne Hopf
Vernetzungen
Mischtechnik/Papier, 70cm*100cm, 2004

04

Natasza Niedziolka
austin

07

Natasza Niedziolka
NN
Mischtechnik (Papier, Tackernadeln, Bindfäden, Schmuck-funde, Öl auf Leinwand)
150cm*140cm, 2008

10

Natasza Niedziolka
peacock tower no 5
Acryllack auf Holzplatten,
80cm*61cm*61cm, 2009

13

Sylwek Luczak
3...6...9...Seconds of Light
Still aus Videoinstallation, 2009
Animationen von Jakub Kaniszewski

16

Marianne Hopf
Körperfragmente
Mischtechnik/Papier, 50cm*70cm, 2007

02

Marianne Hopf
Vernetzungen
Mischtechnik/Papier, 70cm*100cm, 2004

05

Natasza Niedziolka
doves on a wire
Mischtechnik (Papier, Stoff, Reisszwecke, Bindfäden, Öl auf Leinwand)
100cm*83cm, 2008

08

Natasza Niedziolka
die grosse Blume  (Arbeitstitel)
Mischtechnik (Papier, Tackernadeln, Acryl + Öl auf Leinwand)
170cm*160cm, 2008

11

Natasza Niedziolka
peacock tower no 7
Acryllack, Reisszwecken, Bindfäden auf Holzplatten,
64cm*42cm*42cm, 2009

14

Sylwek Luczak
3...6...9...Seconds of Light
Still aus Videoinstallation, 2009
Animationen von Jakub Kaniszewski

17

Marianne Hopf
Körperfragmente
Mischtechnik/Papier, 50cm*70cm, 2007

03

Marianne Hopf
Körperfragmente
Mischtechnik/Papier, 122cm*86cm, 2005

06

Natasza Niedziolka
peacock garden
Mischtechnik (Papier, Silberfolie, Reisszwecke, Öl auf Leinwand)
80cm*70cm, 2008

09

Natasza Niedziolka
a star  (Arbeitstitel)
Mischtechnik (Papier, Öl auf Leinwand)
180cm*170cm, 2008

12

Natasza Niedziolka
peacock tower no 4
Acryllack, Reisszwecken, Bindfäden auf Holzplatten,
77cm*53cm*53cm, 2009

15

Sylwek Luczak
3...6...9...Seconds of Light
Still aus Videoinstallation, 2009
Animationen von Jakub Kaniszewski

18

01

Marianne Hopf
Körperfragmente
Mischtechnik/Papier, 50cm*70cm, 2007

02

Marianne Hopf
Körperfragmente
Mischtechnik/Papier, 50cm*70cm, 2007

03

Marianne Hopf
Körperfragmente
Mischtechnik/Papier, 50cm*70cm, 2007

04

Marianne Hopf
Vernetzungen
Mischtechnik/Papier, 70cm*100cm, 2004

05

Marianne Hopf
Vernetzungen
Mischtechnik/Papier, 70cm*100cm, 2004

06

Marianne Hopf
Körperfragmente
Mischtechnik/Papier, 122cm*86cm, 2005

07

Natasza Niedziolka
austin's dream
Mischtechnik (Papier, Stoff, Acryl + Öl auf Leinwand)
100cm*95cm, 2008

08

Natasza Niedziolka
doves on a wire
Mischtechnik (Papier, Stoff, Reisszwecke, Bindfäden, Öl auf Leinwand)
100cm*83cm, 2008

09

Natasza Niedziolka
peacock garden
Mischtechnik (Papier, Silberfolie, Reisszwecke, Öl auf Leinwand)
80cm*70cm, 2008

10

Natasza Niedziolka
NN
Mischtechnik (Papier, Tackernadeln, Bindfäden, Schmuck-funde, Öl auf Leinwand)
150cm*140cm, 2008

11

Natasza Niedziolka
die grosse Blume (Arbeitstitel)
Mischtechnik (Papier, Tackernadeln, Acryl + Öl auf Leinwand)
170cm*160cm, 2008

