“SNOW”, Dieter Mammel’s first solo show at Galerie Poll, presents new paintings by the artist. Created since 2024, these works mark the beginning of a new chapter in Mammel’s artistic career. The new series begins with a change in the painting surface: instead of the unprimed white canvas he previously used, Mammel turns to natural-coloured linen. The priming white becomes a defining visual element – spread like snow across the linen. Using cyan-coloured ink at first, later switching to black, Mammel paints his subjects with the priming white: huts, fences, mountains, rivers, and power lines. These motifs all share a sense of vast, often empty winter landscape, based on the artist’s childhood memories of the Swabian Alp.

“SNOW”, Dieter Mammel’s first solo show at Galerie Poll, presents new paintings by the artist. Created since 2024, these works mark the beginning of a new chapter in Mammel’s artistic career. The new series begins with a change in the painting surface: instead of the unprimed white canvas he previously used, Mammel turns to natural-coloured linen. The priming white becomes a defining visual element – spread like snow across the linen. Using cyan-coloured ink at first, later switching to black, Mammel paints his subjects with the priming white: huts, fences, mountains, rivers, and power lines. These motifs all share a sense of vast, often empty winter landscape, based on the artist’s childhood memories of the Swabian Alp.

“SNOW”, Dieter Mammel’s first solo show at Galerie Poll, presents new paintings by the artist. Created since 2024, these works mark the beginning of a new chapter in Mammel’s artistic career. The new series begins with a change in the painting surface: instead of the unprimed white canvas he previously used, Mammel turns to natural-coloured linen. The priming white becomes a defining visual element – spread like snow across the linen. Using cyan-coloured ink at first, later switching to black, Mammel paints his subjects with the priming white: huts, fences, mountains, rivers, and power lines. These motifs all share a sense of vast, often empty winter landscape, based on the artist’s childhood memories of the Swabian Alp.

“SNOW”, Dieter Mammel’s first solo show at Galerie Poll, presents new paintings by the artist. Created since 2024, these works mark the beginning of a new chapter in Mammel’s artistic career. The new series begins with a change in the painting surface: instead of the unprimed white canvas he previously used, Mammel turns to natural-coloured linen. The priming white becomes a defining visual element – spread like snow across the linen. Using cyan-coloured ink at first, later switching to black, Mammel paints his subjects with the priming white: huts, fences, mountains, rivers, and power lines. These motifs all share a sense of vast, often empty winter landscape, based on the artist’s childhood memories of the Swabian Alp.

“SNOW”, Dieter Mammel’s first solo show at Galerie Poll, presents new paintings by the artist. Created since 2024, these works mark the beginning of a new chapter in Mammel’s artistic career. The new series begins with a change in the painting surface: instead of the unprimed white canvas he previously used, Mammel turns to natural-coloured linen. The priming white becomes a defining visual element – spread like snow across the linen. Using cyan-coloured ink at first, later switching to black, Mammel paints his subjects with the priming white: huts, fences, mountains, rivers, and power lines. These motifs all share a sense of vast, often empty winter landscape, based on the artist’s childhood memories of the Swabian Alp.

Unlike veduta painting – where the goal was to render city views with the highest degree of accuracy – contemporary art treats the city as a source of inspiration for individual perception. The exhibition “Cityscapes” brings five distinct artistic voices into conversation. Through dense composition or deliberate omission, each artist creates moods that go beyond simply depicting the city.

Unlike veduta painting – where the goal was to render city views with the highest degree of accuracy – contemporary art treats the city as a source of inspiration for individual perception. The exhibition “Cityscapes” brings five distinct artistic voices into conversation. Through dense composition or deliberate omission, each artist creates moods that go beyond simply depicting the city.

Unlike veduta painting – where the goal was to render city views with the highest degree of accuracy – contemporary art treats the city as a source of inspiration for individual perception. The exhibition “Cityscapes” brings five distinct artistic voices into conversation. Through dense composition or deliberate omission, each artist creates moods that go beyond simply depicting the city.

