Past

2022 Art Cologne
2022 Osmar Osten
2022 Maximilian Rödel
2022 AMTSALON | 3rd Amtsalon Gallery Pop-Up
2022 Thomas Baldischwyler
2022 Lauren Coullard
2022 Brigitte Nicole Grice
2022 Martina Kügler (1945–2017)
2022 Olivia Parkes
2022 Tagesschau Invited by Eric Meier

2021 John Matthew Heard & Lisa Holzer
2021 Sophia Domagala
2021 Martina Kügler | paper positions berlin
2021 Eric Meier | Mies In Mind by INDEX
2021 Max Geisler
2021 Guy Allott
2021 José Montealegre
2021 Wagehe Raufi

2020 Boutique
2020 Assisted Survival
2020 Lauren Coullard
2020 Rashiyah Elanga
2020 In A Single Work: Max Geisler
2020 John Matthew Heard

2019 Yana Tsegay
2019 Eric Meier
2019 L’Arbre du Soleil



ART COLOGNE, November 16–20, 2022 | Sophia Domagala, John Matthew Heard, José Montealegre

CLICK HERE FOR THE CATALOG OF WORKS

Installation views by Fabian Fischer


OSMAR OSTEN. With works by Hans Platschek
September 16 — October 22, 2022

Opening Friday September 16, 6–9 pm, at Mountains
Finissage Saturday October 22, 4–6 pm

Press release DE
Press release EN
Work list

Installation views by BQ Foto


Osmar Osten, Wer war Albrecht Dürüm?, 2022 – Oil, spray paint and acrylic on canvas, 150 × 100 × 2 cm


Osmar Osten, Beliebig, 2022 – Oil and acrylic on canvas, 155 × 100 × 2 cm


Osmar Osten, Wie Friedrich Nietzsche immer sagte: „Alles wird gut“, 2022 – Acrylic and spray paint on canvas, 150 × 100 × 2 cm


Osmar Osten, Bla Bla, 2022 – Acrylic and spray paint on canvas, 140 × 100 × 2 cm


Osmar Osten, Kein Kleingeld, 2019 – Oil, spray paint and acrylic on canvas, 160 × 100 × 2 cm


Osmar Osten, iT, 2022 – Oil on canvas, 120 × 80 × 2 cm


Osmar Osten, Kein Herz/ Kein Infarkt, 2021 – Oil and spray paint on canvas, 140 × 100 × 2 cm


Osmar Osten, Untitled, 2022 – Acrylic on canvas, 100 × 80 × 2 cm


Osmar Osten, Untitled (Figur am Computer 2), 2022 – Acrylic on canvas, 100 × 80 × 2 cm


Osmar Osten, Ernst Thälmann’s Lieblingsballett, 2022 – Acrylic on canvas, 100 × 80 × 2 cm


Osmar Osten, Wer hat Angst vor hohen Preisen?, 2022 – Acrylic on canvas, 100 × 80 × 2 cm


Osmar Osten, Untitled (Figur am Computer 1), 2022 – Acrylic on canvas, 100 × 80 × 2 cm


MAXIMILIAN RÖDEL
Prehistoric Sunset
September 16 — October 22, 2022

Opening Friday September 16, 6–9 pm, at Mountains

Press release DE
Press release EN

AMTSALON | 3rd Amtsalon Gallery Pop-Up @ former Amtsgericht Berlin Charlottenburg, Kantstr. 79
Friday, September 16, 2022, 3–8 pm
Saturday, September 17, 2022, 12–8 pm
Sunday, September 18, 2022, 12–8 pm

Press release


Thomas Baldischwyler
Star Pit Gate

Mediapark
July 16 — September 11, 2022

Opening Friday July 15, 6–9 pm, at Mountains RLP

Press release
Work list

Press and features:
KubaParis

Installation views by BQ Foto


Thomas Baldischwyler, O.T. (Mediapark 01), 2022, mixed media on wood frame, acrylic shadow box, 104 × 104 × 8,5 cm


Thomas Baldischwyler, O.T. (Mediapark 02), 2022, mixed media on wood frame, acrylic shadow box, 104 × 104 × 8,5 cm


Thomas Baldischwyler, O.T. (#PULU), 2022, framed LED display, video loop, 104 × 104 × 12 cm (still image)


Thomas Baldischwyler, O.T. (#PULU), 2022, framed LED display, video loop, 104 × 104 × 12 cm (still image)


Thomas Baldischwyler, O.T. (#PULU), 2022, framed LED display, video loop, 104 × 104 × 12 cm (still image)


Thomas Baldischwyler, O.T. (Pigeons / Puddle 01), 2022, c-print mounted on dibond, acrylic glass, aluminum shadow box, 31.2 × 41.2 × 5 cm


Thomas Baldischwyler, O.T. (Pigeons / Puddle 02), 2022, c-print mounted on dibond, acrylic glass, aluminum shadow box, 31.2 × 41.2 × 5 cm