12

Natasza Niedziolka
a star (Arbeitstitel)
Mischtechnik (Papier, Öl auf Leinwand)
180cm*170cm, 2008

13

Natasza Niedziolka
peacock tower no 5
Acryllack auf Holzplatten,
80cm*61cm*61cm, 2009

14

Natasza Niedziolka
peacock tower no 7
Acryllack, Reisszwecken, Bindfäden auf Holzplatten,
64cm*42cm*42cm, 2009

15

Natasza Niedziolka
peacock tower no 4
Acryllack, Reisszwecken, Bindfäden auf Holzplatten,
77cm*53cm*53cm, 2009

16

Sylwek Luczak
3...6...9...Seconds of Light
Still aus Videoinstallation, 2009
Animationen von Jakub Kaniszewski

17

Sylwek Luczak
3...6...9...Seconds of Light
Still aus Videoinstallation, 2009
Animationen von Jakub Kaniszewski

18

Sylwek Luczak
3...6...9...Seconds of Light
Still aus Videoinstallation, 2009
Animationen von Jakub Kaniszewski

The First Day Of Spring 10.Februar – 07.März 2009

Marianne Hopf, Natasza Niedziolka und Sylwek Luczak

Vernissage: Montag 09.Februar 2009 ab 20 Uhr

mit Musik von Austin Brown und Gabe Molnar.

Die Ausstellung zeigt zwei Künstlerinnen und einen Künstler mit sehr eigenen Positionen zur Verwendung von Form, Farbe und Licht.

Marianne Hopf's Bilder sind weder motivisch noch bezüglich ihrer Gattung einfach zu verorten: Haben wir es mit gegenständlicher oder abstrakter Malerei zu tun? Gebührt dem malerischen Ereignis, der schieren Aktion oder der Darstellung fremder Welten der Vorrang? Welten, die- sofern wir sie denn überhaupt lokalisieren wollen- am ehesten im mikrobiologischen Bereich anzusiedeln wären. Entscheidender als das „Was ?“ ist, wie sich hier der spontane, intuitive Pinselduktus mit den transpersonalen Strukturen verbindet. Diese harmonische Spannung zwischen Struktur und Emotion machen den herben Reiz ihrer Arbeiten aus.
Mit dramatischem Gespür lässt Marianne Hopf Kräfte und kontrastive Formen aufeinander und ineinander treffen, und beweist sich dabei als originäre Zeichnerin, der es um Vielschichtigkeit, wachsende Raumtiefe und Transparenz geht.

Natasza Niedziolka, Meisterschülerin von Prof. Tal R an der Düsseldorfer Kunstakademie, scheint uns zunächst in eine spielerische, naive (Traum-)Welt zu entführen, doch liegt Ihrem Schaffen ein strenges Konzept zu Grunde: Durch eine konsequente Formenreduzierung und Vereinfachung weniger Bildelemente entwickelt Sie eine vielschichtige eigene Bildsprache.
Diese Vereinfachung wird häufig durch eine Überarbeitung mit ungewöhnlichen Materialien wie Stoffen , Reisszwecken und Tackernadeln gebrochen, wodurch die Werke eine neue Komplexität erhalten. Mag Ihre Farbwahl zunächst ihren Ursprung in folkloristischen Trachtenmustern haben, so entwickelt Sie auch diese konsequent weiter wie der Betrachter an Ihren Holzskulpturen „peacock towers“ erleben kann.

Sylwek Luczak, international bekannt durch seine Licht- und Videogroßprojekte (Berlin Lights) , bringt uns durch seine Licht/Videoinstallation „3...6...9...seconds of light“ während der Berlinale dem Frühling näher. Die Kompositionen von Bildern entstehen im Raum meistens zufällig und wiederholen sich fast nie.
Die Arbeit erzählt vom Einfluss des Lichts auf unsere Wahrnehmung. Der Zuschauer steht mitten drin und kann selbst zahlreiche Zusammenhänge zwischen den verschiedenen Schichten entdecken.
Seine Arbeit wird unterstützt vom Polnischen Institut Berlin und Pool Production GmbH / FilmFestival Cottbus.

