2025 Monika Maurer-Morgenstern
2025 Lauren Coullard, Edi Dubien | Mountains at ART COLOGNE Cologne
2025 Eric Meier, Andrea Pichl
2025 Max Geisler
2025 David Medalla
2025 Lauren Coullard
2025 Ani Schulze
2025 Out Of The Blue
Monika Maurer-Morgenstern
Arbeiten aus 5 Jahrzehnten · Works from 5 Decades
October 31 – December 20, 2025
Sunday, December 7, 2025, 3:30–5:30 pm
Artist Talk with art critic Dr. Noemi Y. Molitor and Monika Maurer-Morgenstern
DE Pressemitteilung · EN press release
Installation:
Works:
Monika Maurer-Morgenstern, die Hündin Rosa wird im Kosmos erwartet, 2018 · Watercolor, colored pencil on paper · 31 × 22 cm
Monika Maurer-Morgenstern, Narzissen, 2018 · Wax crayon, colored pencil, pastel on paper · 16 × 24 cm
Monika Maurer-Morgenstern, 2 Blaue, 1996 · Egg tempera, pigment on Chinese printing paper · 110 × 94 cm
Monika Maurer-Morgenstern, Kiefer groß, 1998 · Watercolor, wax crayon, colored pencil, pastel, pigment on Chinese printing paper · 91 × 70,5 cm
Monika Maurer-Morgenstern, Gelbe Frau und Kosmos, 2023 · Watercolor, wax crayon, colored pencil, pastel, pigment on Chinese printing paper · 93 × 69 cm
Monika Maurer-Morgenstern, Selbstporträt (Self portrait), 1997 · Graphite, colored pencil, wax crayon on Schoellershammer 4G paper · 101.5 x 73 cm
Monika Maurer-Morgenstern, Mit Kleist und Schiller, 2022 · Pastel, wax crayon, colored pencil on paper · 50 x 40 cm
Monika Maurer-Morgenstern, Fischgrätmann, 2014 · Collage, colored pencil, glitter on paper · 26,5 × 21,5 cm
Monika Maurer-Morgenstern, Stehende Männer einfallend (series), 1997 · Epoxy resin, watercolor, pastel, colored pencil on paper · 25 × 21 cm
Monika Maurer-Morgenstern, Ich fahre nach Paris (series), 1999/2000 · Watercolor, wax crayon, colored pencil, pastel on paper · 15 × 21 cm
Exhibition photography: Julie Becquart
Exhibition poster:
Art Cologne
Lauren Coullard, Edi Dubien
November 6–9, 2025
Eric Meier, Andrea Pichl
ERIC MEIER ANDREA PICHL
September 10 – October 25, 2025
– Shortlisted for VBKI Berlin Gallery Prize 2025 and as part of BERLIN ART WEEK 2025 –
With an exhibition essay by Undine Rietz
DE Pressemitteilung · EN press release
Felicia Okçu | Berliner Morgenpost, Sep 6, 2025
Alicja Schindler | der Freitag, Sep 17, 2025
Installation views:
Individual works:
Andrea Pichl, Wessen Morgen ist der Morgen? Wessen Welt ist die Welt? / Whose tomorrow is the tomorrow? Whose world is the world?, 2023
Construction fence and print on tarpaulin, four parts
Andrea Pichl, Sporthotel Sportforum Hohenschönhausen, 2020/2023 · 200 × 350 cm · Edition 3+1
Sports Hotel and Congress Centre of the Hohenschönhausen Sports Forum
Built: 1956
2002: Planning of an ensemble with multi-purpose and tennis halls, fitness centre and restaurants, costs ca. 50 million euros, insolvency of the company
Owner since 2011: Immonen Holdings
Vacant since: 2002
Photo: Andrea Pichl, 2020
Source: andreapichl.com
Andrea Pichl, Fachhochschule Potsdam, 2018/2023 · 200 × 350 cm · Edition 3+1
Potsdam University of Applied Sciences
Opened: 1977, formerly as the Institute for Teacher Education of the GDR
2016: Citizens‘ petition „No sell-out of Potsdam’s centre“.
