Ge Ba are unique documents from 1950s China; only a few of them survive to this day. They were exhibited in Paris at Centre Pompidou in 2003, and at Fondation Joan Miró Barcelona in 1995. Galerie Albrecht is showing them for the very first time in Germany.

The term Ge Ba refers to an assemblage of pieces of cloth that were originally meant to be used for patching. The textile workers who saved and collected these textiles used them to create free abstract compositions, similar to the works of Western avant-gardes at the time. Unlike the notion prevalent in the West then that art is the work of an individual, Ge Ba were created as collective works, even when they were designed by just one woman.  

Paintings by Michael Toenges have been shown at institutions such as Museum Wiesbaden, Kolumba Museum in Cologne and the PEAC Museum in Freiburg. He explores the question of what colours and paint are. Even if paint makes it possible to create immaterial things, and express ideas, emotions, drama, and silence, it has a pastose, material nature. Colours are carriers of light, and in combination and harmony, they start to glow. Letting colour shine is the great art of Michael Toenges. 

 

Ge Ba are unique documents from 1950s China; only a few of them survive to this day. They were exhibited in Paris at Centre Pompidou in 2003, and at Fondation Joan Miró Barcelona in 1995. Galerie Albrecht is showing them for the very first time in Germany.

The term Ge Ba refers to an assemblage of pieces of cloth that were originally meant to be used for patching. The textile workers who saved and collected these textiles used them to create free abstract compositions, similar to the works of Western avant-gardes at the time. Unlike the notion prevalent in the West then that art is the work of an individual, Ge Ba were created as collective works, even when they were designed by just one woman.  

Paintings by Michael Toenges have been shown at institutions such as Museum Wiesbaden, Kolumba Museum in Cologne and the PEAC Museum in Freiburg. He explores the question of what colours and paint are. Even if paint makes it possible to create immaterial things, and express ideas, emotions, drama, and silence, it has a pastose, material nature. Colours are carriers of light, and in combination and harmony, they start to glow. Letting colour shine is the great art of Michael Toenges. 

 

Ge Ba are unique documents from 1950s China; only a few of them survive to this day. They were exhibited in Paris at Centre Pompidou in 2003, and at Fondation Joan Miró Barcelona in 1995. Galerie Albrecht is showing them for the very first time in Germany.

The term Ge Ba refers to an assemblage of pieces of cloth that were originally meant to be used for patching. The textile workers who saved and collected these textiles used them to create free abstract compositions, similar to the works of Western avant-gardes at the time. Unlike the notion prevalent in the West then that art is the work of an individual, Ge Ba were created as collective works, even when they were designed by just one woman.  

Paintings by Michael Toenges have been shown at institutions such as Museum Wiesbaden, Kolumba Museum in Cologne and the PEAC Museum in Freiburg. He explores the question of what colours and paint are. Even if paint makes it possible to create immaterial things, and express ideas, emotions, drama, and silence, it has a pastose, material nature. Colours are carriers of light, and in combination and harmony, they start to glow. Letting colour shine is the great art of Michael Toenges. 

 

Ge Ba are unique documents from 1950s China; only a few of them survive to this day. They were exhibited in Paris at Centre Pompidou in 2003, and at Fondation Joan Miró Barcelona in 1995. Galerie Albrecht is showing them for the very first time in Germany.

The term Ge Ba refers to an assemblage of pieces of cloth that were originally meant to be used for patching. The textile workers who saved and collected these textiles used them to create free abstract compositions, similar to the works of Western avant-gardes at the time. Unlike the notion prevalent in the West then that art is the work of an individual, Ge Ba were created as collective works, even when they were designed by just one woman.  

Paintings by Michael Toenges have been shown at institutions such as Museum Wiesbaden, Kolumba Museum in Cologne and the PEAC Museum in Freiburg. He explores the question of what colours and paint are. Even if paint makes it possible to create immaterial things, and express ideas, emotions, drama, and silence, it has a pastose, material nature. Colours are carriers of light, and in combination and harmony, they start to glow. Letting colour shine is the great art of Michael Toenges. 