Werkstattgalerie
Eisenacher Strasse 6
10777 Berlin-Schöneberg

www.werkstattgalerie.org
info@werkstattgalerie.org
Phone:+49(0)30 21002158
Di - Fr 12-20 h, Sa 12-18 h


My Gay Eye 2008-10-31 - 2008-12-23
Hans Abbing
"97-204"
Zeichnung, 115cm*100cm, 1997

01

Black Peter
"What You Gonna Do Now?"
Zeichnung auf NYC-Stadtplan, 82cm*58cm, 2007

04

Alexander von Agoston
"Reisebücher / Skizzen /Fragmente"
72 Acrylarbeiten auf Papier, je 15cm*15cm, 2008

07

Martina Minette Dreier
"Prinzessin Hans"
Öl auf Leinwand, 100cm*100cm, 2008

10

Jonathan Webb
aus  der Serie "Gino"
Silbergelantineprint, 30cm*40cm, 5/25, 2002

13

Gonzalo Orquin
„Mattonelle Blu“
Öl auf Leinwand, 150cm*100cm, 2006

16

Nicolaus Schmidt
"Flying Daniel"
C-Print, 61cm*40cm, 1/100, 2008

19

Ivo Hofste
"Mo with Highheel"
C-Print auf AluDibond, 100cm*70cm, 2/10, 2006

22

Roberto Rincon
"Mascara"
Photo, 35cm*35cm, 1/5, 2008

25

Alexis W.
aus der Serie "Selfportraits"
C-Print, 60cm*40cm, 1/5, 2008

28

Slava Mogutin
"Jesse a.k.a. Steven" aus NYC Go-Go, Powerhouse Books 
C-Print, 35cm*28cm, 9/25, 2008

31

Anja Müller 
aus der Serie "Zuhause"
C-Print, 42cm*30cm, 1/10, 2008

02

Brian Kenny
"Boys never fail"
Acryl auf Karton, 55cm*55cm, 2008

05

Ivar Kaasik
"Impiorum flatrum"
Öl auf Leinwand, 200cm*200cm, 2008

08

Rinaldo Hopf
"Edward"
4 tlg.Aquarell, 200cm*70cm, 2008

11

Carlos Forns Bada
„Autorretrato de un desconocido“
Öl auf Leinwand, 60cm*50cm, 2006

14

Raphael Perez
"Wrestling Men"
C-Print, 40cm*40cm, 1/5, 2008

17

Henning von Berg
"Wind"
Photoprint auf Leinwand, 60cm*88cm, 8/12, 2003

20

Gerhard Hintermann
aus der Serie "Füsse"
Photo auf Barytpapier, 48cm*32cm, 1/10, 2008

23

Aleksandr Schumow
aus der Serie "the remains of the day"
C-Print auf AluDibond, 45cm*30cm, 1/5, 2008

26

Etienne Zerah
"Amerian College"
C-Print auf Forex, 70cm*100cm, 2008

29

Alberto de las Heras
"Cruising1"
Bleistiftzeichnung, 35cm*25cm, 2008

32

Roland Berger
"Morgens im Bad"
Linolschnitt, 25cm*25cm, 15/50, 1974

03

Brandon Herman
"Robby Dreaming"
C-Print, 75cm*50cm, 2006
Leihgeber: Envoy Gallery NYC