2016: The „Stadtmitte für alle“ (City Centre for All) initiative made an offer to purchase the building for six million euros, which was rejected by the city. The initiative had proposed using the building as a „house of urban society“.
Demolition: 2018
Photo: Andrea Pichl, 2018
Source: andreapichl.com
Andrea Pichl, Sport-und Erholungszentrum SEZ, 2023/2023 · 200 × 350 cm · Edition 3+1
Sports and Recreation Centre, SEZ
Landsberger Allee, Berlin
Opened: 1981
2003: Sold to investor for 1.00 euro
2016: State of Berlin unsuccessfully sues in the Regional Court.
2022: Another lawsuit: the investor must return the site to the state.
2023: (still open) Decision of the Federal Court of Justice (BGH).
Vacancy: since 2002
Photo: Andrea Pichl, 2023
Source: andreapichl.com
Andrea Pichl, Ministerium für Bauwesen, 2011/2023 · 200 × 350 cm · Edition 3+1
Ministry of Construction of the GDR
Breite Straße, Berlin
Built: 1967/68
Start of demolition: 2011
Photo: Andrea Pichl, 2011
Source: andreapichl.com
Andrea Pichl, Zäune, Nr. 2, 2017 · Coloured pencil on stone paper · 70 × 100 cm
Eric Meier, Vorwärts/Rückwärts, 2025 · In-situ wall engraving · 5 × 30 cm / dimensions variable · Edition 3+1
Eric Meier, Social warming I, 2025 · Fused beer bottles · 23 × 40 × 33 cm
Eric Meier, Social warming II, 2025 · Fused beer bottles · 10 × 45 × 22 cm
Eric Meier, Social warming III, 2025 · Fused beer bottles · 17 × 41 × 33 cm
Eric Meier, Social warming IV, 2025 · Fused beer bottles · 12 × 65 × 40 cm
Exterior view – Eric Meier, Social warming IV, 2025 · Fused beer bottles · 12 × 65 × 40 cm (on exposed aggregate concrete slabs)
Eric Meier, from Enttäuschte Gesichter (Wir haben uns mehr erwartet) / Disappointed faces (We had expected more), 2025
Series of archival pigment prints
Eric Meier, Helmut – Enttäuschte Gesichter (Wir haben uns mehr erwartet), 2025 · Archival pigment print · 80 × 70 × 3 cm (framed) · Edition 3+1
Eric Meier, Frank – Enttäuschte Gesichter (Wir haben uns mehr erwartet), 2025 · Archival pigment print · 80 × 70 × 3 cm (framed) · Edition 3+1
Eric Meier, Detlef – Enttäuschte Gesichter (Wir haben uns mehr erwartet), 2025 · Archival pigment print · 80 × 70 × 3 cm (framed) · Edition 3+1
Eric Meier, Günther – Enttäuschte Gesichter (Wir haben uns mehr erwartet), 2025 · Archival pigment print · 80 × 70 × 3 cm (framed) · Edition 3+1
Eric Meier, Uwe – Enttäuschte Gesichter (Wir haben uns mehr erwartet), 2025 · Archival pigment print · 80 × 70 × 3 cm (framed) · Edition 3+1
Eric Meier, Jürgen – Enttäuschte Gesichter (Wir haben uns mehr erwartet), 2025 · Archival pigment print · 80 × 70 × 3 cm (framed) · Edition 3+1
Eric Meier, Dieter – Enttäuschte Gesichter (Wir haben uns mehr erwartet), 2025 · Archival pigment print · 80 × 70 × 3 cm (framed) · Edition 3+1
Eric Meier, Konrad – Enttäuschte Gesichter (Wir haben uns mehr erwartet), 2025 · Archival pigment print · 80 × 70 × 3 cm (framed) · Edition 3+1
Eric Meier, Peter – Enttäuschte Gesichter (Wir haben uns mehr erwartet), 2025 · Archival pigment print · 80 × 70 × 3 cm (framed) · Edition 3+1
Eric Meier, Heinz – Enttäuschte Gesichter (Wir haben uns mehr erwartet), 2025 · Archival pigment print · 80 × 70 × 3 cm (framed) · Edition 3+1
Exhibition photography: Julie Becquart
Invitation card
Max Geisler Tipping Point
July 5 – August 16, 2025
Opening: Friday, July 4, 6–9 pm
Artist Talk: Thursday, July 10, 7 pm
Finissage + Walkthrough: Saturday, August 16, 3 pm
📍 Mountains, Rosa-Luxemburg-Platz, Weydingerstr. 6, 10178 Berlin
DE Pressemitteilung
