Before the world dissolves, my words and thoughts begin to disappear. Dissolution is expanse– like shapes breaking apart or thoughts drifting away. What remains when understanding dissolves?

This dissolution is a boundary experience. It is a risk not knowing what comes next—and often, this uncertainty is accompanied by fear. The fear of loss, of breaking away from the familiar. We experience it both in our personal transitions and in a world undergoing political and ecological change. When certainties collapse, uncertainty is what remains. But perhaps there lies exactly that: the chance to experience something beyond what we have known.

Before the world dissolves, my words and thoughts begin to disappear. Dissolution is expanse– like shapes breaking apart or thoughts drifting away. What remains when understanding dissolves?

This dissolution is a boundary experience. It is a risk not knowing what comes next—and often, this uncertainty is accompanied by fear. The fear of loss, of breaking away from the familiar. We experience it both in our personal transitions and in a world undergoing political and ecological change. When certainties collapse, uncertainty is what remains. But perhaps there lies exactly that: the chance to experience something beyond what we have known.

Before the world dissolves, my words and thoughts begin to disappear. Dissolution is expanse– like shapes breaking apart or thoughts drifting away. What remains when understanding dissolves?

This dissolution is a boundary experience. It is a risk not knowing what comes next—and often, this uncertainty is accompanied by fear. The fear of loss, of breaking away from the familiar. We experience it both in our personal transitions and in a world undergoing political and ecological change. When certainties collapse, uncertainty is what remains. But perhaps there lies exactly that: the chance to experience something beyond what we have known.

Before the world dissolves, my words and thoughts begin to disappear. Dissolution is expanse– like shapes breaking apart or thoughts drifting away. What remains when understanding dissolves?

This dissolution is a boundary experience. It is a risk not knowing what comes next—and often, this uncertainty is accompanied by fear. The fear of loss, of breaking away from the familiar. We experience it both in our personal transitions and in a world undergoing political and ecological change. When certainties collapse, uncertainty is what remains. But perhaps there lies exactly that: the chance to experience something beyond what we have known.

Jakob Kupfer is a painter of light in the best traditional sense. His medium and subject are light and the question of how light can become artistically effective. 

His Lichtbilder appear like resonance spaces, in which we can experience what happens to our perception as soon as we allow ourselves to be drawn into the pure flow of light without explanatory contours. Without objectivity, they bypass our filter of rationality and thus open our eyes to our own emotions, images and truths and to perception itself.

Jakob Kupfer is a painter of light in the best traditional sense. His medium and subject are light and the question of how light can become artistically effective. 

His Lichtbilder appear like resonance spaces, in which we can experience what happens to our perception as soon as we allow ourselves to be drawn into the pure flow of light without explanatory contours. Without objectivity, they bypass our filter of rationality and thus open our eyes to our own emotions, images and truths and to perception itself.

Jens Rausch, * 1976, Fulda (Hessen), Germany, lives and works in Schlitz. In his works, Jens Rausch deals with natural flows and cycles, all completely within the sense of the principle of recycling. His artistic-artificial process involves the use of such materials as ash, bitumen, rust, fire and soot. That is, those materials which themselves originate from transformation processes or which trigger these. An element of chance plays an important role in this as there is a limit to the extent to which the triggered, and partly ongoing, processes can be managed and controlled. His works use artistic dialogue to unite the artificially-triggered and naturally-ongoing processes into a complex unity and, in doing so, correlate these with the respective pictorial motif.

Jens Rausch, * 1976, Fulda (Hessen), Germany, lives and works in Schlitz. In his works, Jens Rausch deals with natural flows and cycles, all completely within the sense of the principle of recycling. His artistic-artificial process involves the use of such materials as ash, bitumen, rust, fire and soot. That is, those materials which themselves originate from transformation processes or which trigger these. An element of chance plays an important role in this as there is a limit to the extent to which the triggered, and partly ongoing, processes can be managed and controlled. His works use artistic dialogue to unite the artificially-triggered and naturally-ongoing processes into a complex unity and, in doing so, correlate these with the respective pictorial motif.