06

John Kirby
"The Damned"
Öl auf Leinwand, 60,5cm*50cm, 1999

09

Pascual Jordan
"Maurizio und Francesco"
Öl auf Leinwand, 140cm*90cm, 2008

12

Christopher Schulz
"Scott" aus PINUPS-Magazin Nr. 6
Print, 60cm*40cm, 1/20, 2008

15

Jörg Nikolaus
"Done"
C-Print, 60cm*40cm, 1/5, 2007

18

Raphael T. Deinert
"Hungry at Night"
C-Print auf Forex, 70cm*50cm, 1/10, 2005

21

Alex Mene
"Amozona"
C-Print, 100cm*100cm, 3/3, 2003

24

Steam
"Wired"
Zeichnung, 36cm*25cm, 2004

27

XerXeX
Collage,Zeichnung, 30cm*15cm, 2008

30

01

Hans Abbing
"97-204"
Zeichnung, 115cm*100cm, 1997

02

Anja Müller
aus der Serie "Zuhause"
C-Print, 42cm*30cm, 1/10, 2008

03

Roland Berger
"Morgens im Bad"
Linolschnitt, 25cm*25cm, 15/50, 1974

04

Black Peter
"What You Gonna Do Now?"
Zeichnung auf NYC-Stadtplan, 82cm*58cm, 2007

05

Brian Kenny
"Boys never fail"
Acryl auf Karton, 55cm*55cm, 2008

06

Brandon Herman
"Robby Dreaming"
C-Print, 75cm*50cm, 2006
Leihgeber: Envoy Gallery NYC

07

Alexander von Agoston
"Reisebücher / Skizzen /Fragmente"
72 Acrylarbeiten auf Papier, je 15cm*15cm, 2008

08

Ivar Kaasik
"Impiorum flatrum"
Öl auf Leinwand, 200cm*200cm, 2008

09

John Kirby
"The Damned"
Öl auf Leinwand, 60,5cm*50cm, 1999

10

Martina Minette Dreier
"Prinzessin Hans"
Öl auf Leinwand, 100cm*100cm, 2008

11

Rinaldo Hopf
"Edward"
4 tlg.Aquarell, 200cm*70cm, 2008

12

Pascual Jordan
"Maurizio und Francesco"
Öl auf Leinwand, 140cm*90cm, 2008

13

Jonathan Webb
aus der Serie "Gino"
Silbergelantineprint, 30cm*40cm, 5/25, 2002

14

Carlos Forns Bada
„Autorretrato de un desconocido“
Öl auf Leinwand, 60cm*50cm, 2006

15

Christopher Schulz
"Scott" aus PINUPS-Magazin Nr. 6
Print, 60cm*40cm, 1/20, 2008

16

Gonzalo Orquin
„Mattonelle Blu“
Öl auf Leinwand, 150cm*100cm, 2006

17

Raphael Perez
"Wrestling Men"
C-Print, 40cm*40cm, 1/5, 2008

18

Jörg Nikolaus
"Done"
C-Print, 60cm*40cm, 1/5, 2007

19

Nicolaus Schmidt
"Flying Daniel"
C-Print, 61cm*40cm, 1/100, 2008

20

Henning von Berg
"Wind"
Photoprint auf Leinwand, 60cm*88cm, 8/12, 2003

21

Raphael T. Deinert
"Hungry at Night"
C-Print auf Forex, 70cm*50cm, 1/10, 2005

22

Ivo Hofste
"Mo with Highheel"
C-Print auf AluDibond, 100cm*70cm, 2/10, 2006

23

Gerhard Hintermann
aus der Serie "Füsse"
Photo auf Barytpapier, 48cm*32cm, 1/10, 2008

24

Alex Mene
"Amozona"
C-Print, 100cm*100cm, 3/3, 2003

25

Roberto Rincon
"Mascara"
Photo, 35cm*35cm, 1/5, 2008

26

Aleksandr Schumow
aus der Serie "the remains of the day"
C-Print auf AluDibond, 45cm*30cm, 1/5, 2008

27

Steam
"Wired"
Zeichnung, 36cm*25cm, 2004

28

Alexis W.
aus der Serie "Selfportraits"
C-Print, 60cm*40cm, 1/5, 2008

29

Etienne Zerah
"Amerian College"
C-Print auf Forex, 70cm*100cm, 2008

30

XerXeX
Collage,Zeichnung, 30cm*15cm, 2008

31

Slava Mogutin
"Jesse a.k.a. Steven" aus NYC Go-Go, Powerhouse Books
C-Print, 35cm*28cm, 9/25, 2008