 

Peter Mathis loves distance. He pairs direct experience with the analytical gaze of observation. He seeks eternal validity in the spontaneous moment, and he turns time into timelessness. He has a keen and attentive eye for nature and landscapes. For the past two years, he has devoted himself to alpine flowers. The never-changing white background before which he photographs the plants, and the Latin names, make Peter Mathis appear as a naturalist. On the one hand, he is precisely that because he documents what he finds, but on the other hand, the plants are showcased because of their beauty. In these photographs, lines and forms appear as if they had been drawn, and every detail, and how it contributes to the overall appearance, becomes visible.

Peter Mathis loves distance. He pairs direct experience with the analytical gaze of observation. He seeks eternal validity in the spontaneous moment, and he turns time into timelessness. He has a keen and attentive eye for nature and landscapes. For the past two years, he has devoted himself to alpine flowers. The never-changing white background before which he photographs the plants, and the Latin names, make Peter Mathis appear as a naturalist. On the one hand, he is precisely that because he documents what he finds, but on the other hand, the plants are showcased because of their beauty. In these photographs, lines and forms appear as if they had been drawn, and every detail, and how it contributes to the overall appearance, becomes visible.

Isn’t it beautiful to look up into a light, sunny sky? Especially during the dark time that we now need to get through, to experience the sun once a day? Eric Cruikshank makes this possible. 

Stephan Ehrenhofer’s works seem like many things and open up space for our own associations. They celebrate the beauty of colour.

Isn’t it beautiful to look up into a light, sunny sky? Especially during the dark time that we now need to get through, to experience the sun once a day? Eric Cruikshank makes this possible. 

Stephan Ehrenhofer’s works seem like many things and open up space for our own associations. They celebrate the beauty of colour.

Isn’t it beautiful to look up into a light, sunny sky? Especially during the dark time that we now need to get through, to experience the sun once a day? Eric Cruikshank makes this possible. 

Stephan Ehrenhofer’s works seem like many things and open up space for our own associations. They celebrate the beauty of colour.

"It is the business of humans to question limits. They are expanded, shifted, and transgressed. Limits make us discontent. Therefore, it is also the business of artists to expand and transgress the limits of their own me- dium. In the works shown, the artists Carlos Arias, Frank Mädler, and Grit Schwerdtfeger expand limits by working with textiles and ceramics."

"It is the business of humans to question limits. They are expanded, shifted, and transgressed. Limits make us discontent. Therefore, it is also the business of artists to expand and transgress the limits of their own me- dium. In the works shown, the artists Carlos Arias, Frank Mädler, and Grit Schwerdtfeger expand limits by working with textiles and ceramics."

"It is the business of humans to question limits. They are expanded, shifted, and transgressed. Limits make us discontent. Therefore, it is also the business of artists to expand and transgress the limits of their own me- dium. In the works shown, the artists Carlos Arias, Frank Mädler, and Grit Schwerdtfeger expand limits by working with textiles and ceramics."

The exhibition sets a very precise frame for the subject. It contains only works where the hand is the central

motif. We chose representations from the fields of photograph, painting, drawing, and sculpture that

illuminate different modes of operation and action.

The exhibition sets a very precise frame for the subject. It contains only works where the hand is the central

motif. We chose representations from the fields of photograph, painting, drawing, and sculpture that

illuminate different modes of operation and action.

The photographer Julia Baier, the ceramist Sylvie Enjalbert, and the painter Silke Leverkühne take things from the past that have proven to be enduring as the basis for the present.

The photographer Julia Baier, the ceramist Sylvie Enjalbert, and the painter Silke Leverkühne take things from the past that have proven to be enduring as the basis for the present.

As this year’s recipient of the AArtist Fellowship, Zoran Minic (born in 1964) was able to work for three months in the studio on top of the German Foreign Office. Zoran Minic lives in Milan; he is an architect and painter.