Thomas Baldischwyler, O.T., 2022, LED display, time code, 100 × 20 × 4 cm

Lauren Coullard
Covered in Feathers

June 25 – August 6, 2022

Press release
Work list
3D Tour

Press and features:
Contemporary Art Library

Installation views by BQ Foto


Lauren Coullard, Rehearsing Nightmares, 2022 – Oil on canvas, 120 × 100 × 2,5 cm


Lauren Coullard, Sand Bar, 2022 – Oil on canvas, 125 × 125 × 5 cm


Lauren Coullard, Vibes of Sorrow, 2021 – Acrylic and oil on canvas, 81 × 65 × 2,3 cm


Lauren Coullard, Empennage Squint, 2022 – Acrylic and oil on canvas, 81 × 65 × 2,3 cm


Lauren Coullard, Flax Temperate, 2021 – Oil and pastel on canvas, 41 × 27 × 2,3 cm


Lauren Coullard, Tear Jerker, 2022 – Oil and paper on wood, 18 × 12,5 × 2 cm


Lauren Coullard, Masonry Vaulting, 2021 – Oil on canvas, 27 × 22 × 1,7 cm


Lauren Coullard, Tattered Feathers, 2022 – Oil and paper on wood, 20 × 15,5 × 3 cm


Lauren Coullard, Sulfur Cahoots, 2022 – Oil and paper on wood, 18 × 13 × 2 cm


Lauren Coullard, Bird of Prey, 2022 – Acrylic and oil on canvas, 81 × 65 × 2 cm


Lauren Coullard, Mantle Plume, 2021 – Acrylic and oil on canvas, 200 × 150 × 5,5 cm


Lauren Coullard, Sweeping, 2022 – Oil on canvas, 24 × 19 × 2 cm


Lauren Coullard, Solitary Vulture, 2022 – Oil on canvas, 27 × 35 × 2 cm


Lauren Coullard, Narrow Wick, 2022 – Oil and paper on wood, 20 × 15,5 × 3 cm


Lauren Coullard, Creek Mouth, 2022 – Oil and paper on wood, 15 × 8 × 1,5 cm


Brigitte Nicole Grice
Scene 4: The Prodigious Story of the Kiss and the Giraffe

June 10 – July 9, 2022

Press release


Brigitte Nicole Grice, The Prodigious Story of the Kiss and the Giraffe, 2022 – Video, 26 mins, 3 + 1 a.p.


Martina Kügler (1945–2017)
THE ROOMS LOOKS RATHER EMPTY

April 30 – June 18, 2022

3D Tour
Work list

Press and features
Artforum
stayinart

Photos
BQ Foto


Martina Kügler, Untitled, 1985 – Acrylic and pencil on paper, 102 × 72,7 × 4 cm


Martina Kügler, Untitled, approx. late 1980s – Oil on canvas, 150 × 140 × 2 cm


Martina Kügler, The Rooms Looks Rather Empty, 1983 – Graphite, color pencil and rubber stamps on paper, 62,1 × 44,4 × 2 cm


Martina Kügler, Steinige Häutung, 1990 – Mixed media on canvas 135 × 160 × 2 cm


Martina Kügler, Untitled, 1982 – Watercolour on Japanese Paper, 62,1 × 48 × 4 cm


Martina Kügler, Ich schrubbe dir den Kopp, approx. mid/ late 1970s – Graphite pencil on paper, 61 × 43 × 4 cm


Martina Kügler, Das verlorene Spiel, 1991 – Oil on canvas, 150 × 185 × 1,5 cm


Martina Kügler, Untitled, 1991 – Graphite pencil on paper, 29,7 × 21 × 2,6 cm


Martina Kügler, Untitled, 2003 – Crayon and graphite pencil on paper, 65 × 50 × 2,6 cm


Martina Kügler, Nach dem Rhythmus eines aufholenden Balles, 1989 – Graphite pencil on paper, 29,7 × 21 × 2,6 cm


Martina Kügler, Nach der Operation, 1989 – Graphite pencil on paper, 29,7 × 21 × 2,6 cm


Martina Kügler, Untitled, 2003 – Crayon, graphite and colour pencil on paper, 65 × 50 × 2,6 cm


Martina Kügler, Untitled, 1981 – Graphite pencil on paper, 29,7 × 21 × 2,6 cm


Martina Kügler, Untitled, 1975 – Graphite and colour pencil on paper, 50 × 65 × 3 cm


Martina Kügler, Abschiednehmender mit Penisdops, 1975 – Graphite and colour pencil on paper, 50 × 65 × 3 cm


Martina Kügler, Figur mit Druidenfuß, 1990 – Graphite pencil on paper, 29,7 × 21 × 2,6 cm


Martina Kügler, Untitled, 1990 – Graphite pencil on paper, 29,7 × 21 × 2,6 cm


Martina Kügler, Untitled, 1990 – Collage, pencil and crayon on paper, 65 × 50 × 3,6 cm


Martina Kügler, Untitled, 1990 – Collage, pencil and crayon on paper, 65 × 50 × 3,6 cm