Jens Rausch, * 1976, Fulda (Hessen), Germany, lives and works in Schlitz. In his works, Jens Rausch deals with natural flows and cycles, all completely within the sense of the principle of recycling. His artistic-artificial process involves the use of such materials as ash, bitumen, rust, fire and soot. That is, those materials which themselves originate from transformation processes or which trigger these. An element of chance plays an important role in this as there is a limit to the extent to which the triggered, and partly ongoing, processes can be managed and controlled. His works use artistic dialogue to unite the artificially-triggered and naturally-ongoing processes into a complex unity and, in doing so, correlate these with the respective pictorial motif.

Jens Rausch, * 1976, Fulda (Hessen), Germany, lives and works in Schlitz. In his works, Jens Rausch deals with natural flows and cycles, all completely within the sense of the principle of recycling. His artistic-artificial process involves the use of such materials as ash, bitumen, rust, fire and soot. That is, those materials which themselves originate from transformation processes or which trigger these. An element of chance plays an important role in this as there is a limit to the extent to which the triggered, and partly ongoing, processes can be managed and controlled. His works use artistic dialogue to unite the artificially-triggered and naturally-ongoing processes into a complex unity and, in doing so, correlate these with the respective pictorial motif.

Jens Rausch, * 1976, Fulda (Hessen), Germany, lives and works in Schlitz. In his works, Jens Rausch deals with natural flows and cycles, all completely within the sense of the principle of recycling. His artistic-artificial process involves the use of such materials as ash, bitumen, rust, fire and soot. That is, those materials which themselves originate from transformation processes or which trigger these. An element of chance plays an important role in this as there is a limit to the extent to which the triggered, and partly ongoing, processes can be managed and controlled. His works use artistic dialogue to unite the artificially-triggered and naturally-ongoing processes into a complex unity and, in doing so, correlate these with the respective pictorial motif.

In her process-oriented work, Constanze Vogt explores material transformations and translations between media such as drawing, Object and Text. Using straight lines and flat surfaces as a departure point, Vogt creates three-dimensional organic shapes in form of drawings, textiles and paper objects. Reminiscent of abstract bodies, knots or Möbius strips, they challenge notions of linear temporality. In a perpetual movement of translation, the different works refer to each other associatively.

Once a year we show the artists of the gallery who are not represented with a solo exhibition in the respective exhibition year. This year with guest artist Andrea Esswein from Wiesbaden. This gives you the opportunity to discover something new and at the same time to participate in the current developments of our artists. You can look forward to the individual positions and the dialog in the juxtaposition.

Once a year we show the artists of the gallery who are not represented with a solo exhibition in the respective exhibition year. This year with guest artist Andrea Esswein from Wiesbaden. This gives you the opportunity to discover something new and at the same time to participate in the current developments of our artists. You can look forward to the individual positions and the dialog in the juxtaposition.

Once a year we show the artists of the gallery who are not represented with a solo exhibition in the respective exhibition year. This year with guest artist Andrea Esswein from Wiesbaden. This gives you the opportunity to discover something new and at the same time to participate in the current developments of our artists. You can look forward to the individual positions and the dialog in the juxtaposition.

Once a year we show the artists of the gallery who are not represented with a solo exhibition in the respective exhibition year. This year with guest artist Andrea Esswein from Wiesbaden. This gives you the opportunity to discover something new and at the same time to participate in the current developments of our artists. You can look forward to the individual positions and the dialog in the juxtaposition.

Once a year we show the artists of the gallery who are not represented with a solo exhibition in the respective exhibition year. This year with guest artist Andrea Esswein from Wiesbaden. This gives you the opportunity to discover something new and at the same time to participate in the current developments of our artists. You can look forward to the individual positions and the dialog in the juxtaposition.

For his photo sculptures, Dittrich cuts his own photographs of modern high-rise facades into strips and weaves them into new architectural surfaces. The interweaving creates an offset in the motif, shifting the original grid of the façade. Material and motif combine to form a new architecture-like sculpture, a surreal hybrid of sober documentation and dynamic structure, in stark contrast to the geometry of the original motifs.

