Conor Walton is one of Ireland's leading contemporary painters. In their old-masterly realism, his paintings are rich in allegorical fantasy and references to mythological motifs. The "Bread & Butter Paintings" express the painter's love of supposedly small things and their sensuality, while the inclusion of plastic children's toys from the 1990s in the reservoir of motifs expresses his humor.

Conor Walton is one of Ireland's leading contemporary painters. In their old-masterly realism, his paintings are rich in allegorical fantasy and references to mythological motifs. The "Bread & Butter Paintings" express the painter's love of supposedly small things and their sensuality, while the inclusion of plastic children's toys from the 1990s in the reservoir of motifs expresses his humor.

Conor Walton is one of Ireland's leading contemporary painters. In their old-masterly realism, his paintings are rich in allegorical fantasy and references to mythological motifs. The "Bread & Butter Paintings" express the painter's love of supposedly small things and their sensuality, while the inclusion of plastic children's toys from the 1990s in the reservoir of motifs expresses his humor.

Conor Walton is one of Ireland's leading contemporary painters. In their old-masterly realism, his paintings are rich in allegorical fantasy and references to mythological motifs. The "Bread & Butter Paintings" express the painter's love of supposedly small things and their sensuality, while the inclusion of plastic children's toys from the 1990s in the reservoir of motifs expresses his humor.

Conor Walton is one of Ireland's leading contemporary painters. In their old-masterly realism, his paintings are rich in allegorical fantasy and references to mythological motifs. The "Bread & Butter Paintings" express the painter's love of supposedly small things and their sensuality, while the inclusion of plastic children's toys from the 1990s in the reservoir of motifs expresses his humor.

Time, space, memory, the boundaries between reality and fiction: central themes of the Viennese artist Letizia Werth. Her inspiration comes from photos collected from flea markets, old magazines and books. For her, the transformation of these pictorial finds into drawings is a process of "incorporating and digesting thoughts". Between disappearing and reappearing, forgetting and remembering, the Shadow Flowers demonstrate the painter's sensitivity to the poetry of temporality and unique, fleeting moments.

Time, space, memory, the boundaries between reality and fiction: central themes of the Viennese artist Letizia Werth. Her inspiration comes from photos collected from flea markets, old magazines and books. For her, the transformation of these pictorial finds into drawings is a process of "incorporating and digesting thoughts". Between disappearing and reappearing, forgetting and remembering, the Shadow Flowers demonstrate the painter's sensitivity to the poetry of temporality and unique, fleeting moments.

Time, space, memory, the boundaries between reality and fiction: central themes of the Viennese artist Letizia Werth. Her inspiration comes from photos collected from flea markets, old magazines and books. For her, the transformation of these pictorial finds into drawings is a process of "incorporating and digesting thoughts". Between disappearing and reappearing, forgetting and remembering, the Shadow Flowers demonstrate the painter's sensitivity to the poetry of temporality and unique, fleeting moments.

Time, space, memory, the boundaries between reality and fiction: central themes of the Viennese artist Letizia Werth. Her inspiration comes from photos collected from flea markets, old magazines and books. For her, the transformation of these pictorial finds into drawings is a process of "incorporating and digesting thoughts". Between disappearing and reappearing, forgetting and remembering, the Shadow Flowers demonstrate the painter's sensitivity to the poetry of temporality and unique, fleeting moments.

Time, space, memory, the boundaries between reality and fiction: central themes of the Viennese artist Letizia Werth. Her inspiration comes from photos collected from flea markets, old magazines and books. For her, the transformation of these pictorial finds into drawings is a process of "incorporating and digesting thoughts". Between disappearing and reappearing, forgetting and remembering, the Shadow Flowers demonstrate the painter's sensitivity to the poetry of temporality and unique, fleeting moments.

Works by Maud Tutsche, Jürgen Tenz († 2021) and ARATORA will be presented at the start of a series of exhibitions on the theme of collage. The exhibition aims to raise awareness of "collaging", i.e. the importance of searching for, collecting and reorganising things in art, and how everyday, damaged and discarded objects are transformed and reinterpreted in artistic play. In addition to classic collage, there are also text-images, digital collages, assemblages and objects on display.