EN press release
Installation views · Photos: Julie Becquart
Panoramic view:
Individual works:
Max Geisler, Weak signal, 2025 · Acrylic and lacquer on canvas · 190 × 160 × 3 cm
Max Geisler, Untitled (Maingarten), 2025 · Acrylic and lacquer on canvas · 190 × 160 × 3 cm
Max Geisler, The good and the ugly, 2025 · Acrylic and lacquer on canvas · 190 × 160 × 3 cm
Max Geisler, 20 Uhr, die Nachrichten., 2025 · Acrylic and lacquer on canvas · 190 × 160 × 3 cm
Max Geisler, Another day, another dollar, 2025 · Acrylic and lacquer on canvas · 160 × 120 × 2 cm
Max Geisler, Aussteigen und abwarten 3, 2025 · Acrylic and lacquer on canvas · 60 × 40 × 2 cm
Max Geisler, Untitled, 2025 · Polyvinyl film on stretchers · 190 × 100 × 3 cm
Max Geisler, Untitled, 2025 · Polyvinyl film on stretchers · 190 × 30 × 3 cm
Max Geisler, Untitled, 2025 · Polyvinyl film on stretchers · 190 × 60 × 3 cm
Max Geisler, Untitled, 2025 · Polyvinyl film on stretchers · 55 × 160 × 3 cm
Galerie Mountains is pleased to announce Tipping Point, the new solo exhibition by Berlin-based artist Max Geisler. This is Geisler’s third solo show at Mountains, following Collapse (2021) and Angetäuschte Isolationsübung (2020).
In his new exhibition Tipping Point, Max Geisler presents a multifaceted body of work that moves between painting, sculpture, and installation. The starting point is a large-scale, site-specific installation: a deformed party tent made of steel pipes and PVC tarps spans the space, acting both as a sculptural element and a conceptual framework. It becomes a resonance chamber for Geisler’s exploration of painting as a spatial, corporeal, and psychological experience.
The canvas paintings are created on meticulously prepared surfaces, where gesso and varnish are applied and sanded in elaborate processes. These are followed by layers of acrylic paint applied so fluidly that watercolor-like effects emerge in places. In other areas, the artist intervenes within a brief time frame while the paint is still wet, removing paint to reveal the white ground beneath—creating a porous, breathing depth in the image.
A special role is played by wall works that blur the lines between painting and installation: PVC panels stretched over stretcher frames—sourced from the ‘windows’ of the party tent—mimic the format and depth of the canvases. Installed alongside the paintings in a continuous, ribbon-like sequence with only two deliberate interruptions, these panels suggest a readable sequence, a continuum of painting that also engages with physical space and its perception.
Tipping Point marks a turning point in Geisler’s practice: while earlier works—including large-scale drywall installations and tent pieces—emphasized the expansion of painting into architectural and spatial realms, the artist now appears to adopt a more reflective, analytical stance. The return to canvas is not a retreat, but an expression of an expanded understanding of image-making—where material, body, space, and memory are inextricably linked.
A subjective dimension also permeates the exhibition: Geisler describes Tipping Point as his most personal show to date. During the creative process, he revisited places from his youth in the Hessian countryside—a biographical terrain associated with feelings of confinement and limitation. The party tent, with its possibly murky, blurred plastic windows, becomes a symbolic space of detachment and overwhelm: a place where the outside world dissolves, and the inside becomes a site of collective self-assurance.