Schuster exhibits works on paper, small sculptures and wall installations made from fragile dried, pressed leaves. He cuts these out and applies them to paper or positions them in the room. Photographs, mostly snapshots originating from his private family album, serve as samples and his starting point.

Just as music has its tones and signs, language its sounds and scripts, visual art also has its design and formal elements. In addition to colour and materials, these include lines, shapes and surfaces. Anica Hauswald, Gisoo Kim and Ines Schaikowski each utilise these design elements in their own unique way. Be it the embroidered and holding together lines, the transformations in repetition or the graphically arranged surfaces that seem to dissolve and start moving again.

Just as music has its tones and signs, language its sounds and scripts, visual art also has its design and formal elements. In addition to colour and materials, these include lines, shapes and surfaces. Anica Hauswald, Gisoo Kim and Ines Schaikowski each utilise these design elements in their own unique way. Be it the embroidered and holding together lines, the transformations in repetition or the graphically arranged surfaces that seem to dissolve and start moving again.

Just as music has its tones and signs, language its sounds and scripts, visual art also has its design and formal elements. In addition to colour and materials, these include lines, shapes and surfaces. Anica Hauswald, Gisoo Kim and Ines Schaikowski each utilise these design elements in their own unique way. Be it the embroidered and holding together lines, the transformations in repetition or the graphically arranged surfaces that seem to dissolve and start moving again.

The human being is central of Tina Heuter's work. For more than a quarter of a century, the artist has been working on forms of expression that capture his existence and on constantly rediscovering the ancient theme of sculpture: human as an acrobat, as an angel, in everyday life, with animals or as a classical standing figure. The image of mankind that Tina Heuter forms in her sculptures is as varied as the many ways in which he may be viewed.

Dr. Sabine Ziegenrücker

It’s summer and with it the time for our exhibition series mianki & friends in which we show the artists of the gallery once a year who are not represented with a solo exhibition in the respective exhibition year. This year we have invited the artists Mechthild Ehmann from Dachsberg (Südschwarzwald) and Ines Schaikowski from Wriezen (Brandenburg).

It’s summer and with it the time for our exhibition series mianki & friends in which we show the artists of the gallery once a year who are not represented with a solo exhibition in the respective exhibition year. This year we have invited the artists Mechthild Ehmann from Dachsberg (Südschwarzwald) and Ines Schaikowski from Wriezen (Brandenburg).

Jakob Kupfer's light pictures are snapshots of light in the space between us and things. They make the light visible on its way from the reflecting object to the perceiving subject. The multiform traces of colour and light form resonance spaces in which we can experience what happens to our perception as soon as we let ourselves in on the pure flow of light without explanatory contours.

Jakob Kupfer's light pictures are snapshots of light in the space between us and things. They make the light visible on its way from the reflecting object to the perceiving subject. The multiform traces of colour and light form resonance spaces in which we can experience what happens to our perception as soon as we let ourselves in on the pure flow of light without explanatory contours.

Jakob Kupfer's light pictures are snapshots of light in the space between us and things. They make the light visible on its way from the reflecting object to the perceiving subject. The multiform traces of colour and light form resonance spaces in which we can experience what happens to our perception as soon as we let ourselves in on the pure flow of light without explanatory contours.

Jakob Kupfer's light pictures are snapshots of light in the space between us and things. They make the light visible on its way from the reflecting object to the perceiving subject. The multiform traces of colour and light form resonance spaces in which we can experience what happens to our perception as soon as we let ourselves in on the pure flow of light without explanatory contours.

Jakob Kupfer's light pictures are snapshots of light in the space between us and things. They make the light visible on its way from the reflecting object to the perceiving subject. The multiform traces of colour and light form resonance spaces in which we can experience what happens to our perception as soon as we let ourselves in on the pure flow of light without explanatory contours.

Beauty repairs.

This is the concept that guides the development of the work of artist and architect Jaime Sicilia (Madrid 1970, Spain). As an artist he works on multidisciplinary projects with painting, sculpture, photography and video. His work is a reflection on colour, light, matter, space and time. Nature is primarily the subject and this is offered as a contemplative experience.

Beauty repairs.