Works by Maud Tutsche, Jürgen Tenz († 2021) and ARATORA will be presented at the start of a series of exhibitions on the theme of collage. The exhibition aims to raise awareness of "collaging", i.e. the importance of searching for, collecting and reorganising things in art, and how everyday, damaged and discarded objects are transformed and reinterpreted in artistic play. In addition to classic collage, there are also text-images, digital collages, assemblages and objects on display.

Works by Maud Tutsche, Jürgen Tenz († 2021) and ARATORA will be presented at the start of a series of exhibitions on the theme of collage. The exhibition aims to raise awareness of "collaging", i.e. the importance of searching for, collecting and reorganising things in art, and how everyday, damaged and discarded objects are transformed and reinterpreted in artistic play. In addition to classic collage, there are also text-images, digital collages, assemblages and objects on display.

Works by Maud Tutsche, Jürgen Tenz († 2021) and ARATORA will be presented at the start of a series of exhibitions on the theme of collage. The exhibition aims to raise awareness of "collaging", i.e. the importance of searching for, collecting and reorganising things in art, and how everyday, damaged and discarded objects are transformed and reinterpreted in artistic play. In addition to classic collage, there are also text-images, digital collages, assemblages and objects on display.

Works by Maud Tutsche, Jürgen Tenz († 2021) and ARATORA will be presented at the start of a series of exhibitions on the theme of collage. The exhibition aims to raise awareness of "collaging", i.e. the importance of searching for, collecting and reorganising things in art, and how everyday, damaged and discarded objects are transformed and reinterpreted in artistic play. In addition to classic collage, there are also text-images, digital collages, assemblages and objects on display.

Danielle De Picciotto, a formative figure in the Berlin club and music scene from the late 1980s onwards, explores regions between the inner and outer edges of the collective psyche in her interdisciplinary sound-text-image universe. The artist's fascination with intermediate worlds is particularly evident in her paintings of recent years, which combine ink drawings and colourful surrealist paintings: deep layers and layers of stories in the style of Leonora Carrington and Pop Surrealism.

Danielle De Picciotto, a formative figure in the Berlin club and music scene from the late 1980s onwards, explores regions between the inner and outer edges of the collective psyche in her interdisciplinary sound-text-image universe. The artist's fascination with intermediate worlds is particularly evident in her paintings of recent years, which combine ink drawings and colourful surrealist paintings: deep layers and layers of stories in the style of Leonora Carrington and Pop Surrealism.

Danielle De Picciotto, a formative figure in the Berlin club and music scene from the late 1980s onwards, explores regions between the inner and outer edges of the collective psyche in her interdisciplinary sound-text-image universe. The artist's fascination with intermediate worlds is particularly evident in her paintings of recent years, which combine ink drawings and colourful surrealist paintings: deep layers and layers of stories in the style of Leonora Carrington and Pop Surrealism.

Danielle De Picciotto, a formative figure in the Berlin club and music scene from the late 1980s onwards, explores regions between the inner and outer edges of the collective psyche in her interdisciplinary sound-text-image universe. The artist's fascination with intermediate worlds is particularly evident in her paintings of recent years, which combine ink drawings and colourful surrealist paintings: deep layers and layers of stories in the style of Leonora Carrington and Pop Surrealism.

Danielle De Picciotto, a formative figure in the Berlin club and music scene from the late 1980s onwards, explores regions between the inner and outer edges of the collective psyche in her interdisciplinary sound-text-image universe. The artist's fascination with intermediate worlds is particularly evident in her paintings of recent years, which combine ink drawings and colourful surrealist paintings: deep layers and layers of stories in the style of Leonora Carrington and Pop Surrealism.

Perhaps nothing has shaped Louis G.N. Busman's life more than travelling: Europe, South, Central and North America, East Asia, North Africa. In the year of the 10th anniversary of his death, the exhibition is dedicated to the landscapes of the Dutch-born, passionate painter. The various faces of his paintings symbolise wanderlust, adventure and freedom, but also something deeply inward and peaceful. As the eye wanders into a landscape, so it returns, writes Louis G.N. Busman.