32

Alberto de las Heras
"Cruising1"
Bleistiftzeichnung, 35cm*25cm, 2008


Democracy & Violence 2008-09-11 - 2008-10-18
Jn.Ulrick Desert
Desaster
Tinte, Wasserfarbe auf Transparentpapier
60cm*40cm, 2008

01

Rinaldo Hopf
HJ nach Leni Riefenstahl
3teiliges Aquarell, 100cm*210cm, 1991

04

Nänzi
Die Repräsentantin
farbig gefasste Gipsfigur, 110cm*60cm*90cm, Unikat, 2008

07

Nänzi
Der Wähler
farbig gefasste Tonfigur, 30cm*25cm*25cm, 2008

10

Thomas Gabriel
Andenken-Am Potzdamer Platz- 
12teilge Photographie, 240cm*240cm, Unikat, 1994

13

Miguel Soler
All IS POLITICS
Video, 15Min., 2007

16

Jn.Ulrick Desert
Missing
Tinte, Wasserfarbe auf Transparentpapier
60cm*40cm, 2008

02

Rinaldo Hopf
Morsal Obeidi
4teiliges Aquarell, 200cm*140cm, 2008

05

Gerhard Hintermann
Scherbengericht
Barytphotographie, 33cm*50cm, 1/5, 2008

08

Genia Chef
Gloria novi saeculi
Ölskizze auf Leinwand, 200cm*50cm, 2008

11

Rorro Berjano
El trono de Eelgwa III
gem. Technikauf Leinwand und PVC, 250cm*240cm, 2006

14

Angie Bonino
Inhabit
Video, 2:50Min., 2006

17

Jn.Ulrick Desert
Suspect
Tinte, Wasserfarbe auf Transparentpapier
60cm*40cm, 2008

03

Rinaldo Hopf
Sophie Scholl
4teiliges Aquarell, 200cm*140cm, 1991

06

Master Patrick
Change!?
2teilige Farbphotographie, je 83cm*52cm, 1/5, 2008

09

Genia Chef
Gloria novi saeculi
Ölskizze auf Leinwand, 200cm*50cm, 2008

12

Raphael Otto
security in the shed
Jetprint auf Acrylglas, 25cm*12cm,  Unikat, 2008

15

Angie Bonino
hInhabit
Video,2:50Min., 2006

18

01

Jn.Ulrick Desert
Desaster
Tinte, Wasserfarbe auf Transparentpapier
60cm*40cm, 2008

02

Jn.Ulrick Desert
Missing
Tinte, Wasserfarbe auf Transparentpapier
60cm*40cm, 2008

03

Jn.Ulrick Desert
Suspect
Tinte, Wasserfarbe auf Transparentpapier
60cm*40cm, 2008

04

Rinaldo Hopf
HJ nach Leni Riefenstahl
3teiliges Aquarell, 100cm*210cm, 1991

05

Rinaldo Hopf
Morsal Obeidi
4teiliges Aquarell, 200cm*140cm, 2008

06

Rinaldo Hopf
Sophie Scholl
4teiliges Aquarell, 200cm*140cm, 1991

07

Nänzi
Die Repräsentantin
farbig gefasste Gipsfigur, 110cm*60cm*90cm, Unikat, 2008

08

Gerhard Hintermann
Scherbengericht
Barytphotographie, 33cm*50cm, 1/5, 2008

09

Master Patrick
Change!?
2teilige Farbphotographie, je 83cm*52cm, 1/5, 2008

10

Nänzi
Der Wähler
farbig gefasste Tonfigur, 30cm*25cm*25cm, 2008

11

Genia Chef
Gloria novi saeculi
Ölskizze auf Leinwand, 200cm*50cm, 2008

12

Genia Chef
Gloria novi saeculi
Ölskizze auf Leinwand, 200cm*50cm, 2008

13

Thomas Gabriel
Andenken-Am Potzdamer Platz-
12teilge Photographie, 240cm*240cm, Unikat, 1994