This is the concept that guides the development of the work of artist and architect Jaime Sicilia (Madrid 1970, Spain). As an artist he works on multidisciplinary projects with painting, sculpture, photography and video. His work is a reflection on colour, light, matter, space and time. Nature is primarily the subject and this is offered as a contemplative experience.

Beauty repairs.

This is the concept that guides the development of the work of artist and architect Jaime Sicilia (Madrid 1970, Spain). As an artist he works on multidisciplinary projects with painting, sculpture, photography and video. His work is a reflection on colour, light, matter, space and time. Nature is primarily the subject and this is offered as a contemplative experience.

Beauty repairs.

This is the concept that guides the development of the work of artist and architect Jaime Sicilia (Madrid 1970, Spain). As an artist he works on multidisciplinary projects with painting, sculpture, photography and video. His work is a reflection on colour, light, matter, space and time. Nature is primarily the subject and this is offered as a contemplative experience.

For his photo sculptures, Marc Dittrich cuts his own photographs of modern skyscraper facades into fine strips and weaves them into new architectural surfaces. When the prints are interwoven, an offset is created in the motif, the original grid of the facade is shifted in itself. Material and motif combine to form a new architecture-like sculpture, a surreal hybrid of sober documentation and dynamic structure. This contrasts with the strict geometry of the original motifs.

Ulrich Haug's works are image and object. They are plan and rectangular – thus reminiscent of the contours of paintings. At the same time, they unfold an object-like and sculptural presence in space.

Ulrich Haug's works are image and object. They are plan and rectangular – thus reminiscent of the contours of paintings. At the same time, they unfold an object-like and sculptural presence in space.

Ulrich Haug's works are image and object. They are plan and rectangular – thus reminiscent of the contours of paintings. At the same time, they unfold an object-like and sculptural presence in space.

Summer is coming and with it the time for our exhibition series mianki & friends in which we show the artists of the gallery once a year who are not represented with a solo exhibition in the respective exhibition year. This year we have invited the artist Maija Kurseva from Riga, who caught our eye at the Ma–ksla XO Gallery, Riga. Look forward to the individual positions and the dialogue in juxtaposition with each other.

Summer is coming and with it the time for our exhibition series mianki & friends in which we show the artists of the gallery once a year who are not represented with a solo exhibition in the respective exhibition year. This year we have invited the artist Maija Kurseva from Riga, who caught our eye at the Ma–ksla XO Gallery, Riga. Look forward to the individual positions and the dialogue in juxtaposition with each other.

Summer is coming and with it the time for our exhibition series mianki & friends in which we show the artists of the gallery once a year who are not represented with a solo exhibition in the respective exhibition year. This year we have invited the artist Maija Kurseva from Riga, who caught our eye at the Ma–ksla XO Gallery, Riga. Look forward to the individual positions and the dialogue in juxtaposition with each other.

Summer is coming and with it the time for our exhibition series mianki & friends in which we show the artists of the gallery once a year who are not represented with a solo exhibition in the respective exhibition year. This year we have invited the artist Maija Kurseva from Riga, who caught our eye at the Ma–ksla XO Gallery, Riga. Look forward to the individual positions and the dialogue in juxtaposition with each other.

Summer is coming and with it the time for our exhibition series mianki & friends in which we show the artists of the gallery once a year who are not represented with a solo exhibition in the respective exhibition year. This year we have invited the artist Maija Kurseva from Riga, who caught our eye at the Ma–ksla XO Gallery, Riga. Look forward to the individual positions and the dialogue in juxtaposition with each other.

Claudia Kallscheuer has an unusual way of expressing art – writing and drawing using the sewing machine, embroidery and sewing and sometimes just leaving threads hanging. Highlighting little things as valuable, things we mostly no longer appreciate. Claudia Kallscheuer transports the seemingly inconsequential, processual, repetitive, linked with calculated chaotic thread. The works obtain strong relevance through the implementation of embroidery.

With her photo collages, Gisoo Kim seeks to create new realities. She achieves this by assembling photographs of very different places and subjects manually – and by deliberately not using the computer or glue.