Martina Kügler, Untitled, 1979 – Graphite pencil on paper, 73 × 51 × 3 cm


Martina Kügler, Spargel über die Geige!, approx. 1980s – Gouache, graphite, colour pencil and paper collage on Schoellershammer Hammer 4R 72 × 101,5 × 3,6 cm

Olivia Parkes THE SAME RIVER
March 12 – April 16, 2022

March 11, 6-9 pm | Opening reception
March 13, 12-6 pm | Sunday Open by INDEX Berlin

Exhibition text by Kristian Vistrup Madsen (en/de)

Press and features:
Artforum MUST SEE
Contemporary Art Library
Claudia Wahjudi in tip Berlin
KubaParis

Photos by BQ Foto


Olivia Parkes, Looking Glass, 2022 – Oil on rag board, 73 × 103.5 × 2.5 cm


Olivia Parkes, Last Chance, 2021 – Oil on rag board, 103.5 × 76.8 × 2.5 cm


Olivia Parkes, Afternoon Moon, 2021 – Oil on hardboard, 72.5 × 54.5 × 2.5 cm


Olivia Parkes, Living Like the Rose, 2022 – Oil on wood, 70.5 × 43.5 × 0.5 cm


Olivia Parkes, Crossing, 2022 – Oil on cardboard, 73.3 × 56 × 0.5 cm


Olivia Parkes, Night Fall, 2021 – Oil on rag board, 52.8 × 79 × 2.5 cm


Olivia Parkes, My Father’s House, 2022 – Oil on rag board, 87.6 × 66.4 × 2.5 cm


Olivia Parkes, Imitation, 2022 – Oil on rag board, 74.9 × 103.7 × 2.5 cm


Olivia Parkes, Interlude, 2022 – Oil on rag board, 62.6 × 103.3 × 2.5 cm


Olivia Parkes, Lay your Shadow at my Feet, 2021 – Oil on rag board, 52.8 × 71.5 × 2.5 cm


Olivia Parkes, The same River, 2021 – Oil on rag board, 52.5 × 77.5 × 2.5 cm


Olivia Parkes, Stealth, 2021 – Oil on rag board, 51.3 × 77.5 × 2.5 cm


Olivia Parkes, The Hunt, 2021 – Oil on rag board, 65.5 × 98.4 × 2.5 cm


Olivia Parkes, Flock, 2022 – Oil on hardboard, 74.5 × 6.5 × 3.5 cm


Olivia Parkes, Killing Time, 2021 – Oil on hardboard, 72 × 54.5 × 2.5 cm


Olivia Parkes, Vanity, 2021 – Oil on hardboard, 83.7 × 102.2 × 2.5 cm

THE SAME RIVER

Akinetopsia is a rare neuropsychological disorder by which a person loses the ability to detect movement. It is also sometimes called “motion blindness.” Perhaps you are pouring a cup of tea, but because you perceive the stream that issues from the spout as static, the cup overflows, spills over, and tea drips to the floor. Or perhaps you are looking at a body of water that, though rippled, appears unmoving, and so you do what Heraclitus said no man could ever do, and step in the same river twice.

Olivia Parkes’s paintings induce a kind of motion blindness. Birds fly across the sky only because you know that they must, that there are no hooks in the clouds by which they hang suspended. Movement is cerebral, these pictures intense, like smells that should evaporate but linger. There is a different type of temporality at play here, where roads loop eternal, and it is always all times of day. In Interlude (2022), the central figure in a crowd looks out with immense saucer eyes. Over his shoulder looms another, larger face—is it the same figure, approaching from behind? Movement is exchanged for difference produced through layering and scale. The effect is an intensification of reality that reveals its instability.

When Heraclitus said that no man could ever step in the same river twice, he meant it two ways: first, that because the river always flows, it is never the same, and second, that since time, too, is a kind of stream, neither are you. I first encountered the notion of akinetopsia in an essay by the poet Denise Riley, in which she describes a state of deep grief as “time lived without its flow.” There is a way of connecting Parkes’s imagery to grief—how it traps and makes experience gigantic and strange. Living through this state, Riley realized that time was not, as people tended to think, “a clear stream, some neutral liquid, nothing finely transcendent,” rather: “it had always been thick.” Maybe akinetopsia is no sickness but the experience of the disconcerting truth that change does not occur by movement but accumulation, and time is not a matter of progression but saturation. This is not to say that Heraclitus was wrong, but that rivers are unruly in more ways than one.

Killing Time (2021) shows a woman smoking a cigarette—like Interlude, the scene is arrested by an uneasy quiet. These two paintings mark breaks in a narrative that is implied across the works but never quite actualized. Rolling hills and winding roads, we assume, must lead somewhere, but in Parkes’s paintings, action, like movement, is suspended: we know it is there, but we do not see it happen. Instead, it remains as a resonance, a vibratory visual effect. In The Color of Time, Eleonora Marangoni describes Marcel Proust’s classic novel as “a work about Time, in which the past and future are represented as ‘colorless rivers’ and only the present is colorful and dense.” Likewise, past and future are outside of Parkes’s frame, while inside is a quivering, luminous, even shrill present, claustrophobic in its relentlessness. The artist’s palette is hyperreal, saturated, uncanny. Her colors are turned up like the volume on a stereo, or, as she herself has said, tightened like a screw.