14

Rorro Berjano
El trono de Eelgwa III
gem. Technikauf Leinwand und PVC, 250cm*240cm, 2006

15

Raphael Otto
security in the shed
Jetprint auf Acrylglas, 25cm*12cm, Unikat, 2008

16

Miguel Soler
All IS POLITICS
Video, 15Min., 2007

17

Angie Bonino
Inhabit
Video, 2:50Min., 2006

18

Angie Bonino
hInhabit
Video,2:50Min., 2006


Aggressive Romanticism 2008-06-06 - 2008-07-19
Selbst mit Rose
Acryl auf Nessel, 60cm * 54cm, 1987

01

Drei mal Sechs
Acryl auf Nessel, 180cm * 120cm, 1991

04

Erinnerung an Romeo und Julia
Öl auf Leinwand, 150cm * 115cm, 1996

07

Selbstportrait mit Palette
Öl auf Leinwand, 105cm * 85cm, 1998

10

Das ganze Leben
Öl auf Leinwand, 160cm * 270cm, 1995

13

Warum Kunst?
Performance während der Dokumenta 11
vor dem Fridericianum Kassel 2002

16

BRD-Schwimmer
Acryl auf Nessel, 200cm * 150cm, 1989

02

Freiheit
Öl auf Leinwand, 105cm * 85cm, 1993

05

Romeo mit Gläsern
Öl auf Leinwand, 180cm * 150cm, 1996

08

Weiterleben
Öl auf Nessel, 90cm * 90cm, 1999

11

Gekreuzigt
Sperma auf Leinwand, 80cm * 60cm, 2007

14

Perche Arte?
Öl auf Leinwand, 60cm * 80cm, 2007

17

Königin Luise
Acryl auf Nessel, 150cm * 115cm, 1989

03

Romeo-Carsten mit Messer
Öl auf Leinwand, 105cm * 85cm, 1996

06

Zwei Freunde
Öl auf Leinwand, 150cm * 115cm, 1997

09

Vergewaltigug
Siebdruck, 70cm * 50cm, 1999

12

CSD-Umbrella
Öl auf Leinwand, 90cm * 60cm, 2005

15

01

Selbst mit Rose
Acryl auf Nessel, 60cm * 54cm, 1987

02

BRD-Schwimmer
Acryl auf Nessel, 200cm * 150cm, 1989

03

Königin Luise
Acryl auf Nessel, 150cm * 115cm, 1989

04

Drei mal Sechs
Acryl auf Nessel, 180cm * 120cm, 1991

05

Freiheit
Öl auf Leinwand, 105cm * 85cm, 1993

06

Romeo-Carsten mit Messer
Öl auf Leinwand, 105cm * 85cm, 1996

07

Erinnerung an Romeo und Julia
Öl auf Leinwand, 150cm * 115cm, 1996

08

Romeo mit Gläsern
Öl auf Leinwand, 180cm * 150cm, 1996

09

Zwei Freunde
Öl auf Leinwand, 150cm * 115cm, 1997

10

Selbstportrait mit Palette
Öl auf Leinwand, 105cm * 85cm, 1998

11

Weiterleben
Öl auf Nessel, 90cm * 90cm, 1999

12

Vergewaltigug
Siebdruck, 70cm * 50cm, 1999

13

Das ganze Leben
Öl auf Leinwand, 160cm * 270cm, 1995

14

Gekreuzigt
Sperma auf Leinwand, 80cm * 60cm, 2007

15

CSD-Umbrella
Öl auf Leinwand, 90cm * 60cm, 2005

16

Warum Kunst?
Performance während der Dokumenta 11
vor dem Fridericianum Kassel 2002