Unlike veduta painting – where the goal was to render city views with the highest degree of accuracy – contemporary art treats the city as a source of inspiration for individual perception. The exhibition “Cityscapes” brings five distinct artistic voices into conversation. Through dense composition or deliberate omission, each artist creates moods that go beyond simply depicting the city.

Unlike veduta painting – where the goal was to render city views with the highest degree of accuracy – contemporary art treats the city as a source of inspiration for individual perception. The exhibition “Cityscapes” brings five distinct artistic voices into conversation. Through dense composition or deliberate omission, each artist creates moods that go beyond simply depicting the city.

In the exhibition “Landscapes. Childhood Paths”, Galerie Poll is showing new paintings by Ralf Kerbach, created in the Saxon countryside of his youth. In 1982, Kerbach was forced to leave this familiar place behind when he emigrated from East Germany. In 2020, Ralf Kerbach moved back to this region, shaped by vineyards, ponds, and farmland. It was there that he felt the desire to paint his surroundings and unique light of the Elbe region in open air. 

In the exhibition “Landscapes. Childhood Paths”, Galerie Poll is showing new paintings by Ralf Kerbach, created in the Saxon countryside of his youth. In 1982, Kerbach was forced to leave this familiar place behind when he emigrated from East Germany. In 2020, Ralf Kerbach moved back to this region, shaped by vineyards, ponds, and farmland. It was there that he felt the desire to paint his surroundings and unique light of the Elbe region in open air. 

In the exhibition “Landscapes. Childhood Paths”, Galerie Poll is showing new paintings by Ralf Kerbach, created in the Saxon countryside of his youth. In 1982, Kerbach was forced to leave this familiar place behind when he emigrated from East Germany. In 2020, Ralf Kerbach moved back to this region, shaped by vineyards, ponds, and farmland. It was there that he felt the desire to paint his surroundings and unique light of the Elbe region in open air. 

In the exhibition “Landscapes. Childhood Paths”, Galerie Poll is showing new paintings by Ralf Kerbach, created in the Saxon countryside of his youth. In 1982, Kerbach was forced to leave this familiar place behind when he emigrated from East Germany. In 2020, Ralf Kerbach moved back to this region, shaped by vineyards, ponds, and farmland. It was there that he felt the desire to paint his surroundings and unique light of the Elbe region in open air. 

Silbermann chooses deliberately unspectacular subjects for his oil paintings – things we usually overlook: shipping containers, garages, airports, petrol stations, snack stands, and public lavatories. His titles are short and direct. It is Silbermann’s composition and technique that turn these works into something striking – true sights in every sense. 

Silbermann chooses deliberately unspectacular subjects for his oil paintings – things we usually overlook: shipping containers, garages, airports, petrol stations, snack stands, and public lavatories. His titles are short and direct. It is Silbermann’s composition and technique that turn these works into something striking – true sights in every sense. 

Silbermann chooses deliberately unspectacular subjects for his oil paintings – things we usually overlook: shipping containers, garages, airports, petrol stations, snack stands, and public lavatories. His titles are short and direct. It is Silbermann’s composition and technique that turn these works into something striking – true sights in every sense. 

Silbermann chooses deliberately unspectacular subjects for his oil paintings – things we usually overlook: shipping containers, garages, airports, petrol stations, snack stands, and public lavatories. His titles are short and direct. It is Silbermann’s composition and technique that turn these works into something striking – true sights in every sense. 

Silbermann chooses deliberately unspectacular subjects for his oil paintings – things we usually overlook: shipping containers, garages, airports, petrol stations, snack stands, and public lavatories. His titles are short and direct. It is Silbermann’s composition and technique that turn these works into something striking – true sights in every sense. 

To mark Gallery Weekend, Galerie Poll will showcase, for the first time, works by Düsseldorf-based painter Gerhard Taubert, who died in 2012 at the age of eighty-four. The exhibition includes paintings from various stages of Taubert’s career, which spanned from 1960 to 2000. In his landscapes, Taubert moves from carefully detailed groups of trees to olive groves, vineyards, and lavender fields, and ultimately to their most abstract form – just two bands of colour symbolising earth and sky.

