Nanne Meyer works exclusively on paper. Drawing, collage, color, paper cutting - in her career spanning over 40 years, she has used these means to create an overwhelmingly multifaceted cosmos. She often uses found objects as a basis: old textbooks, office forms, waste paper, maps or atlas pages. Covering and concealing, isolating individual pictorial and textual elements in this way, supplementing them with drawings, she finds and invents her pictorial worlds full of profundity and poetry.

Wieland Förster is one of the most important German sculptors since 1945. Born in Dresden in 1930, he experienced injustice and violence himself as a young man. These experiences are the basis and driving force behind his work. The human figure is at the center of his artistic work. Suffering and grief on the one hand, Eros and vitality on the other form the thematic poles. 
We are showing drawings and small sculptures from five decades, including early works by the artist that have rarely or never been exhibited before.

Ten years after the important East Berlin painter Clemensz Gröszer died at the age of just 63, we are delighted to present a selection of his veristic portraits and still lifes as well as two important triptychs from the years 1986 to 2014.

The New Yorker Muriel Kalish (*1932) began painting in 1954: self-taught, intuitive, full of enthusiasm, from then on incessantly. Dieter Brusberg brought her paintings to Europe in 1972 and almost 50 years later we were able to reacquire some of her works. We are therefore looking forward to a reunion with Muriel Kalish's "earthly paradises", these quiet, enigmatic, elysian scenes that always carry a hint of their endangerment.

Werner Kunkel (Magdeburg 1922 - 2017 Braunschweig), master student of Hans Kuhn at the HfbK Berlin, painted figuartively throughout his life and consciously kept away from the art establishment. He created an idiosyncratic artistic cosmos that combines factual depiction with enigmatic symbolism. On the occasion of his 100th birthday we show a selection of his paintings and drawings.

The painter Heike Ruschmeyer has been dealing with images of people who have died violently since the 1970s. In her recent series "Black on White" she devotes herself to the subject of politically motivated attacks and assassinations. Based on press photos of the crime scenes, however, she mostly omits the victims here, leaving only the shot-up limousines or charred houses, the traces of violence, to speak for themselves. The painterly transformation gives universal validity to the images.