17

Perche Arte?
Öl auf Leinwand, 60cm * 80cm, 2007


All Artist 2008-03-19 - 2008-05-19
Michael Kopietz

01

Pascual Jordan

04

Alexander von Agoston

07

Jürgen Wittdorf

10

Alexander von Agoston

02

Greg Day

05

Golo Gott

08

Pascual Jordan

11

Jürgen Wittdorf

03

Mischa Gerwick

06

Michael Roggenbach

09

Rinaldo Hopf

12

01

Michael Kopietz

02

Alexander von Agoston

03

Jürgen Wittdorf

04

Pascual Jordan

05

Greg Day

06

Mischa Gerwick

07

Alexander von Agoston

08

Golo Gott

09

Michael Roggenbach

10

Jürgen Wittdorf

11

Pascual Jordan

12

Rinaldo Hopf


Beyond Eternity - Golo Gott 2008-02-07 - 2008-03-01
St. Sebastian

01

Hidden Place

04

Körperrolle

07

Beijhos

10

Pyramide

13

Salome Portrait

16

Skulls

02

Secret of the Rose

05

Kopfrolle

08

Körperrolle2

11

Kugel

14

Katharina

17

Little Buddha

03

Day and Night

06

Beijhos2

09

Kubus

12

Ich bin ein Findling

15

01

St. Sebastian

02

Skulls

03

Little Buddha

04

Hidden Place

05

Secret of the Rose

06

Day and Night

07

Körperrolle

08

Kopfrolle

09

Beijhos2

10

Beijhos

11

Körperrolle2

12

Kubus

13

Pyramide

14

Kugel

15

Ich bin ein Findling

16

Salome Portrait

17

Katharina


All Artists: Engels & Demons 2007-12-06 - 2008-01-06
Alexis W

01

Mesaoo Wrede

04

Alexander von Agoston

07

Pascual Jordan

10

Jürgen Wittdorf

02

Michael Müller

05

Martin von Ostrowski

08

Paul Kremp

11

Rinaldo Hopf

03

Ines von Sassen

06

Michael Kopietz

09

01

Alexis W

02

Jürgen Wittdorf

03

Rinaldo Hopf

04

Mesaoo Wrede

05

Michael Müller

06

Ines von Sassen

07

Alexander von Agoston

08

Martin von Ostrowski

09

Michael Kopietz

10

Pascual Jordan

11

Paul Kremp


Negativ-+Positiv 2007-11-23 - 2007-12-03


My gay eye 2007-10-19 - 2007-11-17
Rinaldo Hopf

01

Tulip Enterprises

04

Jürgen Wittdorf

07

Ohm Phanphiroj

10

Edward Lucie-Smith

13

Anne Hody

16

Micha Gerweck

02

Cocopierre

05

Michael Müller

08

Walter Pfeiffer

11

Master Patrick

14

Martin E. Kautter

17

Muskboy

03

Jan Schüler

06

Pascual Jordan

09

XerXeX

12

Jörg Nikolaus

15

01

Rinaldo Hopf

02

Micha Gerweck

03

Muskboy

04

Tulip Enterprises

05

Cocopierre

06

Jan Schüler

07

Jürgen Wittdorf

08

Michael Müller

09

Pascual Jordan

10

Ohm Phanphiroj

11

Walter Pfeiffer

12

XerXeX

13

Edward Lucie-Smith

14

Master Patrick

15

Jörg Nikolaus

16

Anne Hody

17

Martin E. Kautter

Opening of the exhibition
My gay eye 19.10.07 at 6 p.m.
together with the presentation of the anthology My gay eye 4
published by Konkursbuchverlag.