Climate change, migration, wars, and the resurgence of ideological thinking are creating an atmosphere of uncertainty in society. Since 2024, in his ongoing series “Our Present. Refractions”, photographer Göran Gnaudschun has sought to capture the prevailing mood and the state of society. Galerie Poll is presenting his new work for the first time as part of the 11th European Month of Photography Berlin 2025 – EMOP.

Climate change, migration, wars, and the resurgence of ideological thinking are creating an atmosphere of uncertainty in society. Since 2024, in his ongoing series “Our Present. Refractions”, photographer Göran Gnaudschun has sought to capture the prevailing mood and the state of society. Galerie Poll is presenting his new work for the first time as part of the 11th European Month of Photography Berlin 2025 – EMOP.

Climate change, migration, wars, and the resurgence of ideological thinking are creating an atmosphere of uncertainty in society. Since 2024, in his ongoing series “Our Present. Refractions”, photographer Göran Gnaudschun has sought to capture the prevailing mood and the state of society. Galerie Poll is presenting his new work for the first time as part of the 11th European Month of Photography Berlin 2025 – EMOP.

Climate change, migration, wars, and the resurgence of ideological thinking are creating an atmosphere of uncertainty in society. Since 2024, in his ongoing series “Our Present. Refractions”, photographer Göran Gnaudschun has sought to capture the prevailing mood and the state of society. Galerie Poll is presenting his new work for the first time as part of the 11th European Month of Photography Berlin 2025 – EMOP.

Climate change, migration, wars, and the resurgence of ideological thinking are creating an atmosphere of uncertainty in society. Since 2024, in his ongoing series “Our Present. Refractions”, photographer Göran Gnaudschun has sought to capture the prevailing mood and the state of society. Galerie Poll is presenting his new work for the first time as part of the 11th European Month of Photography Berlin 2025 – EMOP.

HELMA’s paintings are deeply connected to surrealism, art brut, and magical realism. They tell of dreams, fairy tales, and visions, evoking a sense of the boundless and the profound. Their beholders encounter snakes coiling around stark branches, or crosses and flaming wreaths amidst tree roots and ladders stretching skyward. Bounteous blossoms, tangled vines, thorns, and mushrooms, along with hearts, are recurring motifs.

HELMA’s paintings are deeply connected to surrealism, art brut, and magical realism. They tell of dreams, fairy tales, and visions, evoking a sense of the boundless and the profound. Their beholders encounter snakes coiling around stark branches, or crosses and flaming wreaths amidst tree roots and ladders stretching skyward. Bounteous blossoms, tangled vines, thorns, and mushrooms, along with hearts, are recurring motifs.

HELMA’s paintings are deeply connected to surrealism, art brut, and magical realism. They tell of dreams, fairy tales, and visions, evoking a sense of the boundless and the profound. Their beholders encounter snakes coiling around stark branches, or crosses and flaming wreaths amidst tree roots and ladders stretching skyward. Bounteous blossoms, tangled vines, thorns, and mushrooms, along with hearts, are recurring motifs.

HELMA’s paintings are deeply connected to surrealism, art brut, and magical realism. They tell of dreams, fairy tales, and visions, evoking a sense of the boundless and the profound. Their beholders encounter snakes coiling around stark branches, or crosses and flaming wreaths amidst tree roots and ladders stretching skyward. Bounteous blossoms, tangled vines, thorns, and mushrooms, along with hearts, are recurring motifs.

HELMA’s paintings are deeply connected to surrealism, art brut, and magical realism. They tell of dreams, fairy tales, and visions, evoking a sense of the boundless and the profound. Their beholders encounter snakes coiling around stark branches, or crosses and flaming wreaths amidst tree roots and ladders stretching skyward. Bounteous blossoms, tangled vines, thorns, and mushrooms, along with hearts, are recurring motifs.

For his exhibition painter Peter Benkert has selected nine large-scale acrylic paintings from various decades, representing distinct phases of his work. The oldest piece dates to 1983, while the newest was completed in 2023. All the works are marked by a rigorous structure and a clear organizational framework. The crisp-edged forms, rendered in complementary colours, evoke cosmic imagery and spark futuristic visions. 