Perhaps nothing has shaped Louis G.N. Busman's life more than travelling: Europe, South, Central and North America, East Asia, North Africa. In the year of the 10th anniversary of his death, the exhibition is dedicated to the landscapes of the Dutch-born, passionate painter. The various faces of his paintings symbolise wanderlust, adventure and freedom, but also something deeply inward and peaceful. As the eye wanders into a landscape, so it returns, writes Louis G.N. Busman.

Perhaps nothing has shaped Louis G.N. Busman's life more than travelling: Europe, South, Central and North America, East Asia, North Africa. In the year of the 10th anniversary of his death, the exhibition is dedicated to the landscapes of the Dutch-born, passionate painter. The various faces of his paintings symbolise wanderlust, adventure and freedom, but also something deeply inward and peaceful. As the eye wanders into a landscape, so it returns, writes Louis G.N. Busman.

Perhaps nothing has shaped Louis G.N. Busman's life more than travelling: Europe, South, Central and North America, East Asia, North Africa. In the year of the 10th anniversary of his death, the exhibition is dedicated to the landscapes of the Dutch-born, passionate painter. The various faces of his paintings symbolise wanderlust, adventure and freedom, but also something deeply inward and peaceful. As the eye wanders into a landscape, so it returns, writes Louis G.N. Busman.

Perhaps nothing has shaped Louis G.N. Busman's life more than travelling: Europe, South, Central and North America, East Asia, North Africa. In the year of the 10th anniversary of his death, the exhibition is dedicated to the landscapes of the Dutch-born, passionate painter. The various faces of his paintings symbolise wanderlust, adventure and freedom, but also something deeply inward and peaceful. As the eye wanders into a landscape, so it returns, writes Louis G.N. Busman.

"Flowery night, colourful darkness,
flourishing garden with fantasy fruits.
Bathing naked on the first day
and pray on the last.
Walk when the glass is full,
to places where you can only drink from springs.
Doll dreams and evening grey
Kiss lips like a butterfly.
To be born anew every morning."

MW, April 2023

"Flowery night, colourful darkness,
flourishing garden with fantasy fruits.
Bathing naked on the first day
and pray on the last.
Walk when the glass is full,
to places where you can only drink from springs.
Doll dreams and evening grey
Kiss lips like a butterfly.
To be born anew every morning."

MW, April 2023

"Flowery night, colourful darkness,
flourishing garden with fantasy fruits.
Bathing naked on the first day
and pray on the last.
Walk when the glass is full,
to places where you can only drink from springs.
Doll dreams and evening grey
Kiss lips like a butterfly.
To be born anew every morning."

MW, April 2023

The sculptures of Michael Jastram show archaic-looking companions, horsewomen, warriors, goddesses, lonely drifters. They tell of man as an eternal traveler, of his ratio, and creative ability. Technical inventions let us overcome our physical limits and dream of things still out of sight: ladders, stairs, wheeled carts, boats. These ideas are as ancient as they are always wanting to be rediscovered in every human life. There is something fateful in this image: man as driven and displaced.

The sculptures of Michael Jastram show archaic-looking companions, horsewomen, warriors, goddesses, lonely drifters. They tell of man as an eternal traveler, of his ratio, and creative ability. Technical inventions let us overcome our physical limits and dream of things still out of sight: ladders, stairs, wheeled carts, boats. These ideas are as ancient as they are always wanting to be rediscovered in every human life. There is something fateful in this image: man as driven and displaced.

The sculptures of Michael Jastram show archaic-looking companions, horsewomen, warriors, goddesses, lonely drifters. They tell of man as an eternal traveler, of his ratio, and creative ability. Technical inventions let us overcome our physical limits and dream of things still out of sight: ladders, stairs, wheeled carts, boats. These ideas are as ancient as they are always wanting to be rediscovered in every human life. There is something fateful in this image: man as driven and displaced.

Lore Kegel was one of the first women to study at the Düsseldorf Art Academy from 1919-1922. Living in Hamburg from the mid-1920s, the emancipated, adventurous woman made a lasting name for herself primarily as an art dealer and collector of non-European, especially African art, with an inexhaustible curiosity for travels to foreign cultures, for their nature, people and crafts — a passion that also deeply inspired her work as a painter.