Thus, Tipping Point is not only an exploration of painting as a medium but also a meditation on origin, perception, and social belonging.
David Medalla Luftbrücke
Curated with Adam Nankervis
April 30 – June 21
In cooperation with another vacant space. and DAAD Artists-in-Berlin Program Archive
Opening: Wednesday, April 30, 6–10 pm | DJ: ZK Bucket (Zaun Records)
Special opening hours during GALLERY WEEKEND BERLIN 2025
Gallery Weekend Pop-Up: Mountains @ Alte Apotheke, Weydingerstr. 18
Press coverage:
ArtReview | Martin Herbert, Gallery Weekend Berlin 2025. The Best Bad Time
artnet | Kate Brown, This year’s Gallery Weekend Berlin reflected resilience and poetic shifts amid a changed cultural-political backdrop
ARTnews | Devorah Lauter on Gallery Weekend Berlin 2025
Wallpaper | Hili Perlson, Thrilling demanding grotesque and theatrical: what to see at Berlin Gallery Weekend
FAD | Paul Carey-Kent, Paul’s Berlin Gallery Weekend 2025
taz | Beate Scheder, Queere Luftbrücke – Mountains ehrt David Medallas Werk voller Camp und Berlingeschichte
Installation views | Photos: Julie Becquart
Individual Works:
David Medalla, Masks, Selection from the 2000s and 2010s · Paper cuts and torn paper, found magazine pages · Dimensions variable
David Medalla, Masks, Selection from the 2000s and 2010s · Paper cuts and torn paper, found magazine pages · Dimensions variable
David Medalla, Self Portrait, 1998 · Oil on canvas · 150 × 150 cm
David Medalla, Portrait of Adam Nankervis at Wielandstrasse 18, Friedenau, 1998 · Oil on canvas · 150 × 150 cm
David Medalla, Homage to Maruska: Maria Gräfin von Maltzan, 1998 · Oil on canvas · 150 × 150 cm
David Medalla, A Stitch in Time, 1981 · Participatory work / South Hill Park Performance Festival, Bracknell, UK · Textile, thread spools, mixed media · 220 × 185 × 5 cm
David Medalla, Night Blooming Flower #2, 1998 · Neon tubes, acrylic glass, electronics · On plinth with wheels · 258 × 121 × 95 cm
David Medalla, Night Blooming Flower #2, 1998 · Neon tubes, acrylic glass, electronics · On plinth with wheels · 258 × 121 × 95 cm
David Medalla, Szeeman & Medalla Liverpool, 2016 · Watercolor and pen on paper · 35.5 × 26.7 cm
David Medalla, A Stitch in Time at the Ikon Gallery indoor in Liverpool, 2016 · Watercolor and pen on paper · 29.5 × 21 cm
David Medalla, Self portrait, 1975 · Watercolor and pen on paper · 25.2 × 17.8 cm
David Medalla, Self Portrait, 1962 · Watercolor and pen on paper · 50.5 × 35.3 cm
David Medalla, Portrait of Rodney Smith, 1962 · Watercolor and pen on paper · 50.5 × 35.3 cm
David Medalla, Gaités tropiques, no. 1, 1997 · Oil on cotton paper · 56 × 42 cm
David Medalla, Jaime Gil de Biedma at Ako sa La Cave d’Angely, 1998 · Oil on canvas · 150 × 150 cm
David Medalla, Cloud Gate, 1964/2017 · Acrylic glass, water, biodegradable soap, electronics
· 74 × 72 × 48 cm
David Medalla, Sand Machine, 1963/2017 · Wood, acrylic glass, brass, sand, glass beads, electronics · 80 × 60 × 60 cm
David Medalla, Sand Machine, 1963/2017 · Wood, acrylic glass, brass, sand, glass beads, electronics · 80 × 60 × 60 cm