For his exhibition painter Peter Benkert has selected nine large-scale acrylic paintings from various decades, representing distinct phases of his work. The oldest piece dates to 1983, while the newest was completed in 2023. All the works are marked by a rigorous structure and a clear organizational framework. The crisp-edged forms, rendered in complementary colours, evoke cosmic imagery and spark futuristic visions. 

For his exhibition painter Peter Benkert has selected nine large-scale acrylic paintings from various decades, representing distinct phases of his work. The oldest piece dates to 1983, while the newest was completed in 2023. All the works are marked by a rigorous structure and a clear organizational framework. The crisp-edged forms, rendered in complementary colours, evoke cosmic imagery and spark futuristic visions. 

For his exhibition painter Peter Benkert has selected nine large-scale acrylic paintings from various decades, representing distinct phases of his work. The oldest piece dates to 1983, while the newest was completed in 2023. All the works are marked by a rigorous structure and a clear organizational framework. The crisp-edged forms, rendered in complementary colours, evoke cosmic imagery and spark futuristic visions. 

This summer, Galerie Poll will be transformed into a “menagerie”: native and exotic animals will appear in paintings, sculptures, and watercolours by Sabina Grzimek, Peter Herrmann, Ralf Kerbach, Heidrun Rueda, and Hans Scheib. The oil paintings, sculptures and works on paper, some created specifically for this exhibition, open a dialogue – revealing, in their juxtaposition, “animalistic”, wild, or even tamed aspects of their respective worldviews.

This summer, Galerie Poll will be transformed into a “menagerie”: native and exotic animals will appear in paintings, sculptures, and watercolours by Sabina Grzimek, Peter Herrmann, Ralf Kerbach, Heidrun Rueda, and Hans Scheib. The oil paintings, sculptures and works on paper, some created specifically for this exhibition, open a dialogue – revealing, in their juxtaposition, “animalistic”, wild, or even tamed aspects of their respective worldviews.

This summer, Galerie Poll will be transformed into a “menagerie”: native and exotic animals will appear in paintings, sculptures, and watercolours by Sabina Grzimek, Peter Herrmann, Ralf Kerbach, Heidrun Rueda, and Hans Scheib. The oil paintings, sculptures and works on paper, some created specifically for this exhibition, open a dialogue – revealing, in their juxtaposition, “animalistic”, wild, or even tamed aspects of their respective worldviews.

This summer, Galerie Poll will be transformed into a “menagerie”: native and exotic animals will appear in paintings, sculptures, and watercolours by Sabina Grzimek, Peter Herrmann, Ralf Kerbach, Heidrun Rueda, and Hans Scheib. The oil paintings, sculptures and works on paper, some created specifically for this exhibition, open a dialogue – revealing, in their juxtaposition, “animalistic”, wild, or even tamed aspects of their respective worldviews.

Volker Stelzmann has named his twelfth solo exhibition at Galerie Poll “Thicket”. The gallery has represented the painter for over thirty years. Stelzmann’s work is characterised by great continuity. Over the years, he has created his own universe of images through his distinctive language of forms. He continually invents new, sophisticated arrangements and compositions for his groups of figures. Still lifes are also recurring themes in his work.

Volker Stelzmann has named his twelfth solo exhibition at Galerie Poll “Thicket”. The gallery has represented the painter for over thirty years. Stelzmann’s work is characterised by great continuity. Over the years, he has created his own universe of images through his distinctive language of forms. He continually invents new, sophisticated arrangements and compositions for his groups of figures. Still lifes are also recurring themes in his work.

Volker Stelzmann has named his twelfth solo exhibition at Galerie Poll “Thicket”. The gallery has represented the painter for over thirty years. Stelzmann’s work is characterised by great continuity. Over the years, he has created his own universe of images through his distinctive language of forms. He continually invents new, sophisticated arrangements and compositions for his groups of figures. Still lifes are also recurring themes in his work.