In Proust, the color and density of the present is extracted from a self-consciously imaginary past. In Parkes’s pictures, however, the narrator seems to have no memory at all, and herein lies the source of their tension. Look into the eyes of the rabbit in Stealth (2021) and the hills that swirl around it become a dream, just as the fixed, blue eyes in the review mirror of The Hunt (2021) seem unsure if they are hunting or being hunted. This sense of a narrative amputated, condensed to an intense instant, where cause becomes indistinguishable from effect, throws the ball back to the viewer. These paintings pour a steady stream of questions, and you, in your motion blindness—all you can do is watch the image overflow.

Kristian Vistrup Madsen, 2022

DERSELBE FLUSS

Akinetopsie ist eine seltene neuropsychologische Störung, bei der man die Fähigkeit verliert, Bewegungen wahrzunehmen. Sie wird manchmal auch als „Bewegungsblindheit“ bezeichnet. Nehmen wir an, Du gießt Dir eine Tasse Tee ein, aber weil Du den Strahl, der sich aus der Kanne ergießt, als statisch wahrgenommen hast, läuft die Tasse voll, der Tee schwappt über und beginnt auf den Boden zu tropfen. Oder stell Dir vor, Du blickst auf eine Wasseroberfläche, die sich nicht zu bewegen scheint, obwohl sich deren Oberfläche kräuselt – und Du dann doch genau das tust, von dem Heraklit meinte, dass es kein Mensch kann, nämlich zweimal in denselben Fluss steigen.

Die Bilder von Olivia Parkes lösen eine Art Bewegungsblindheit aus. Vögel fliegen über den Himmel, weil man weiss, dass sie nicht anders können, dass es eben keine Haken in den Wolken gibt, an denen sie aufgehängt sind. Die dargestellte Bewegung ist gebunden an den Verstand, die Bilder intensiv, wie Gerüche, die eigentlich verfliegen müssten, und dennoch verweilen. Es scheint hier eine andere Art von Zeitlichkeit am Werk, wo Straßen sich in Endlosschleifen winden und wo alle Tageszeiten gleichzeitig herrschen. In Interlude (2022) blickt die zentrale Figur mit riesigen Kulleraugen aus einer Menschenmenge hervor. Hinter deren Schulter erhebt sich ein weiteres, größeres Gesicht — ist es dieselbe Gestalt, die sich von hinten nähert? Die Darstellung von Bewegung wird hier vertauscht mit dem Eindruck einer seltsamen Differenz, die durch Schichtung und Maßstab hervorgerufen wird. Der Effekt ist der einer übersteigerten Realität, die ihre eigene Instabilität offenlegt.

Als Heraklit sagte, dass kein Mensch zweimal in denselben Fluss steigen kann, meinte er zweierlei: Erstens ist der Fluss, der fortwährend fließt, nie derselbe; und zweitens bleibt man in der Zeit, die selbst ja eine Art Strom ist, nie gleich. Der Begriff der Akinetopsie begegnete mir zum ersten Mal in einem Aufsatz der Dichterin Denise Riley, in dem sie den Zustand tiefer Trauer als „Zeit, die ohne ihren Fluss gelebt wird“ beschreibt. Man kann Parkes‘ Bildsprache mit Trauer in Verbindung bringen – sie hält einen gefangen und läßt alles übergroß und verstörend erscheinen. Riley, die diesen Zustand durchlebte, erkannte, dass die Zeit keineswegs, wie allgemein angenommen, „ein klarer Strom, eine neutrale Flüssigkeit, nichts zart Transzendentes“ sei, sondern vielmehr „schon immer zäh und trüb gewesen ist“. Vielleicht ist Akinetopsie keine Krankheit, sondern die Erfahrung einer beunruhigenden Wahrheit: Dass Veränderung nicht durch Bewegung, sondern durch Verdichtung entsteht und dass Zeit keine Frage des Verlaufs, sondern der Sättigung ist. Das soll nicht heißen, dass Heraklit einer Täuschung aufsaß, sondern vielmehr, dass Flüsse in mehr als einer Hinsicht widerspenstig sind.

Killing Time (2021) zeigt eine Frau, die eine Zigarette raucht – wie in Interlude ist die Szene in beklemmender Stille befangen. Diese beiden Gemälde markieren Brüche in Erzählungen, die in den Werken zwar angedeutet, aber nie vollends greifbar werden. Sanfte Hügel und kurvenreiche Straßen, so nehmen wir an, müssten irgendwo hin führen, aber in Parkes‘ Gemälden bleibt die Aktion, so wie die Bewegung, in der Schwebe: Wir wissen um ihr Vorhandensein, aber wir sehen sie sich nicht vollziehen. Stattdessen bleibt eine Art Resonanz, ein Effekt visueller Schwingung. In I colori del tempo (Die Farben der Zeit) beschreibt Eleonora Marangoni Marcel Prousts Romanklassiker als „ein Werk über die Zeit, in dem Vergangenheit und Zukunft als ‚farblose Flüsse‘ dargestellt werden und nur die Gegenwart bunt und dicht wirkt“. Ähnlich liegen Vergangenheit und Zukunft jenseits der Rahmen der Bilder von Parkes, während darin eine zitternde, leuchtende, gar schrille Gegenwart waltet, klaustrophobisch in ihrer Unerbittlichkeit. Die Palette der Künstlerin ist hyperreal, gesättigt, unheimlich. Ihre Farben sind aufgedreht wie die Lautstärke einer Stereoanlage oder, wie sie selbst sagt, festgezogen wie eine Schraube.