Lore Kegel was one of the first women to study at the Düsseldorf Art Academy from 1919-1922. Living in Hamburg from the mid-1920s, the emancipated, adventurous woman made a lasting name for herself primarily as an art dealer and collector of non-European, especially African art, with an inexhaustible curiosity for travels to foreign cultures, for their nature, people and crafts — a passion that also deeply inspired her work as a painter.

Lore Kegel was one of the first women to study at the Düsseldorf Art Academy from 1919-1922. Living in Hamburg from the mid-1920s, the emancipated, adventurous woman made a lasting name for herself primarily as an art dealer and collector of non-European, especially African art, with an inexhaustible curiosity for travels to foreign cultures, for their nature, people and crafts — a passion that also deeply inspired her work as a painter.

Lore Kegel was one of the first women to study at the Düsseldorf Art Academy from 1919-1922. Living in Hamburg from the mid-1920s, the emancipated, adventurous woman made a lasting name for herself primarily as an art dealer and collector of non-European, especially African art, with an inexhaustible curiosity for travels to foreign cultures, for their nature, people and crafts — a passion that also deeply inspired her work as a painter.

Lore Kegel was one of the first women to study at the Düsseldorf Art Academy from 1919-1922. Living in Hamburg from the mid-1920s, the emancipated, adventurous woman made a lasting name for herself primarily as an art dealer and collector of non-European, especially African art, with an inexhaustible curiosity for travels to foreign cultures, for their nature, people and crafts — a passion that also deeply inspired her work as a painter.

Caught in 1981 trying to leave the GDR on his own, Michael Dressel was sent to prison for 2 years - today for him the most important teaching years of his life and a close encounter with fundamental questions about the individual and society. In 1984 he landed in West Berlin, shortly thereafter in Los Angeles, where, in addition to photography, he worked as a sound editor for Hollywood film productions. His photographs look into the light and dark sides of Los Angeles and Berlin.

Caught in 1981 trying to leave the GDR on his own, Michael Dressel was sent to prison for 2 years - today for him the most important teaching years of his life and a close encounter with fundamental questions about the individual and society. In 1984 he landed in West Berlin, shortly thereafter in Los Angeles, where, in addition to photography, he worked as a sound editor for Hollywood film productions. His photographs look into the light and dark sides of Los Angeles and Berlin.

Caught in 1981 trying to leave the GDR on his own, Michael Dressel was sent to prison for 2 years - today for him the most important teaching years of his life and a close encounter with fundamental questions about the individual and society. In 1984 he landed in West Berlin, shortly thereafter in Los Angeles, where, in addition to photography, he worked as a sound editor for Hollywood film productions. His photographs look into the light and dark sides of Los Angeles and Berlin.

Soil summarizes themes that characterize Jackob-Marks' work: Soil, Earth (world, planet), Ground (cause). The exhibition focuses on one of the painter's guiding genres, landscape from the '80s to the present. To distance from representational depiction in current works means not a turn toward abstraction but a progressive intensification of her ceaseless search for the essence of being: Where do I come from? Why am I in the world? What is the unity of the cosmos?

Soil summarizes themes that characterize Jackob-Marks' work: Soil, Earth (world, planet), Ground (cause). The exhibition focuses on one of the painter's guiding genres, landscape from the '80s to the present. To distance from representational depiction in current works means not a turn toward abstraction but a progressive intensification of her ceaseless search for the essence of being: Where do I come from? Why am I in the world? What is the unity of the cosmos?

Soil summarizes themes that characterize Jackob-Marks' work: Soil, Earth (world, planet), Ground (cause). The exhibition focuses on one of the painter's guiding genres, landscape from the '80s to the present. To distance from representational depiction in current works means not a turn toward abstraction but a progressive intensification of her ceaseless search for the essence of being: Where do I come from? Why am I in the world? What is the unity of the cosmos?

Soil summarizes themes that characterize Jackob-Marks' work: Soil, Earth (world, planet), Ground (cause). The exhibition focuses on one of the painter's guiding genres, landscape from the '80s to the present. To distance from representational depiction in current works means not a turn toward abstraction but a progressive intensification of her ceaseless search for the essence of being: Where do I come from? Why am I in the world? What is the unity of the cosmos?