Volker Stelzmann has named his twelfth solo exhibition at Galerie Poll “Thicket”. The gallery has represented the painter for over thirty years. Stelzmann’s work is characterised by great continuity. Over the years, he has created his own universe of images through his distinctive language of forms. He continually invents new, sophisticated arrangements and compositions for his groups of figures. Still lifes are also recurring themes in his work.

Volker Stelzmann has named his twelfth solo exhibition at Galerie Poll “Thicket”. The gallery has represented the painter for over thirty years. Stelzmann’s work is characterised by great continuity. Over the years, he has created his own universe of images through his distinctive language of forms. He continually invents new, sophisticated arrangements and compositions for his groups of figures. Still lifes are also recurring themes in his work.

“Cinema of the Mind” is the evocative title of Cologne artist Peer Boehm’s second solo exhibition at Galerie Poll, featuring new paintings and ballpoint pen drawings. Boehm finds his motifs in albums acquired at flea markets, in magazines, or on the internet. He abstracts people and places through digital editing, simplifying the motif through light and dark contrasts to the brink of unrecognisability, before transferring it onto canvas or paper for further artistic refinement.

“Cinema of the Mind” is the evocative title of Cologne artist Peer Boehm’s second solo exhibition at Galerie Poll, featuring new paintings and ballpoint pen drawings. Boehm finds his motifs in albums acquired at flea markets, in magazines, or on the internet. He abstracts people and places through digital editing, simplifying the motif through light and dark contrasts to the brink of unrecognisability, before transferring it onto canvas or paper for further artistic refinement.

“Cinema of the Mind” is the evocative title of Cologne artist Peer Boehm’s second solo exhibition at Galerie Poll, featuring new paintings and ballpoint pen drawings. Boehm finds his motifs in albums acquired at flea markets, in magazines, or on the internet. He abstracts people and places through digital editing, simplifying the motif through light and dark contrasts to the brink of unrecognisability, before transferring it onto canvas or paper for further artistic refinement.

“Cinema of the Mind” is the evocative title of Cologne artist Peer Boehm’s second solo exhibition at Galerie Poll, featuring new paintings and ballpoint pen drawings. Boehm finds his motifs in albums acquired at flea markets, in magazines, or on the internet. He abstracts people and places through digital editing, simplifying the motif through light and dark contrasts to the brink of unrecognisability, before transferring it onto canvas or paper for further artistic refinement.

“Cinema of the Mind” is the evocative title of Cologne artist Peer Boehm’s second solo exhibition at Galerie Poll, featuring new paintings and ballpoint pen drawings. Boehm finds his motifs in albums acquired at flea markets, in magazines, or on the internet. He abstracts people and places through digital editing, simplifying the motif through light and dark contrasts to the brink of unrecognisability, before transferring it onto canvas or paper for further artistic refinement.

Danja Akulin’s depictions of nature range from deep black to bright white, composed of a variety of black and grey tones. Forests, fields, clouds, and water, portrayed at times from close up, at times from a distance, are rendered strikingly immediate by the artist’s virtuoso technique, which skilfully juxtaposes sharp and blurred sections, fine lines and rough strokes. Yet these scenes also exude a profound sense of tranquillity. The large-format compositions atmospherically capture light and shadow, stillness and movement.

Danja Akulin’s depictions of nature range from deep black to bright white, composed of a variety of black and grey tones. Forests, fields, clouds, and water, portrayed at times from close up, at times from a distance, are rendered strikingly immediate by the artist’s virtuoso technique, which skilfully juxtaposes sharp and blurred sections, fine lines and rough strokes. Yet these scenes also exude a profound sense of tranquillity. The large-format compositions atmospherically capture light and shadow, stillness and movement.

Danja Akulin’s depictions of nature range from deep black to bright white, composed of a variety of black and grey tones. Forests, fields, clouds, and water, portrayed at times from close up, at times from a distance, are rendered strikingly immediate by the artist’s virtuoso technique, which skilfully juxtaposes sharp and blurred sections, fine lines and rough strokes. Yet these scenes also exude a profound sense of tranquillity. The large-format compositions atmospherically capture light and shadow, stillness and movement.

