The artist Takayuki Daikoku, who lives in Shiga (Japan), is returning to Berlin after 6 years to present his latest works.
On display are his wooden sculptures from the “Ceres” series, archaic-looking structures that open up inwards and appear individually or as twins or triplets. The “Folded Drawing Dot” series is the logical continuation of his “Folded Drawings”, which he began in Japan in 2016. The drawings are lifted pastily into the space.

The artist Takayuki Daikoku, who lives in Shiga (Japan), is returning to Berlin after 6 years to present his latest works.
On display are his wooden sculptures from the “Ceres” series, archaic-looking structures that open up inwards and appear individually or as twins or triplets. The “Folded Drawing Dot” series is the logical continuation of his “Folded Drawings”, which he began in Japan in 2016. The drawings are lifted pastily into the space.

Colin Ardley's work is characterized by his idiosyncratic and at the same time confident composition, the balancing and interrelating of volume, color and form. Ponderation is the term that describes it all. The artist needs months, even years in the case of large works, until the ponderation has reached its ideal center. The work must grow - slowly - one part docks onto the other, expands into the space and becomes a parable of time.

Colin Ardley's work is characterized by his idiosyncratic and at the same time confident composition, the balancing and interrelating of volume, color and form. Ponderation is the term that describes it all. The artist needs months, even years in the case of large works, until the ponderation has reached its ideal center. The work must grow - slowly - one part docks onto the other, expands into the space and becomes a parable of time.

The gaze negotiated here, often also understood in erotic and explicit terms, aims to trace the self-empowerment that is characteristic of women and mostly gay men. The intermediate stages of the LGTB community are conditionally included. The gaze meanders between self-assurance, the self-confident statement and desire. Almost all media will be represented including In this exhibition, the male millennial view of women is omitted.

The gaze negotiated here, often also understood in erotic and explicit terms, aims to trace the self-empowerment that is characteristic of women and mostly gay men. The intermediate stages of the LGTB community are conditionally included. The gaze meanders between self-assurance, the self-confident statement and desire. Almost all media will be represented including In this exhibition, the male millennial view of women is omitted.

The gaze negotiated here, often also understood in erotic and explicit terms, aims to trace the self-empowerment that is characteristic of women and mostly gay men. The intermediate stages of the LGTB community are conditionally included. The gaze meanders between self-assurance, the self-confident statement and desire. Almost all media will be represented including In this exhibition, the male millennial view of women is omitted.

The gaze negotiated here, often also understood in erotic and explicit terms, aims to trace the self-empowerment that is characteristic of women and mostly gay men. The intermediate stages of the LGTB community are conditionally included. The gaze meanders between self-assurance, the self-confident statement and desire. Almost all media will be represented including In this exhibition, the male millennial view of women is omitted.

The gaze negotiated here, often also understood in erotic and explicit terms, aims to trace the self-empowerment that is characteristic of women and mostly gay men. The intermediate stages of the LGTB community are conditionally included. The gaze meanders between self-assurance, the self-confident statement and desire. Almost all media will be represented including In this exhibition, the male millennial view of women is omitted.

Light and shadow are the artist's partners when, for example, she uses physical pressure and persistence to create reliefs from sheets of paper that expand sculpturally into the space (the Lumière works), or spring from the paper ground as 'abstract-organic growths'. Her Bright Cells, sculptures made of malleable material, as well as objective lenses, mirrors and treated leather, also work with light. Only that they capture it and give the sculpture a rich inner life.

Light and shadow are the artist's partners when, for example, she uses physical pressure and persistence to create reliefs from sheets of paper that expand sculpturally into the space (the Lumière works), or spring from the paper ground as 'abstract-organic growths'. Her Bright Cells, sculptures made of malleable material, as well as objective lenses, mirrors and treated leather, also work with light. Only that they capture it and give the sculpture a rich inner life.

Paper is a very important material for the artist, who lives near Tokyo. Hitomi Uchikura's Lumière series, created by applying physical force to the paper, floats in front of the wall as a large rectangular paper disc with its numerous sculptural concave medallions and radiates calm and concentrated power. Her glass sculptures covered with colored leather form a logical counterpart to the Lumière panes. The light is guided into infinity.

Paper is a very important material for the artist, who lives near Tokyo. Hitomi Uchikura's Lumière series, created by applying physical force to the paper, floats in front of the wall as a large rectangular paper disc with its numerous sculptural concave medallions and radiates calm and concentrated power. Her glass sculptures covered with colored leather form a logical counterpart to the Lumière panes. The light is guided into infinity.

