Ludwig Spaudes childhood dreams lead him to the cloud forests of Nicaragua, Costa Rica, Madeira, Indonesia, and Colombia, where he finds the images he once dreamed of. In the solitude of the rainforest, the inner and outer worlds merge, the past and the present flow together. The photographer succeeds in capturing emotionally charged situations. On the one hand, they appear dreamlike and blurred, yet on the other, they are a razor-sharp reflection of reality.

Sid Gastl does not need to travel. He finds everything he needs for his pictures in his studio. Sid Gastl does not need to travel. Strictly speaking, reality does not exist, only the reality he creates. He draws everything real that he wants to incorporate into the picture. A dreamlike vagueness prevails. For he is convinced that we can never know everything. The “gentle cloud of the inexplicable” (Sid Gastl) always hangs over the world

Ludwig Spaudes childhood dreams lead him to the cloud forests of Nicaragua, Costa Rica, Madeira, Indonesia, and Colombia, where he finds the images he once dreamed of. In the solitude of the rainforest, the inner and outer worlds merge, the past and the present flow together. The photographer succeeds in capturing emotionally charged situations. On the one hand, they appear dreamlike and blurred, yet on the other, they are a razor-sharp reflection of reality.

Sid Gastl does not need to travel. He finds everything he needs for his pictures in his studio. Sid Gastl does not need to travel. Strictly speaking, reality does not exist, only the reality he creates. He draws everything real that he wants to incorporate into the picture. A dreamlike vagueness prevails. For he is convinced that we can never know everything. The “gentle cloud of the inexplicable” (Sid Gastl) always hangs over the world

In their work, Chen Ruo Bing and Abraham David Christian pursue a goal that they never achieve and that challenges them again and again. It cannot be put into words. The works can only be understood by looking at them. Bing works with color contrasts in square paintings and with color gradients in narrow vertical formats. Christian's iron sculptures are turned from solid iron drums in a complex process that can take up to a year.

In their work, Chen Ruo Bing and Abraham David Christian pursue a goal that they never achieve and that challenges them again and again. It cannot be put into words. The works can only be understood by looking at them. Bing works with color contrasts in square paintings and with color gradients in narrow vertical formats. Christian's iron sculptures are turned from solid iron drums in a complex process that can take up to a year.

The term ‘garden’ is associated with happy feelings, it is a place we long for. A garden is an enclosed plot of land, sometimes surrounded by an impenetrable hedge, a high fence or wall, or it is located behind a house and remains completely hidden from passers-by. Because in the garden we want to be protected from the eyes of others, from the misery of the world, and just take pleasure in the lovingly cultured or indeed untamed and uncontrolled nature. We asked artists from the gallery programme for pictures of gardens, and many responded.

The term ‘garden’ is associated with happy feelings, it is a place we long for. A garden is an enclosed plot of land, sometimes surrounded by an impenetrable hedge, a high fence or wall, or it is located behind a house and remains completely hidden from passers-by. Because in the garden we want to be protected from the eyes of others, from the misery of the world, and just take pleasure in the lovingly cultured or indeed untamed and uncontrolled nature. We asked artists from the gallery programme for pictures of gardens, and many responded.

The term ‘garden’ is associated with happy feelings, it is a place we long for. A garden is an enclosed plot of land, sometimes surrounded by an impenetrable hedge, a high fence or wall, or it is located behind a house and remains completely hidden from passers-by. Because in the garden we want to be protected from the eyes of others, from the misery of the world, and just take pleasure in the lovingly cultured or indeed untamed and uncontrolled nature. We asked artists from the gallery programme for pictures of gardens, and many responded.

Growing up in East Berlin, Sabine Herrmann experienced the division of Germany at first hand. Her artistic
influence was shaped by the 80s of the GDR, which were filled with political tension, a love of experimentation and a spirit of solidarity and optimism. After reunification, she asserted herself independently with her work,
as her biography with international museum exhibitions proves. Typical of her work are expressive broad brushstrokes, but also fine expressive pencil drawings. It is of impressive solidity, contemplative and political at the same time. She writes the names of female artists on paper in various sizes, one on top of the other, and addresses their lack of public recognition and visibility.

Light is important for our physical and mental well-being. We don't get much of it in winter, but nature has made provisions. Many of winters natural occurrences ensure that the world appears bright and full of wonder. Eight artists explore these phenomena in photography and painting. 

Light is important for our physical and mental well-being. We don't get much of it in winter, but nature has made provisions. Many of winters natural occurrences ensure that the world appears bright and full of wonder. Eight artists explore these phenomena in photography and painting. 

Galerie Albrecht is pleased to present the artist Sigrid Kopfermann for the first time in her native city Berlin. Kopfermann is one of the eminent women painters of the post-war period, and one of the few female artists to take the step towards abstraction and participate in this global language emerging at that time.

Galerie Albrecht is pleased to present the artist Sigrid Kopfermann for the first time in her native city Berlin. Kopfermann is one of the eminent women painters of the post-war period, and one of the few female artists to take the step towards abstraction and participate in this global language emerging at that time.

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.