Galerie Deschler in Berlin presents the European premiere of Sharon Stone’s art with the new exhibition Sharon Stone: Totem. The show features 12 paintings by Stone, most are new and have never been exhibited before. Her art is praised by collectors and art world luminaries, including Jerry Saltz (Senior Art Critic for New York Magazine and winner of the Pulitzer Prize for Criticism). “Totems are monuments to resilience and strength,”says Sharon Stone. “These paintings feel totemic to me. They communicate how my life can feel stacked in a certain way. My daily artmaking helps me fight my way out from under the weight of this alarming time we are all living through. It’s not about how we fall, it’s about how we get up. Wonder is the experience we want to live in,” adds Stone. “This exhibition came to me as a complete vision, from start to finish. Tapping into the female consciousness, my goal is to express ideas that are honest and authentic.”

Sven Marquardt focused on the diversity of the creative scene and began to create points of contact and visibility between the different subcultures with his expressive black and white photographs. He has been portraying people from different cultural and social milieus around the world, most recently during a residency in New York City. There, Marquardt photographed residents on the streets of Harlem and Manhattan and became part of their stories, experiences, adventures and emotions.

Holger Bär has spent many years developing and working with computer-controlled painting machines capable of transposing images, prepared in a certain way, onto canvas, pixel by pixel, brushstroke by brushstroke. For the purposes of encoding his images Bär has always relied on numbers as placeholders for colors, using certain algorithms to visually process them.

Holger Bär has spent many years developing and working with computer-controlled painting machines capable of transposing images, prepared in a certain way, onto canvas, pixel by pixel, brushstroke by brushstroke. For the purposes of encoding his images Bär has always relied on numbers as placeholders for colors, using certain algorithms to visually process them.

Holger Bär has spent many years developing and working with computer-controlled painting machines capable of transposing images, prepared in a certain way, onto canvas, pixel by pixel, brushstroke by brushstroke. For the purposes of encoding his images Bär has always relied on numbers as placeholders for colors, using certain algorithms to visually process them.

As in the "Innocent" exhibition, Waller, with her latest series of works entitled "Victims", once again takes a hard look at various forms of worldwide violence against children, the weakest and most defenseless members of our society. In view of the seriousness of the topic, the artist deliberately dispenses with the ironic hyperbole and black humor, which are so often a hallmark of her works. 

As in the "Innocent" exhibition, Waller, with her latest series of works entitled "Victims", once again takes a hard look at various forms of worldwide violence against children, the weakest and most defenseless members of our society. In view of the seriousness of the topic, the artist deliberately dispenses with the ironic hyperbole and black humor, which are so often a hallmark of her works. 

As in the "Innocent" exhibition, Waller, with her latest series of works entitled "Victims", once again takes a hard look at various forms of worldwide violence against children, the weakest and most defenseless members of our society. In view of the seriousness of the topic, the artist deliberately dispenses with the ironic hyperbole and black humor, which are so often a hallmark of her works. 

40 years after the Zeitgeist exhibition of 1982 with its focus on painting, especially "Heftige Malerei" (ferocious painting), held at the Martin-Gropius-Bau—which at the time was located right next to the Berlin Wall and had only just been provisionally renovated—the exhibition at the Galerie Deschler compellingly recalls Berlin's vibrant art scene of the 1980s.

"Fleischmann" is a collaboration between Sven Marquardt, Esther Perbandt and Nicholas Mockridge, creating a series of scenes with film and theater legend Volker Spengler: mise-en-scènes inspired by Christian mythology. Marquardt designed the image composition and lighting, director and interdisciplinary artist Mockridge conceived the dramatic setting based on Spengler's oeuvre, and fashion designer Perbandt created 15 costumes for the production.

“Transformer. Luciano Castelli - self portraits 1974” presents the artistic beginnings of Luciano Castelli, one of the main representatives of the Berlin Neue Wilde art movement. As early as the 1970s he explored the still very much current topic of gender. Informed by the political perspective of the 1968 generation, he explored the dissolution of established conventions and the blurring of boundaries between the genders.

The large-scale photographs by American photographer and director Jay Mark Johnsonachieve something ordinarily impossible for photography: by means of a modified panoramic camera they record continuous movement. In doing so, Johnson breaks with established ways of seeing and creates a new visual language, one that at first may appear enigmatic to the beholder. At the same time he adjusts the parameters of his recording in such a manner that the visual shifts remain rather subtle.