David Medalla, Sand Machine, 1963/2017 · Wood, acrylic glass, brass, sand, shells, electronics · 90 × 78 × 78 cm
David Medalla, Sand Machine, 1963/2017 · Wood, acrylic glass, brass, sand, shells, electronics · 90 × 78 × 78 cm
David Medalla, Sand Machine, 1963/2017 · Wood, acrylic glass, brass, sand, wood beads, electronics · 100 × 120 × 120 cm
David Medalla, Sand Machine, 1963/2017 · Wood, acrylic glass, brass, sand, wood beads, electronics · 100 × 120 × 120 cm
David Medalla, Winterlichter in Berlin, no. 1, 2009 · Acrylic on paper · 100 × 73 cm
David Medalla, Winterlichter in Berlin, no. 3, 2009 · Acrylic on paper · 100 × 73 cm
Lauren Coullard Uncanny Valley
February 28 – April 12, 2025 Friday, February 28, 6 – 9 pm | Opening reception with Lauren Coullard
Sunday, April 6, 5 pm | Book launch with Lillian Davies and Lauren Coullard
EN press release | Exhibition text by Lillian Davies
Installation views:
Individual works:
Lauren Coullard, Wack Curse, 2025 · Acrylic, oil and pencil on canvas · 146 x 115 cm · Unique
Lauren Coullard, Requiem Comatose, 2025 · Acrylic, oil and pencil on canvas · 100 x 80 cm · Unique
Lauren Coullard, Lethargie Stuporous, 2025 · Oil and pencil on canvas · 100 x 80 cm · Unique
Lauren Coullard, Diagram Temperamental, 2024 · Acrylic, oil and pencil on canvas · 120 x 100 cm · Unique
Lauren Coullard, Sneak Expelled, 2024 · Acrylic, oil, glitter pen, permanent marker and pencil on canvas · 24 x 19 cm · Unique
Lauren Coullard, All Raised There Good, 2024 · Acrylic, oil and permanent marker on canvas · 131 x 98 cm · Unique
Lauren Coullard, Dawn to Dusk, 2024 · Acrylic, oil, pastels, permanent marker · 50 x 40 cm · Unique
Lauren Coullard, Epic Hopes, 2024 · Acrylic, oil and permanent marker on canvas · 131 x 98 cm · Unique
Lauren Coullard, Hedgehog Strategy, 2024 · Acrylic, oil and permanent marker on canvas · 41 x 24 cm · Unique
Lauren Coullard, Heightened Stupor, 2024 · Acrylic, oil and pastels on canvas · 143 x 93 cm · Unique
Lauren Coullard, Infatuated Pilgrim, 2024 · Acrylic, oil, permanent marker and pencil on canvas · 35 x 24 cm · Unique
Lauren Coullard, Life’s Sorrow, 2024 · Acrylic, oil and permanent marker on canvas · 65 x 54 cm · Unique
Lauren Coullard, Sorrow has no friend, 2024 · Oil on canvas · 35 x 27cm · Unique
Lauren Coullard, Took Flight, 2024 · Acrylic, oil and permanent marker on canvas · 35 x 27cm · Unique
Lauren Coullard, Utter Enabler, 2024 · Acrylic, oil, pastels, permanent marker and pencil on canvas · 46 x 38 cm · Unique
Lauren Coullard, Whack Nest, 2024 · Acrylic, oil, glitter pen, permanent marker and pencil on canvas · 27 x 22 cm · Unique
Photos by Julie Becquart
Poster design by Mountains and Assél Mussaipova
Ani Schulze At One Go
January 31 – February 22, 2025
Friday, January 31, 6–9 pm | Opening
Saturday, February 15, 4 pm | Artist Talk with Ani Schulze and Kat Lawinia Gorska
DE Pressemitteilung · EN Press release
Works in the show:
Ani Schulze, The Convent of Pleasure – Episode 7, 2024 · 4K, sound · 09:28 min · Edition 5 + 2 (video still)