Michael Schuster‘s starting point: the photographically produced image. This is fellowed by reduction processes of the samples and the use of leaves to suggest the past release. These solve the photographs from their original context. Thus subjectivity and intimacy disappear. The result is an image: universal, independent and new – freed from the attempt to fabricate the present and reality.

Michael Schuster‘s starting point: the photographically produced image. This is fellowed by reduction processes of the samples and the use of leaves to suggest the past release. These solve the photographs from their original context. Thus subjectivity and intimacy disappear. The result is an image: universal, independent and new – freed from the attempt to fabricate the present and reality.

Michael Schuster‘s starting point: the photographically produced image. This is fellowed by reduction processes of the samples and the use of leaves to suggest the past release. These solve the photographs from their original context. Thus subjectivity and intimacy disappear. The result is an image: universal, independent and new – freed from the attempt to fabricate the present and reality.

Michael Schuster‘s starting point: the photographically produced image. This is fellowed by reduction processes of the samples and the use of leaves to suggest the past release. These solve the photographs from their original context. Thus subjectivity and intimacy disappear. The result is an image: universal, independent and new – freed from the attempt to fabricate the present and reality.

Michael Schuster‘s starting point: the photographically produced image. This is fellowed by reduction processes of the samples and the use of leaves to suggest the past release. These solve the photographs from their original context. Thus subjectivity and intimacy disappear. The result is an image: universal, independent and new – freed from the attempt to fabricate the present and reality.

He is a photo painter in the best, traditional sense: in his photo paintings Jakob Kupfer creates compact works of art out of diffuse colour and light reflections. Kupfer does not merely depict things; rather, he lets the light itself live out its creative streak. Abstractness and permanent flux are essential qualities both of light in itself and of Jakob Kupfer’s works. His art affords us a peek inside the space between us and all things: the space where light is at play.

He is a photo painter in the best, traditional sense: in his photo paintings Jakob Kupfer creates compact works of art out of diffuse colour and light reflections. Kupfer does not merely depict things; rather, he lets the light itself live out its creative streak. Abstractness and permanent flux are essential qualities both of light in itself and of Jakob Kupfer’s works. His art affords us a peek inside the space between us and all things: the space where light is at play.

Tina Heuter concentrates on moods, expressions and situations, yet without getting lost in detail. These sentiments are by no means in your face, however, or even striking. Due to the rough surface, which denotes a skilful combination of facial expressions, gestures and posture, Tina Heuter succeeds in telling stories through her sculptures.

The works of young Kiel-based artist Constanze Vogt shift between varied mediums. Her drawings, installations, objects and texts are all notable for their use of a reduced selection of materials. She uses and shapes materials such as paper, language and light in order to examine the subject of interposing spaces. The extensive, near-ritualistic working process with which she transforms the material is clearly visible in her finished works. Dr. Peter Kruska

The works of young Kiel-based artist Constanze Vogt shift between varied mediums. Her drawings, installations, objects and texts are all notable for their use of a reduced selection of materials. She uses and shapes materials such as paper, language and light in order to examine the subject of interposing spaces. The extensive, near-ritualistic working process with which she transforms the material is clearly visible in her finished works. Dr. Peter Kruska

The works of young Kiel-based artist Constanze Vogt shift between varied mediums. Her drawings, installations, objects and texts are all notable for their use of a reduced selection of materials. She uses and shapes materials such as paper, language and light in order to examine the subject of interposing spaces. The extensive, near-ritualistic working process with which she transforms the material is clearly visible in her finished works. Dr. Peter Kruska

The works of young Kiel-based artist Constanze Vogt shift between varied mediums. Her drawings, installations, objects and texts are all notable for their use of a reduced selection of materials. She uses and shapes materials such as paper, language and light in order to examine the subject of interposing spaces. The extensive, near-ritualistic working process with which she transforms the material is clearly visible in her finished works. Dr. Peter Kruska

The works of young Kiel-based artist Constanze Vogt shift between varied mediums. Her drawings, installations, objects and texts are all notable for their use of a reduced selection of materials. She uses and shapes materials such as paper, language and light in order to examine the subject of interposing spaces. The extensive, near-ritualistic working process with which she transforms the material is clearly visible in her finished works. Dr. Peter Kruska