Danja Akulin’s depictions of nature range from deep black to bright white, composed of a variety of black and grey tones. Forests, fields, clouds, and water, portrayed at times from close up, at times from a distance, are rendered strikingly immediate by the artist’s virtuoso technique, which skilfully juxtaposes sharp and blurred sections, fine lines and rough strokes. Yet these scenes also exude a profound sense of tranquillity. The large-format compositions atmospherically capture light and shadow, stillness and movement.

Eric Keller’s paintings have a magnetic appeal, even though – or perhaps because – their subjects are anything but spectacular. From casual glimpses of waterside paths, sports fields and car parks, railway crossings, sheds or industrial buildings, and interiors of abandoned GDR cultural buildings, the artist composes a unique visual cosmos. In this focused interplay with memory, landscapes and architectures mostly remain deserted. 

Eric Keller’s paintings have a magnetic appeal, even though – or perhaps because – their subjects are anything but spectacular. From casual glimpses of waterside paths, sports fields and car parks, railway crossings, sheds or industrial buildings, and interiors of abandoned GDR cultural buildings, the artist composes a unique visual cosmos. In this focused interplay with memory, landscapes and architectures mostly remain deserted. 

Eric Keller’s paintings have a magnetic appeal, even though – or perhaps because – their subjects are anything but spectacular. From casual glimpses of waterside paths, sports fields and car parks, railway crossings, sheds or industrial buildings, and interiors of abandoned GDR cultural buildings, the artist composes a unique visual cosmos. In this focused interplay with memory, landscapes and architectures mostly remain deserted. 

Eric Keller’s paintings have a magnetic appeal, even though – or perhaps because – their subjects are anything but spectacular. From casual glimpses of waterside paths, sports fields and car parks, railway crossings, sheds or industrial buildings, and interiors of abandoned GDR cultural buildings, the artist composes a unique visual cosmos. In this focused interplay with memory, landscapes and architectures mostly remain deserted. 

Eric Keller’s paintings have a magnetic appeal, even though – or perhaps because – their subjects are anything but spectacular. From casual glimpses of waterside paths, sports fields and car parks, railway crossings, sheds or industrial buildings, and interiors of abandoned GDR cultural buildings, the artist composes a unique visual cosmos. In this focused interplay with memory, landscapes and architectures mostly remain deserted. 

With “Bangalore Street Life”, Galerie Poll is showing Matthias Beckmann’s first solo exhibition of watercolours, which he created in the fall of 2022 in India’s third-largest city (after Mumbai and Delhi). Invited as part of the Goethe-Institut’s bangaloREsidency, the artist found himself directly confronted with the everyday life of a metropolis of eleven million people for two months.

With “Bangalore Street Life”, Galerie Poll is showing Matthias Beckmann’s first solo exhibition of watercolours, which he created in the fall of 2022 in India’s third-largest city (after Mumbai and Delhi). Invited as part of the Goethe-Institut’s bangaloREsidency, the artist found himself directly confronted with the everyday life of a metropolis of eleven million people for two months.

With “Bangalore Street Life”, Galerie Poll is showing Matthias Beckmann’s first solo exhibition of watercolours, which he created in the fall of 2022 in India’s third-largest city (after Mumbai and Delhi). Invited as part of the Goethe-Institut’s bangaloREsidency, the artist found himself directly confronted with the everyday life of a metropolis of eleven million people for two months.

With “Bangalore Street Life”, Galerie Poll is showing Matthias Beckmann’s first solo exhibition of watercolours, which he created in the fall of 2022 in India’s third-largest city (after Mumbai and Delhi). Invited as part of the Goethe-Institut’s bangaloREsidency, the artist found himself directly confronted with the everyday life of a metropolis of eleven million people for two months.

With “Bangalore Street Life”, Galerie Poll is showing Matthias Beckmann’s first solo exhibition of watercolours, which he created in the fall of 2022 in India’s third-largest city (after Mumbai and Delhi). Invited as part of the Goethe-Institut’s bangaloREsidency, the artist found himself directly confronted with the everyday life of a metropolis of eleven million people for two months.