The second part of this exhibition series focuses on painting (Shachar, Kohlmetz, Thiel and guests), drawing (Shachar, Kohlmetz, Kaehne and guests) and sculpture (Shachar, Kaehne and guests). How can the image of the human being be represented in contemporary art today, when we have long been visually overwhelmed by images of images, sculptures and people through digital social media? Part I of en face was dedicated to photography.

The second part of this exhibition series focuses on painting (Shachar, Kohlmetz, Thiel and guests), drawing (Shachar, Kohlmetz, Kaehne and guests) and sculpture (Shachar, Kaehne and guests). How can the image of the human being be represented in contemporary art today, when we have long been visually overwhelmed by images of images, sculptures and people through digital social media? Part I of en face was dedicated to photography.

The exhibition provides an insight into the work of Ute Essig and Henrik U. Müller, who also form a studio community as artists. Ute Essig's Berlin porcelain paving stones as a mural are not only beautiful, but also irritating, because the original granite material is contrasted by the opposite connotation of porcelain: valuable and fragile: Henrik Müller's panel work is a composite work of photography, gold ground and lacquer and captivates with its elegance.

The exhibition provides an insight into the work of Ute Essig and Henrik U. Müller, who also form a studio community as artists. Ute Essig's Berlin porcelain paving stones as a mural are not only beautiful, but also irritating, because the original granite material is contrasted by the opposite connotation of porcelain: valuable and fragile: Henrik Müller's panel work is a composite work of photography, gold ground and lacquer and captivates with its elegance.

Prochnow would not be Prochnow if he did not once again present a concert of diverse materials, forms and colors. And this in various artistic genres. From the large wall sculpture Kristallo 3 to a series of wall objects, the wooden pictures, the photographs (as pigment prints) and the accompanying screen print. In times of climate crisis and scarcity of resources, the artist has been working for 20 years to realize sustainable art production as a concept.

Prochnow would not be Prochnow if he did not once again present a concert of diverse materials, forms and colors. And this in various artistic genres. From the large wall sculpture Kristallo 3 to a series of wall objects, the wooden pictures, the photographs (as pigment prints) and the accompanying screen print. In times of climate crisis and scarcity of resources, the artist has been working for 20 years to realize sustainable art production as a concept.

In numerous work steps, the abstract painting by Bettina Weiß grows layer by layer and is charged with the artist's energy. The colors oscillate from the various depths of the paint application and vibrate into the room. The lightness of these new works literally pops out like jewels that shine particularly brightly against the blue walls.

In numerous work steps, the abstract painting by Bettina Weiß grows layer by layer and is charged with the artist's energy. The colors oscillate from the various depths of the paint application and vibrate into the room. The lightness of these new works literally pops out like jewels that shine particularly brightly against the blue walls.

The exhibition brings together various positions on classical contemporary portrait photography and also provides space for experimental artistic approaches. Works by 15 artist will be on display, by Jürgen Baumann, Mathias Bothor, Katja Flint, Andreas Fux, Norbert Heuler, Nataly Hocke, Henrik U. Müller, Angelika Platen, Susanne Pomrehn, Gerda Schütte, Jan Sobottka, Ingo Taubhorn, Stefan Thiel and Barbara Vallribera

An emphasis in the gallery program is abstraction, ranging from Geometric Art to Post Minimal Art. Works of recent production by the majority of the gallery artists and selected guests are shown and juxtaposed with some earlier examples from the 1970s. Painting dominates, but other genres can also be found. From sculpture to drawing to the photogram.

Such a birthday, and then at the same time of 2 gallery artists, who both turn 88 years old, is a rare event. This is something to be honored! In the short special exhibition "2 x 88 - Circular Encounter" meet two artworks that are very special and enter into dialogue with each other, where Renate Hampke responds to the recently made paper disc (blue) by Ursula Sax. Minimal and yet powerful!

The  technique of haptic-plastic application of the color pigments to aluminum suggests painting, because the pigment clearly becomes a material in its own right and is not merely a mediator or carrier of color. The fact that the artist also specifies painting as light painting is due on the one hand to physics, since color is nothing other than light in a defined wavelength range. It also refers to the process of creation of the works.

I love things that disappear, may reappear, and could disappear again. They are so soft and fragile. But They leave a long impression behind. (Quote from a comment on this work by Seungjun Lee)

The UniSA study tour group of architecture and art students from the University of South Australia explores the Bauhaus in Weimar and its impacts until today. In Berlin a joint workshop follows within the acommodations of CityLAB:Berlin, which guides into an exhibition on view at Semjon Contemporary, the Berlin gallery representing Michael Kutschbach.