Bei Proust werden Farbigkeit und Intensität der Gegenwart aus einer ganz bewußt von Vorstellungen geprägten Idee der Vergangenheit geschöpft. In Parkes‘ Bildern jedoch scheint die Erzählerin über gar keine Erinnerung zu verfügen, und darin liegt die Quelle von deren Spannung: wenn man dem Kaninchen in Stealth (2021) in die Augen schaut und die es umzüngelnden Hügel zu einem Traum gerinnen, oder wenn die starren, blauen Augen im Rückspiegel von The Hunt (2021) nicht sicher festmachen lassen, ob sie einer Jägerin oder einer Gejagten gehören. Dieses Gefühl einer amputierten Erzählung, verdichtet zu einem intensiven Moment, in dem Ursache und Wirkung nicht mehr zu unterscheiden sind, spielt den Ball zurück zu uns Betrachtenden. Diese Gemälde werfen einen stetigen Fluss von Fragen auf und Du – in Deiner Bewegungsblindheit – kannst nur zuschauen, wie das Bild überläuft.

Übersetzung: Klaus Voss / Norbert Witzgall

Invitation card


Tagesschau. Invited by Eric Meier
Katja Aufleger, Andrey Bogush & Sinaida Michalskaja, Andrea Grützner, Falk Haberkorn, Sven Johne, Sebastian Jung, Eric Meier, Ahmet Öğüt, Osmar Osten
February 4 — March 6, 2022

Press release
Floor plan / work list

Press and features:
taz | Sophie Jung, Abriss, Angriff — Schlagfertig: die Grupenausstellung „Tagesschau“ bei Mountains, 23.02.2022
gallerytalk.net | Lara Brörken, Und bleiben Sie zuversichtlich, 14.02.2022
Contemporary Art Library

Exhibition views by @bq_foto


Katja Aufleger, The Argument, 2020 – 3 pairs of boxing gloves, plastic tubes, dimensions variable. Courtesy the artist and Galerie Conradi, Hamburg.


Osmar Osten, A Mannl, 2020 – Oil and spray paint on canvas, 160 × 100 × 2 cm


Eric Meier, Endlich Urlaub, 2021 – Laser prints, adhesive tape, acrylic paint, epoxy resin on cardboard, 165 × 190 × 2 cm


Osmar Osten, Liebe in Zeiten der Demokratie, 2021 – Oil and spray paint on canvas, 120 × 100 × 3 cm.


Andrea Grützner, Erbgericht, Untitled 3, 2014 – Archival pigment print, framed, 149 × 100 × 4 cm. Courtesy the artist and Galerie Robert Morat, Berlin.


Osmar Osten, Wollt ihr die totale digitale Scheiße?, 2020 – Oil on canvas, 30 × 24 × 1,5 cm

Sebastian Jung, Ohne Titel (Zietenstraße 19, Chemnitz Sonnenberg) 0110, 2019 Photo print, drawing, mat, 51,6 × 71,7 × 3 cm. 


Falk Haberkorn, PLATEAU_I-2_233, 2021 – C-print, 42 × 52 cm. Courtesy
the artist and Klemm’s Berlin.


Ahmet Öğüt, While Other Attack (human figure), 2016 – Cast bronze, 100 × 93 × 76 cm


Ahmet Öğüt, While Other Attack (dog figure), 2016 – Cast bronze, 57 × 49 × 44 cm


Andrey Bogush & Sinaida Michalskaja, Rosa Butterfly (from keta femminismo to somatic interspecies communism), 2022 – UV print on light-weight foam board, 210 × 89 × 1,9 cm


Andrey Bogush & Sinaida Michalskaja, Rosa Butterfly (from keta femminismo to somatic interspecies communism), 2022 – UV print on light-weight foam board, 210 × 89 × 1,9 cm (detail)


Andrea Grützner, Erbgericht, Untitled 24, 2021 – Archival pigment print, 152 × 102 × 4 cm. Courtesy the artist and Galerie Robert Morat, Berlin.


Osmar Osten, Kein Durst ist kein Geld, 2019 – Oil on canvas, 30 × 24 × 1,5 cm


Osmar Osten, Durst ist Geld, 2019 – Oil on canvas, 30 × 24 × 1,5 cm

I am the Power, 2022 4k video, b/w, single channel 30:12 min, loop. Courtesy the artist and VG Bild Kunst, Bonn and Klemm’s, Berlin.