Frank Schinski has long been preoccupied with the question of what work means for people. In his photographic works, he observes the mechanisms and interactions between the world of work and the individual. For his series "Aiming High", he has been photographing people at job fairs, job interviews, castings and assessment centres in various cultural spaces since 2017. The exhibition provides an insight into the series, which will soon be published in full as a book.

The exhibition “Young Woman with Infinity Necklace: Portraits 1981–2022” attempts to explore the essence of Göran Gnaudschun’s portraits, with a selection of some thirty works of his from various series: How does he succeed again and again in capturing the characteristics of the people he encounters in such immediate and compelling portraits? Is there something that unites all the images? A common thread linking his photographs from the past twenty years? Can we discern a development?

The exhibition “Young Woman with Infinity Necklace: Portraits 1981–2022” attempts to explore the essence of Göran Gnaudschun’s portraits, with a selection of some thirty works of his from various series: How does he succeed again and again in capturing the characteristics of the people he encounters in such immediate and compelling portraits? Is there something that unites all the images? A common thread linking his photographs from the past twenty years? Can we discern a development?

The exhibition “Young Woman with Infinity Necklace: Portraits 1981–2022” attempts to explore the essence of Göran Gnaudschun’s portraits, with a selection of some thirty works of his from various series: How does he succeed again and again in capturing the characteristics of the people he encounters in such immediate and compelling portraits? Is there something that unites all the images? A common thread linking his photographs from the past twenty years? Can we discern a development?

The exhibition “Young Woman with Infinity Necklace: Portraits 1981–2022” attempts to explore the essence of Göran Gnaudschun’s portraits, with a selection of some thirty works of his from various series: How does he succeed again and again in capturing the characteristics of the people he encounters in such immediate and compelling portraits? Is there something that unites all the images? A common thread linking his photographs from the past twenty years? Can we discern a development?

The exhibition “Young Woman with Infinity Necklace: Portraits 1981–2022” attempts to explore the essence of Göran Gnaudschun’s portraits, with a selection of some thirty works of his from various series: How does he succeed again and again in capturing the characteristics of the people he encounters in such immediate and compelling portraits? Is there something that unites all the images? A common thread linking his photographs from the past twenty years? Can we discern a development?

For nearly fifty years propeller planes and jets took off and landed at Berlin-Tegel Airport. When TXL was closed in November 2020, Daniel Poller was able to photograph crows, pigeons, starlings and cranes that would soon take over the runways for good. The result is the series „Birds of Tegel“ (2022). A publication with a text by Andreas Prinzing will be published by Edizione Multicolore.

For nearly fifty years propeller planes and jets took off and landed at Berlin-Tegel Airport. When TXL was closed in November 2020, Daniel Poller was able to photograph crows, pigeons, starlings and cranes that would soon take over the runways for good. The result is the series „Birds of Tegel“ (2022). A publication with a text by Andreas Prinzing will be published by Edizione Multicolore.

For nearly fifty years propeller planes and jets took off and landed at Berlin-Tegel Airport. When TXL was closed in November 2020, Daniel Poller was able to photograph crows, pigeons, starlings and cranes that would soon take over the runways for good. The result is the series „Birds of Tegel“ (2022). A publication with a text by Andreas Prinzing will be published by Edizione Multicolore.

For nearly fifty years propeller planes and jets took off and landed at Berlin-Tegel Airport. When TXL was closed in November 2020, Daniel Poller was able to photograph crows, pigeons, starlings and cranes that would soon take over the runways for good. The result is the series „Birds of Tegel“ (2022). A publication with a text by Andreas Prinzing will be published by Edizione Multicolore.

For nearly fifty years propeller planes and jets took off and landed at Berlin-Tegel Airport. When TXL was closed in November 2020, Daniel Poller was able to photograph crows, pigeons, starlings and cranes that would soon take over the runways for good. The result is the series „Birds of Tegel“ (2022). A publication with a text by Andreas Prinzing will be published by Edizione Multicolore.