In her current exhibition at IKOB, Museum of contemporary Art, Sali Muller is described as "a sensitive analyst of habits of vision and perception". In her acute, large-scale mirror works, Muller deals with a spectrum of psychosocial issues such as self-awareness, identity and interpersonal communication. With her installations, Muller manipulates our perception of subject and subjectivity. She breaks up the connections between space, time and identity in order to investigate what it means to maintain individuality in a society of constant repetitions. With skepticism and irony, the artist draws attention to the obsession of our media-dominated visual culture: making everything transparent.
Hannah T. Förtsch (*1987) works with pigment, fabric or iron, the young artist is conversant with the substance of her creative raw matter. And it is particularly appealing to her to bring together these different materials and techniques. In her artistic work Förtsch focuses on elementary forms and the creative process. The completed ensemble consists of innumerable little things - everything is ultimately the substance and the starting point for the next. Needle stitches evolve into a structure, colour surfaces into figures and shimmering metal threads become a net holding everything together. Nothing is more enjoyable than entering this microcosmos.
Fascinated, the viewer looks at molecular or crystalline structures, in such detail as if through a microscope. They are infused with an order that increases their focus. At times, Hannah T. Förtsch integrates threads or transparent sections into her delicately painted surfaces, thereby expanding her subtle miniatures into three-dimensional space. And at other times, her human figures are enveloped by a swarm of digital-looking structures.
For his new series "The Big Wave", André Wagner (* 1980) left his soul home India and yet, he did not. His fundamental theme is reflected in his new series originating in Japan: The search for meaning. Topics such as pilgrimage, spirituality and cultures between tradition and modernity that drive the German artist. André Wagner's photographs make the magic of the moment visible. Whether Kyoto or Delhi, wind-drawn trees in New Zealand or bamboo forests in Japan, his camera captures what can not be comprehended, makes sense of man, and makes the eternal essence of things visible.
Although he had lived in Leipzig for some years, Michael Goller (*1974) has always been independent from the Leipziger Schule. He is working reclusively on the abstraction, right in the tradition of renowned artists from Saxony as Karl Schmidt-Rottluff, Gerhard Altenbourg or Carlfriedrich Claus. Michael Goller is a discovery.
On our white walls, the energy of color is focused with a luminosity, which cheers the heart. It is as if spring was caught in the green paint, summer captured in the yellow tint, frost in the white and sky in the blue hues... The first thing to be perceived is the monochrome color of each painting opening us up like a warm ray of sunshine on the eyelid in the early morning.
The paintings by Michael Goller are solar cells catching the light with layers of material - up to 15 layers which are no longer visible can be found in the paintings, from silver pencil drawings to primers to fully executed layered paintings. Meticulously, Goller mixes the colors to produce the luminosity of the light with ordinary oil paint in order to compose a monochrome colorscape perceived as if one squints childlike in the bright sun and marvelous color patterns delight our brains.
What is love? "A messy feeling" according to Richard David Precht.
To put it in a temporary order, Sabine Dehnel curated this group exhibition. With a very keen sense she invited eight exciting artists that actively perform on the international art market and have quite different positions on the subject.
By now, everyone loves everything in advertising and social networks. Love as expectation and hope, as manipulative instrument and unconditional dedication, but also love as a peace maker and inner challenge. While the exhibition’s title evokes the association of emotional movies, the exhibition itself offers the synopsis of the different positions that are not blind to the downside of the desire for affection and also take up more general forms of love, e.g. patriotism.
On display are works by Frieda & Götz Bellmann, Anna Lehmann-Brauns, Sabine Dehnel, Annetta Kapon, Marianna Krueger, Petra Mattheis, Marc Peschke and Claudia Schmitz.
The oeuvre of Nicole Wendel (*1975) ranges from drawings to installations, objects and performances. With the drawing, mostly graphite on paper, constituting the starting medium of her art. In her work, she facilitates metaphorically explosive moments and figures and is particularly concerned with questions about relationships, life, death and the transformation of her characters. She addresses evanescence and the appearance of time.
Wendel’s pictorial elements often come from personal memories- sometimes even from socially freely accessible media such as magazines and TV. She separates the fragments from their original context and creates new connections between them. For the viewer, this creates narrative integrations, that costomize new opportunities of communication transfers between body and space.
"Artist Nicole Wendel’s feet are also blackened, or at least getting dirty, as she walks on her graphite drawings in the studio or during performances on blackboards covered with white chalk—all part of her working process. An associative horizon opens up, insofar as the exhibition title—Schwarze Füße (Black Feet)—offers a double connotation: on one hand, the foot as part of the body of the artist, who is actively in movement during the drawing– performance—and thus the physical activity of walking, trespassing; and—on the other hand, a reference to the historical meaning offered above: an act of territorial possession, encroaching borders—a form of transgression, concretely and figuratively."
THE DRAWING HUB Berlin
(extract from exhibition catalog)
Petra Mattheis (*1967) elaborates the privacy of women provocatively funny and with ruthless candor and questions today’s ways of dealing with the body in our society. She depicts a taboo of our time, with activist passion and critically discusses culture-historical developments. Precisely because she dares to develop this point of view from a woman’s perspective, she evokes an irritating moment in the viewer, that is caused by the allegories of her sculptures and objects.
e.artis contemporaray solo show by Hans-Jörg Holubitschka is full of large-format landscapes.
Landscapes are Holubitschka’s personal vehicles searching to find a way from the world’s subjective reflection back into the world. Responding to a photo-realistically painted reference of a place, the artist destroys his creation with intense colors in order to arrange a harmonious illusion, which remains unforgettable for every viewer in its thoroughness, balance and brightness and will never be boring.
Informel is definitely the most interesting art movement in post-war Germany and associated with abstract expressionism in the US. Emil Schumacher, K.O. Götz, K.R.H. Sonderborg, Fred Thieler and Fritz Winter are well known and the most renowned artists of this period. Today, there is a greater demand than ever for informel artworks due to their poetic expression as well as their moving terpsichorean lines, colors and gestures.