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.