Introduction by Claudia Gehrke (Publisher) und Rinaldo Hopf (Curator)


with works by

Alexis W, Bernd Banaski, Cocopierre, Greg Day, Micha Engbert, Frank Gabriel, Micha Gerweck, Anne Hody, Rinaldo Hopf, Pascual Jordan, Martin E. Kautter, Paul Kremp, Edward Lucie-Smith, Master Patrick, Bas Meerman, Slava Mogutin, Michael Müller, James F. Murphy, Muskboy, Jörg Nikolaus, Roger Payne, Walter Pfeiffer, Ohm Phanphiroj, Matthias Roloff, Rene Schmalschläger, Jan Schüler, Pet Silvia, Jörg Simon, Wieland Speck, Oliver Spott, Schwules Museum Berlin, Spritzz.com, David Trullo, Tulip Enterprises, Anja Weber, Jürgen Wittdorf and XerXeX


Märchenwald 2007-09-26 - 2007-10-13
Ines von Sassen
Ach wie gut, dass niemand weiss
Öl auf Leinwand, 
240 cm * 200 cm, 2007

01

Martin von Ostrowski
Im Märchenwald 
Öl auf Leinwand, 200 cm * 150 cm, 2007

04

Michael Kopietz
Ost  und West 
Acryl/Harze auf Metall, 
15 cm * 15 cm * 100 cm, 2007

02

Solveig Karen Bolduan
Schichtenlandschaften 
Mischtechnik, farbige Leinwand gerissen, geklebt und genäht 
ca. 119cm* 84 cm, 2006-2007

05

Solveig Karen Bolduan
Leben ist Kurz- Hans Joachim und Annegret 1938 
Skulpturen aus Nadelholz farbig gefasst, 
ca. 35 cm*35 cm*150 cm, 2007

03

01

Ines von Sassen
Ach wie gut, dass niemand weiss
Öl auf Leinwand,
240 cm * 200 cm, 2007

02

Michael Kopietz
Ost und West
Acryl/Harze auf Metall,
15 cm * 15 cm * 100 cm, 2007

03

Solveig Karen Bolduan
Leben ist Kurz- Hans Joachim und Annegret 1938
Skulpturen aus Nadelholz farbig gefasst,
ca. 35 cm*35 cm*150 cm, 2007

04

Martin von Ostrowski
Im Märchenwald
Öl auf Leinwand, 200 cm * 150 cm, 2007

05

Solveig Karen Bolduan
Schichtenlandschaften
Mischtechnik, farbige Leinwand gerissen, geklebt und genäht
ca. 119cm* 84 cm, 2006-2007

not available


All Decoration 2007-08-29 - 2007-09-18
Isfahan Ornament
Alexander von Agoston

01

Stones
Bhoman Jamhari

02

Berliner Grotesque- Türeinfassung
Michael Dute

03

01

Isfahan Ornament
Alexander von Agoston

02

Stones
Bhoman Jamhari

03

Berliner Grotesque- Türeinfassung
Michael Dute


Sex & Christ. 2007-06-06 - 2007-07-15
"Jesus & Johannes"
Alexander von Agoston

01

Fishers of Men (2005-2006)
David Trullo

04

The Last Moment 3 
Álexis W.

07

Les garcon fruits de la passion
Fabian-Brice Michailova

10

Christus gekreuzt
Martin von Ostrowski

02

Ecce Homo Videoinstallation
Maurizio Spagliardi

05

Abendmahl
Master Patrick

08

Die Peinigung Jesu
Pascual Jordan

11

Enjoy Opus Dei - Part 1
Etienne Zerah

03

Maria Magdalena 1
Ines von Sassen

06

Friendship - Krieger
Rinaldo Hopf

09

01

"Jesus & Johannes"
Alexander von Agoston

02

Christus gekreuzt
Martin von Ostrowski

03

Enjoy Opus Dei - Part 1
Etienne Zerah

04

Fishers of Men (2005-2006)
David Trullo

05

Ecce Homo Videoinstallation
Maurizio Spagliardi

06

Maria Magdalena 1
Ines von Sassen

07

The Last Moment 3
Álexis W.

08

Abendmahl
Master Patrick

09

Friendship - Krieger
Rinaldo Hopf

10

Les garcon fruits de la passion
Fabian-Brice Michailova

11

Die Peinigung Jesu
Pascual Jordan