Invitation card


John Matthew Heard, Lisa Holzer dependent
November 13, 2021 — January 22, 2022

November 12, 6-9 pm | Opening reception
December 5, 12-6 pm | SUNDAY OPEN by INDEX
December 19, 2021 — January 9, 2022 | Winter break

Press release
Work list

Press and features:
Contemporary Art Library
KubaParis

Exhibition views by @bq_foto


John Matthew Heard, 🦭, 2021 – Painting on canvas, 100 × 90 × 5 cm


John Matthew Heard, 🔙, 2021 – Painting on canvas, 100 × 90 × 5 cm


John Matthew Heard, 🧟‍♂️, 2021 – Painting on canvas, 100 × 90 × 5 cm


Lisa Holzer, Rain/Umbrella (darkbrown/beige), 2021 – Pigment print on cotton paper, black marker on wood, 110,3 × 84,5 × 4 cm


John Matthew Heard, 🫐, 2021 – Painting on canvas, 100 × 90 × 5 cm


Lisa Holzer, Rain/Umbrella (purple/peach), 2021 – Pigment print on cotton paper, black marker on wood, 110,3 × 84,5 × 4 cm


John Matthew Heard, 🍎, 2021 – Painting on canvas, 100 × 90 × 5 cm


Lisa Holzer, Rain/Umbrella (cyan/red), 2021 – Pigment print on cotton paper, black marker on wood, 110,3 × 84 × 4 cm


Lisa Holzer, Rain/Umbrella (cyan/red), 2021 – Pigment print on cotton paper, black marker on wood, 110,3 × 84 × 4 cm (detail)


John Matthew Heard, 🥞, 2021 – Painting on canvas, 100 × 90 × 5 cm


John Matthew Heard, 👹, 2021 – Painting on canvas, 100 × 90 × 5 cm


Lisa Holzer, Rain/Umbrella (pink/purple), 2021 – Pigment print on cotton paper, black marker on wood, 110,3 × 85,8 × 4 cm


John Matthew Heard, 🕳, 2021 – Painting on canvas, 100 × 90 × 5 cm


Lisa Holzer, Rain/Umbrella (darkbrown/beige), 2021 – Pigment print on cotton paper, black marker on wood, 110,3 × 84,5 × 4cm


John Matthew Heard, 🐽, 2021 – Painting on canvas, 100 × 90 × 5 cm


John Matthew Heard, 🥨, 2021 – Painting on canvas, 100 × 90 × 5 cm


SOPHIA DOMAGALA Beggars
September 15 — October 31, 2021

September 15, 5–9 pm | Opening Reception + Catalog Launch | Exhibition catalog with extended artist material and an essay by Camila McHugh
October 31, 1-5 pm | Finissage | Poetry readings with artists and texts by Lotta Bartoschewski, Benedikt Bock, Sophia Domagala, Gloria Lin, Nat Marcus + Concert by Harmony Molina

3D Tour
CV Sophia Domagala
Text by Camila McHugh
Work list

Kultur Mitte Magazin

Exhibition views by Best Quality, Berlin

Invitation card


August 19–22, 2021
MARTINA KÜGLER
paper positions berlin | Booth 43


Photo: Julie Becquart


August 19–22, 2021
ERIC MEIER | Mies In Mind
SUNDAY OPEN Festival by INDEX Berlin, on the occasion of the re-opening of the Neue Nationalgalerie Berlin by Ludwig Mies van der Rohe</


MAX GEISLER Collapse
June 19 — August 7, 2021

June 18, 6-9 pm | Opening reception
June 29, 12-7 pm | Special opening hours during GALLERY WEEKEND BERLIN Summer Special 2021
July 16, 2021, 5-9 pm | Catalog Launch + Summer Drinks
An exhibition catalog with a text by Hans-Jürgen Hafner will be published during the course of the exhibition.
> 3D Tour
> Artist CV
> Work list

 



GUY ALLOTT I Am A Building
April 29 — June 12, 2021
April 29, 1-7pm | Opening reception
April 30 – May 2, 12-7pm | Special opening hours during Gallery Weekend Berlin 2021
June 10, 5-8 pm | Exhibition catalog launch

> 3D Tour
> Artist CV
> Exhibition essay by Paul Carey-Kent
> Short story by Guy Allott
> Work list

Exhibition photography: Best Quality, Berlin. All titles of the works, dimensions, materials, see list of works

 

 



JOSE MONTEALEGRE Nuevo Mundo
March 19 – April 24, 2021

3D Tour
Artist CV
Exhibition essay by José Segebre (Spanish/English booklet)

Press
FRIEZE | Carina Bukuts: José Montealegre Blurs the Lines Between Reality and Fiction (online + print)

Exhibition photography: Best Quality, Berlin

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Copyright all photos: Best Quality Photography, Berlin


WAGEHE RAUFI Hidden Architect
February 15 – March 13, 2021
Text by Leonore Spemann