Ani Schulze, The Convent of Pleasure – Episode 7, 2024 · 4K, sound · 09:28 min · Edition 5 + 2 (video still)
Ani Schulze, The Convent of Pleasure – Episode 7, 2024 · 4K, sound · 09:28 min · Edition 5 + 2 (video still)
Ani Schulze, The Convent of Pleasure – Episode 7, 2024 · 4K, sound · 09:28 min · Edition 5 + 2 (video still)
Ani Schulze, The Convent of Pleasure – Episode 1, 2023 · 4K, sound · 15:00 min · Edition 5 + 2 (video still)
Ani Schulze, The Convent of Pleasure – Episode 1, 2023 · 4K, sound · 15:00 min · Edition 5 + 2 (video still)
Ani Schulze, The Convent of Pleasure – Episode 1, 2023 · 4K, sound · 15:00 min · Edition 5 + 2 (video still)
Ani Schulze, The Convent of Pleasure – Episode 1, 2023 · 4K, sound · 15:00 min · Edition 5 + 2 (video still)
Ani Schulze, The Convent of Pleasure – Episode 1, 2023 · 4K, sound · 15:00 min · Edition 5 + 2 (video still)
Ani Schulze, Each crate (Chaves), 2025 · Watercolor on paper · 170 × 97 cm · Unique
Ani Schulze, Each crate (biohazard), 2025 · Watercolor on paper · 170 × 97 cm · Unique
Ani Schulze, Each crate (hand weights), 2024 · Watercolor on paper · 170 × 97 cm · Unique
Ani Schulze, Chase_, 2024 · Acrylic on canvas · 170 × 97 cm · Unique
Ani Schulze, Mummy wrapping, 2024 · Acrylic on canvas · 37 × 33 cm · Unique
Ani Schulze, Homebase, 2024 · Acrylic and oil on canvas · 49 × 37 cm · Unique
Ani Schulze, Don’t break, 2024 · Acrylic on canvas · 34,5 × 62 cm · Unique
Ani Schulze, Take Pleasure (Le Philosophe), 2023 · Mixed Media · 41 × 20 × 30 cm · Unique
Ani Schulze, Advisor (The Donkey), 2023 · Mixed Media · 29.5 × 25 × 20 cm · Unique
Ani Schulze, Facil (Le Gendarme), 2023 · Mixed Media · 39 × 19 × 19 cm · Unique
Ani Schulze, Court (Artist), 2023 · Mixed Media · 31,5 × 22 × 27 cm · Unique
Further works:
Ani Schulze, Warm up, 2024 · Watercolor on paper · 33.7 × 59.5 cm · Unique
Ani Schulze, Re-Rolling, 2024 · Watercolor on paper · 36 × 47.5 cm · Unique
Exhibition poster:
Photos by Julie Becquart
Out Of The Blue
Romuald Etter
Paul DeFlorian
Philip Hudgson Dorrel
January 6–25, 2025
Opening: Sunday, January 5, 2–5 pm
Installation views by Julie Becquart
Individual works:
Romuald Etter, GrisGris pour la Jalousie, 2020 · Oil and screen printing ink behind glass and rubber · 22,5 × 36,7 × 2 cm · Unique
Romuald Etter, Untitled, 2020–2024 · Oil and acrylic on fabric on canvas · 50 × 40 × 2 cm (each) · Unique
Romuald Etter, Serie L.P. 5, 2023 · Oil and acrylic on fabric on canvas · 50 × 40 × 2 cm · Unique
Paul DeFlorian, Vermessung Nr. 3, 2024 · Gouache on canvas · 40 × 40 cm · Unique
Paul DeFlorian, Vermessung Nr. 4, 2024 · Gouache on canvas · 40 × 40 cm · Unique
Paul DeFlorian, Vermessung Nr. 5, 2024 · Gouache on canvas · 40 × 40 cm · Unique
Paul DeFlorian, Hallodri inside of you, 2024 · Mixed media on linen · 150 × 100 cm · Unique
Philip Hudgson Dorrel, Fabergé Egg, 2020 · Oil on canvas · 90 × 70 cm · Unique
Philip Hudgson Dorrel, Timothy, 2020 · Oil on canvas · 90 × 70 cm · Unique
Philip Hudgson Dorrel, My chair, 2020 · Oil on canvas · 90 × 70 cm · Unique