The exhibition Es möge gut sein marks Marina Herrmann’s third solo show at Hilleckes Gallery. Using materials such as acrylic glass and found objects, she weaves a dense, politically charged network of works. Pieces like Damengeschwader, Machtproporz, and Caffe Bar La Resistance address themes of memory, flight, power, and the visibility of women. It is an exhibition that reflects, honors, and provokes.

Hilleckes Gallery is pleased to present the exhibition by artist Daria Kowalewska, "In Silence, I Grow," from May 1st to June 14th, 2025.

In the exhibition "In Silence, I Grow," artist Daria Kowalewska succeeds in creating a space for contemplation with her minimalist and delicately fragile artworks. Here, memory and nature meet on a subtle, overarching level in a gentle balance. It is an invitation to pause, to look closely, and to encounter the quiet, persistent power of becoming.

We warmly invite you to join us for the opening reception on Saturday, May 3rd, at 6 PM. We look forward to welcoming you to the gallery!

Your Hilleckes Gallery Team

Hilleckes Gallery invites you to the group exhibition "Unattached," which will be on view from March 14 to April 26, 2025.

The opening weekend coincides with the CHARLOTTENWALK on March 14 and 15, offering a special opportunity to delve deeper into the gallery’s artistic program. „Unattached“ is dedicated to abstract art and presents a dynamic collection of works.

Kerstin Serz studied at the University of the Arts Berlin and became a master student under Prof. Leiko Ikemura in 2000. Her multifaceted and often surreal works span painting, installation, and object art.

A central theme in Serz's work is the relationship between nature and corporeality. Plant-like structures rooted in surreal landscapes encounter shadowy human figures. These hybrid worlds appear both familiar and uncanny, offering viewers a new perspective on the interconnection between humans and the environment. Her work frequently references cycles of growth and decay, life and death.

Another characteristic of her works is the subtle yet powerful depiction of emotions. Melancholy, vulnerability, and longing permeate her images and installations. Her works have been exhibited in numerous shows both nationally and internationally. She has a talent for engaging viewers on both an aesthetic and an intellectual level, addressing socially relevant themes.

Iginio Iurilli, an artist of southern Italy’s Arte Povera, draws inspiration from the nature of his coastal home. In the tradition of the 1960s, he works with simple materials like ceramic or "Composto," a papier-mâché-like substance, creating sea-inspired forms full of poetry, illusion, and quiet humor.

We welcome summer with the vibrant colors of Monika Sigloch’s radiant canvases. The cosmos flower, delicate yet resilient, is the focus of her exhibition. Its bright petals symbolize harmony, love, and peace. Sigloch’s large acrylic paintings present each bloom as a vivid explosion of color against a simple background — a celebration of joy and life.

Julie Peters' colorful textile works and sculptures blend humor with material contrast: soft rugs meet sharp ceramic spikes, emotional forms echo totemic figures. Her art explores how color and texture can express emotion, offering a playful yet profound reflection on archetypes and sensory experience.

Does emptiness equal absence? Are we able to find ourselves in any space without previously giving it meaning, thus not imposing upon it context? Are we capable of accepting that, the given space, just exists in the here and now? 

Kowalewska arrives at the core of their being. The synthesis and the limited palette of colors of black and white eliminate any redundant narration. Thanks to this we can experience it. In emptiness the core of the matter is born. 

Eleonora Bojanowska

The title of Alvar Beyer’s new exhibition, Magh from “magós,” means dream interpreter and magician in ancient Greek and Old Persian. Beyer reveals the hidden magic of everyday life, first expressed through a gilded bench. In his new, fully abstract works, he explores inner landscapes with intense colors and invites the viewer to unfold their own fantasies.

The exhibition Tribe by the artist Justyna Adamczyk is a spectacular start to a cooperation with the OP ENHEIM Foundation in Wroclaw, Poland. In her work, the artist deals with the fetishisation and aestheticisation of trauma, using various creative techniques, especially painting and sculpture. Justyna Adamczyk (born in 1981 in Opoczno) graduated from the E. Geppert Academy of Fine Arts in Wrocław, majoring in painting in 2007. 

Touch is a concept that creates a thread that connects the various parts of the presented project, even though none of the shown works allows it to "touch" itself directly. The whole story, in its pastel-minimalist form, unfolds among the trees that permeate every space where I move. The variety of touch portrays the experience of the world of flora and the intimate relationship with this ubiquitous

and diverse tissue.

The Hilleckes Gallery is thus starting a new edition of group exhibitions and is thus presenting its current artist program in its own rooms. A mixture of different works by Eliška Bartek, Marina Herrmann, Barbara Anna Husar, Kristin Kolb und Iginio Iurilli can be seen. 

The Hilleckes Gallery is thus starting a new edition of group exhibitions and is thus presenting its current artist program in its own rooms. A mixture of different works by Eliška Bartek, Marina Herrmann, Barbara Anna Husar, Kristin Kolb und Iginio Iurilli can be seen. 

The Hilleckes Gallery is thus starting a new edition of group exhibitions and is thus presenting its current artist program in its own rooms. A mixture of different works by Eliška Bartek, Marina Herrmann, Barbara Anna Husar, Kristin Kolb und Iginio Iurilli can be seen. 

With her work, the artist has committed herself to accurate color drawing. Above all, Kristin Kolb lets the animal world come to life on old books that she has collected for this purpose and, for the most part, restored by herself. Her talent for drawing is obvious. The astonishment succeeds above all through Kolb's sensitive color perception and how she binds her pictorial figures with the peculiarities of the book cover to a new unit.