> press release
> check list
> 3D tour

Exhibition documentation: Best Quality Photography, Berlin


Exterior view


Installation view


Installation view


Installation view


Installation view


Installation view


Wagehe Raufi, Untitled, 2019 | Textiles, pigment, ink, agar-agar, water-retaining granules | 92 × 167 × 22 cm (36.2 × 65.7 × 8.7 in)


Wagehe Raufi, Untitled, 2021 | Textiles, pigment, ink, agar-agar, water-retaining granules, thibra, polylactide | 150 × 200 × 7 cm (59.1 × 78.7 × 2.8 in)


Wagehe Raufi, blob, 2019 | Thermoplastic material, textiles, pigment, ink, agar-agar, water-retaining granules | 75 × 130 × 160 cm (29.5 × 51.2 × 63 in)


Wagehe Raufi, hidden architect – moths as mess, 2020 | Single channel 4K video, color, sound | 11 minutes 18 seconds


Wagehe Raufi, hidden architect – moths as mess, 2020 | Single channel 4K video, color, sound | 11 minutes 18 seconds


Wagehe Raufi, hidden architect – moths as mess, 2020 | Single channel 4K video, color, sound | 11 minutes 18 seconds


Wagehe Raufi, hidden architect – moths as mess, 2020 | Single channel 4K video, color, sound | 11 minutes 18 seconds


Wagehe Raufi, Untitled (black widow), 2021 | Mesh, pigment, agar-agar, water-retaining granules | 365 × 23 × 23 cm (143.7 × 9.1 × 9.1 in)


Wagehe Raufi, snake detection frame, 2020 | Plastics, pigment, ink, agar-agar, water-retaining granules, aluminum, acrylic glass | 101 × 71 × 3 cm (39.8 × 28 × 1.2 in)


BOUTIQUE
December 6, 2020 – January 31, 2021
Shop window

Guy Allott, Lauren Coullard, Sophia Domagala, Max Geisler, Brigitte Nicole Grice, John Matthew Heard, Stephanie Kloss, Eric Meier, Sarah Reva Mohr, José Montealegre, Olivia Parkes, Wagehe Raufi, Laura Schusinski, Yana Tsegay, Norbert Witzgall, Sonja Yakovleva


ASSISTED SURVIVAL
October 9 – January 31, 2021

Brigitte Nicole Grice
Dennis Siering
John Matthew Heard
Laura Schusinski
Martina Kügler
Maximilian Rödel
Sophia Domagala
Yorgos Stamkopoulos

> Press release / work list


ASSISTED SURVIVAL – MARTINA KÜGLER, JOHN MATTHEW HEARD, DENNIS SIERING


ASSISTED SURVIVAL – YORGOS STAMKOPOULOS, JOHN MATTHEW HEARD, SOPHIA DOMAGALA


ASSISTED SURVIVAL – DENNIS SIERING, JOHN MATTHEW HEARD, YORGOS STAMKOPOULOS, SOPHIA DOMAGALA


ASSISTED SURVIVAL – LAURA SCHUSINSKI, MAXIMILIAN RÖDEL, DENNIS SIERING, BRIGITTE NICOLE GRICE, MARTINA KÜGLER


ASSISTED SURVIVAL – SOPHIA DOMAGALA, LAURA SCHUSINSKI, MAXIMILIAN RÖDEL, DENNIS SIERING, BRIGITTE NICOLE GRICE


ASSISTED SURVIVAL – JOHN MATTHEW HEARD, LAURA SCHUSINSKI, MAXIMILIAN RÖDEL, DENNIS SIERING


ASSISTED SURVIVAL – DENNIS SIERING


ASSISTED SURVIVAL – DENNIS SIERING


ASSISTED SURVIVAL – DENNIS SIERING


ASSISTED SURVIVAL – MARTINA KÜGLER


ASSISTED SURVIVAL – MARTINA KÜGLER


ASSISTED SURVIVAL – MARTINA KÜGLER


ASSISTED SURVIVAL – MARTINA KÜGLER


ASSISTED SURVIVAL – YORGOS STAMKOPOULOS


ASSISTED SURVIVAL – JOHN MATTHEW HEARD


ASSISTED SURVIVAL – JOHN MATTHEW HEARD


ASSISTED SURVIVAL – JOHN MATTHEW HEARD


ASSISTED SURVIVAL – JOHN MATTHEW HEARD


ASSISTED SURVIVAL – JOHN MATTHEW HEARD


ASSISTED SURVIVAL – JOHN MATTHEW HEARD


ASSISTED SURVIVAL – JOHN MATTHEW HEARD


ASSISTED SURVIVAL – JOHN MATTHEW HEARD


ASSISTED SURVIVAL – JOHN MATTHEW HEARD


ASSISTED SURVIVAL – SOPHIA DOMAGALA


ASSISTED SURVIVAL – SOPHIA DOMAGALA


ASSISTED SURVIVAL – BRIGITTE NICOLE GRICE


ASSISTED SURVIVAL – MAXIMILLIAN RÖDEL


LAUREN COULLARD – Angels on a Needle
July 18 – September 13, 2020
July 17 opening reception
July 26 SUNDAY OPEN organized by INDEX