As this year’s recipient of the AArtist Fellowship, Zoran Minic (born in 1964) was able to work for three months in the studio on top of the German Foreign Office. Zoran Minic lives in Milan; he is an architect and painter.

Light has been Chen Ruo Bing’s subject right from the start. As early as 2005, he called an exhibition “Into the Light”. Over the years, he has increasingly dissolved the material aspect in his paintings. Concrete shapes, opaque colours have become more and more intangible. With a brush, paint, and canvas, he gets ever closer to embodying light. 

Light has been Chen Ruo Bing’s subject right from the start. As early as 2005, he called an exhibition “Into the Light”. Over the years, he has increasingly dissolved the material aspect in his paintings. Concrete shapes, opaque colours have become more and more intangible. With a brush, paint, and canvas, he gets ever closer to embodying light. 

Übers Meer brings together photographs by Peter Bialobrzeski, taken last year at the Polish Baltic Sea and in Travemünde, and paintings by Miwa Osagawara. The photographer and the painter are friends, and they value each other’s work. They had the idea of collaborating in the following way: Miwa Osagawara responds to Peter Bialobrzeski’s photographs.

Übers Meer brings together photographs by Peter Bialobrzeski, taken last year at the Polish Baltic Sea and in Travemünde, and paintings by Miwa Osagawara. The photographer and the painter are friends, and they value each other’s work. They had the idea of collaborating in the following way: Miwa Osagawara responds to Peter Bialobrzeski’s photographs.

In the exhibition Shrubs, Flowers, and Decay, the young photographer Tilyen Mucik (born in Ljubljana in 1995) discovers the variety and diversity of nature, and the sculptor Zadok Ben-David (born in Bayhan, Yemen in 1949) creates it by his own hand. Artificial and natural nature meet. 

In the exhibition Shrubs, Flowers, and Decay, the young photographer Tilyen Mucik (born in Ljubljana in 1995) discovers the variety and diversity of nature, and the sculptor Zadok Ben-David (born in Bayhan, Yemen in 1949) creates it by his own hand. Artificial and natural nature meet. 

Michela Ghisetti’s work ranges between the poles of abstract and figurative art. In her works, biographical and emotional elements merge with issues of philosophy and art theory. This gives rise to conceptually rigid, humorous and intuitive groups of works in which the artist constantly tries out new content and a wide variety of materials, challenging their fundamental principles. – Antonia Hoerschelmann

With the exhibition ‘Stadt Land Fluss’, Galerie Albrecht continues its exploration of the terms ‘abstract’ and ‘figurative’. The paintings by Zoran Minić, the photographs by Maria Mölko, and the drawings by David Connearn are both. Unlike the previous exhibition on landscape, ‘Landschaft’, ‘Stadt Land Fluss’ does not present unconnected individual positions; rather, a contrast is built up that is resolved in the connection.

I try to be aware of light at all times, I am always watching for it. I am not looking at light because I am a photographer, I am photographing because I am deeply involved with light. Something happens when I am affected by a visual experience, it is meaningful beyond what I am looking at (...). When I photograph, I try to make those invisibles felt. I identify with nature and natural objects. I become the thing I photograph. I have to fall in love with it. – Ruth Bernhard

The painters Joseph Marioni, Peter Tollens and Michael Toenges have made colour alone the subject of their paintings, imbuing it with all its sensuality. Colour and paint are their material, paint is haptic, it has a relationship to its environment, the layers of paint next to or underneath, and to the conditions of light. Colour and paint always change and if we are ready to give our entire attention to them, they can tell us just as much as a figurative painting.

The exhibition “Landscape: Abstract – Figurative” brings together five artists who in their work oscillate between abstraction and figuration: the painters Eric Cruikshank, Silke Leverkühne, and Peter Tollens, the sculptor and drawing artist Johannes Beyerle, and the photographer Michael Kenna. Each of these five artists sees nature in his or her own way and emphasises what is important to him/her.