Discarded violins serve as material for a space-filling installation. The visual artist and musician Nataly Hocke intertwines her two passions in this work and leads us into her world, which is at the same time open to our projections.

Discarded violins serve as material for a space-filling installation. The visual artist and musician Nataly Hocke intertwines her two passions in this work and leads us into her world, which is at the same time open to our projections.

The main work, a lifelike nude woman in her prime sitting on her bed, looking at her crotch with a mirror, causes irritation. Especially in the context of the exhibition title and the name of the cycle of works "Mother". Is it the artist's mother or mistress? Or is she representative of the female human race, which is present to us all at least as a mother. Is this verism simply a portrait or an homage?

At first glance, the landscape paintings by Stefan Thiel seem like romantic testimonies to German (cultural) landscapes. An oppressive feeling can arise during prolonged viewing. Why? Certainly because a 'leaden' heaviness, which cannot be further defined, lies over the picture-pretty motifs. An inkling could arise and it becomes certainty, if one knows about the 'historically poisened' background of these romantically appearing stretches of land. 

Starting from his artist's book "In SHAPE" of 2022 with 1000 geometric drawings, which are summarized as a compendium, these in turn serve as a matrix for further series of artworks, which differ in technique and material. From computer-milled relief to lacquer works on Alu-Dibond or fire drawings, they show a wealth of possibilities that spring from Dave Grossmann's analytical system and are also characterized by high craftsmanship. A concert for the senses is generated!

Starting from his artist's book "In SHAPE" of 2022 with 1000 geometric drawings, which are summarized as a compendium, these in turn serve as a matrix for further series of artworks, which differ in technique and material. From computer-milled relief to lacquer works on Alu-Dibond or fire drawings, they show a wealth of possibilities that spring from Dave Grossmann's analytical system and are also characterized by high craftsmanship. A concert for the senses is generated!

Centrally located in the middle of the room, the large hanging sculpture »Negligé Illuminé« delicately glows into the space. Like a painting from another time - one might think of paintings by Georgia O'Keeffe or Tamara Lempicka from the era of Classical Modernism - the form, reminiscent of a rose blossom hanging upside down, unfolds organically in large, folded sweeps, puffing out. 

Centrally located in the middle of the room, the large hanging sculpture »Negligé Illuminé« delicately glows into the space. Like a painting from another time - one might think of paintings by Georgia O'Keeffe or Tamara Lempicka from the era of Classical Modernism - the form, reminiscent of a rose blossom hanging upside down, unfolds organically in large, folded sweeps, puffing out. 

After an 11 year break, the series of Interventions exhibitions will be resumed. Petra Toedter's abstract geometric and colorful sculptures and objects will provide an exciting contrast to the walk-in Gesamtkunstwerk KioskShop berlin (KSb). 

"innocence" gathers the protagonists, who capture the naturally appearing self-image of these young people and create beguiling as well as disturbing portraits of men, which 'catches the viewer cold' through their unconcern and innocent naturalness. 

Andreas Fux and his protagonists let us participate in a new generation that presents itself with an undisguised look and also self-confidently demands to live its own life.

Back to the start means something like a new beginning: After the successful fight for the gallery space in the Schröderstraße in Mitte, we bring together all artists with their works. The concert of different artistic positions sums up what the gallery's program is all about: it spans from conceptual abstraction to the narratively symbolic to the supposed image of the human being. »KioskShop berlin (KSb)« is still on view.

In 2021, Michael Kutschbach realised a multi-channel video project on behalf of the Guildhouse in Adelaide, which deals with the collaboration and examination of the Adelaide Symphony Orchestra as a differentiated body of sound and organism. The video multi-channel chamber piece is now experiencing its German performance in Berlin.

 

This exhibition informs with work examples about the more than 70 years of artistic works by Ursula Sax (born 1936). The important German sculptress has worked with all materials. Paper as a sculptural material has become important for her in the 1980ies, 1990ies and since. As with all sculptors paper has been accompanying the artist in her artistic practice since 1949. A book of 520 pages with the same title will be be presented during her exhibition.

Gil Shachar’s large whale will be ‘stranding’ in Berlin. In 2018 Shachar and his local team were able to take a mould of a Humpback Whale in South Africa. The life-size sculpture (14 m length) was cast and assembled in Cape Town, before being shipped to Germany for it’s first appearance at Kunstmuseum Bochum in 2020. As a space St. Elisbeth church is of considerable historical significance, bearing memory of traumatic but also hopeful occurrences, and seems to be the perfect venue.