> press release

Photos: Julie Becquart


In A Single Work – RASHIYAH ELANGA
My Trip Inside The Mesosphere Sponsored By Magic Blue, 2020
June 21 – July 10, 2020

June 21 opening reception / SUNDAY OPEN organized by INDEX

> press release

Photos: Julie Becquart


In A Single Work – MAX GEISLER
Angetäuschte Isolationsübung, 2018
May 24 – June 13,2020

May 24 opening reception / SUNDAY OPEN organized by INDEX

Photos: Julie Becquart


JOHN MATTHEW HEARD Flash Card
February 7 – May 9, 2020

> press release
> checklist
> 3D tour

> Contemporary Art Daily (selected by Tenzing Barshee)

Photos: Julie Becquart

……. when in peril

No additional text for print.

So read the primordial saturations. Through and through, like the baleen of the whale’s jaw : sieves, shudder-lit, tendering, it filters the krill from the mass, the invisible proteins, the microcosm from the chasm, the thing from the wanton, yes it wrings the sea through the verdant sea.

Ever since childhood you have known. The artist has this obligation to desire, the way color requires vowels. The way the phone has its own diabolical tastebuds. The way the bones of snowy owls are found in the Abyssal Plain. We have this obligation to follow its helpless migration, its incandescent howl. To put foot to soil, silt to bed.

Dolphins of words leap from the crevices. They candle and hiss, arcing in you. There is only one Ocean. It is not metaphorical for those who live it.
My friend who was born on her parents fishing boat in Alaska, a twin, tells me this.

The hummingbird drifts from land for fragrance is not always rooted to cause.

Sleep is a moate full of hungry ghosts, around the red crumb of winter.

Seeing is a sinking ship. Watering to obscure that shape.

What happens to places water once needed ?

………. Time         gets used for a lot of things …

Our house in the desert belongs to geckos now. They are the hue of having eaten spiders in silence on cactus pads. Warm blue, cold orange, beak-pierced, cunning. Jack has been there.

When in peril, geckos lose their tails on purpose, leaving them behind for the hunter, a phantom body loose in the dune, one could use to make this work.

 

Devin Alexander

 

Invitation card


YANA TSEGAY The Amber Room
November 30, 2019 – January 27, 2020

> Exhibition text (en/de) by Miriam Bettin
> Check list

> PASSE-AVANT – Yana Tsegay’s Amberism, by Arootin Mirzakhani
> taz – Im Glanz geschmolzenen Zuckers, by Beate Scheder

Invitation card

Yana Tsegay The Amber Room
Opening November 30, 2019, 6-9 pm * Performance at 7 pm
Exhibition November 30, 2019 – January 18, 2020


ERIC MEIER
Wind Of Change
October 18 – November 23, 2019

> Exhibition text


L’Arbre du Soleil
GUY ALLOTT, SARAH CHOW, STEPHAN DILLEMUTH, JOHN MATTHEW HEARD, ULRIKE MÜLLER,
WAGEHE RAUFI, MAX SCHMIDTLEIN, LAURA SCHUSINSKI
August 31 – October 12, 2019

Installation views (L-R):


L’Arbre du Soleil – ULRIKE MÜLLER, JOHN MATTHEW HEARD, WAGEHE RAUFI, GUY ALLOTT, LAURA SCHUSINSKI


L’Arbre du Soleil – ULRIKE MÜLLER


L’Arbre du Soleil – JOHN MATTHEW HEARD


L’Arbre du Soleil – ULRIKE MÜLLER, JOHN MATTHEW HEARD, WAGEHE RAUFI


L’Arbre du Soleil – JOHN MATTHEW HEARD, MAX SCHMIDTLEIN, WAGEHE RAUFI


L’Arbre du Soleil – WAGEHE RAUFI


L’Arbre du Soleil – WAGEHE RAUFI, LAURA SCHUSINSKI, GUY ALLOTT


L’Arbre du Soleil – LAURA SCHUSINSKI, GUY ALLOTT, MAX SCHMIDTLEIN


L’Arbre du Soleil – MAX SCHMIDTLEIN, STEPHAN DILLEMUTH


L’Arbre du Soleil – MAX SCHMIDTLEIN, STEPHAN DILLEMUTH


L’Arbre du Soleil – WAGEHE RAUFI, GUY ALLOTT, LAURA SCHUSINSKI, STEPHAN DILLEMUTH, MAX SCHMIDTLEIN


L’Arbre du Soleil – LAURA SCHUSINSKI


L’Arbre du Soleil – MAX SCHMIDTLEIN


L’Arbre du Soleil – MAX SCHMIDTLEIN


L’Arbre du Soleil – SARAH CHOW


L’Arbre du Soleil – SARAH CHOW


L’Arbre du Soleil – SARAH CHOW


L’Arbre du Soleil – SARAH CHOW


L’Arbre du Soleil – STEPHAN DILLEMUTH

Photos: groupshow.eu

Invitation card