2024 Olivia Parkes
2024 Hinter Deinem Schatten Miriam Cahn, Nschotschi Haslinger, Martina Kügler
2024 Boutique II
2024 Osmar Osten
2024 David Medalla | Mountains at Basel Social Club
2024 Edi Dubien
2024 Mountains and Mist
2024 Guy Allott
—
2023 Sophia Domagała
2023 unputdownable
2023 I. S. Kalter | Yana Tsegay
2023 Corps Célestes
2023 Martina Kügler
—
2022 Eric Meier
2022 AMTSALON | 4th Amtsalon Gallery Pop–Up
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
—
Archive: Kunsthalleperleberg Curatorial
2019 Lies About, Gussglashalle, Berlin, DE
2017 Prignitz Biennale, Bahnhof Perleberg, Perleberg, DE

Olivia Parkes
The Way Home
October 26 – December 21, 2024

Friday, October 25, 6–9 pm — Vernissage
Thursday, December 19, 7 pm — Readings by Olivia Parkes and Nancy Lupo

EN press release
Text by Olivia Parkes
Text by Rita Bullwinkel

tipBerlin

Installation views by Julie Becquart

Courtesy the artist, Rita Bullwinkel and Mountains, Berlin

Individual works:

Olivia Parkes, Haunt, 2024, oil on canvas, 142 × 104 × 2 cm

Olivia Parkes, To Roost, 2024, oil on canvas, 80 × 65 cm

Olivia Parkes, Duration, 2024, oil on canvas, 75 × 50 cm

Olivia Parkes, Votive, 2024, oil on canvas, 75 × 50 cm

Olivia Parkes, Heaven and Earth, 2024, oil on canvas, 72 × 54 cm

Olivia Parkes, Inside Out, 2024, oil on canvas, 122 × 102 cm

Olivia Parkes, The Way Home, 2024, oil on canvas, 120 × 85 cm

Olivia Parkes, Blue View, 2024, oil on canvas, 65 × 80 cm

Olivia Parkes, The Moon at the Window, 2024, oil on canvas, 102 × 122 × 2.5 cm

Olivia Parkes, Rise, 2024, oil on canvas, 120 × 85 cm

Olivia Parkes, Come Along, 2024, oil on canvas, 70.5 × 85 cm

Olivia Parkes, The persistence of feelings, 2024, oil on canvas, 102 × 122 cm

Olivia Parkes, Familiars, 2024, oil on canvas, 120 × 85 cm

Olivia Parkes, Flood, 2024, oil on canvas, 120 × 85 cm

Olivia Parkes, Passage, 2024, oil on canvas, 72 × 54 cm

Olivia Parkes, Transit, 2024, oil on canvas, 75 × 50 cm

Tableaux by Olivia Parkes, display by Jacob Rava, 2024

Hinter Deinem Schatten / Behind Your Shadow

Martina Kügler and Nschotschi Haslinger, with works by Miriam Cahn
September 13 – October 19, 2024

Opening: Friday, Sep 13, 6–10 pm / coinciding with GALLERY NIGHT by GALLERY WEEKEND BERLIN
Extended opening hours during BERLIN ART WEEK 2024: Sunday, Sep 15, 11–6 pm

DE Pressemitteilung · EN press release
Dedicated Collectors
SALON Magazin

Installation views by Julie Becquart

Installation view Hinter Deinem Schatten, Mountains, Berlin, 2024. L–R: Martina Kügler, Nschotschi Haslinger, Miriam Cahn (wall), Nschotschi Haslinger (floor). Courtesy the artists, A Private Collection Frankfurt, Exile Gallery Vienna and Mountains, Berlin.

Installation view Hinter Deinem Schatten, Mountains, Berlin, 2024. L–R: Miriam Cahn, Nschotschi Haslinger, Martina Kügler, Miriam Cahn, Martina Kügler (wall), Nschotschi Haslinger (floor). Courtesy the artists, Freundeskreis Martina Kügler, A Private Collection Frankfurt, Exile Gallery Vienna and Mountains, Berlin.

Installation view Hinter Deinem Schatten, Mountains, Berlin, 2024. L–R: Nschotschi Haslinger, Martina Kügler, Nschotschi Haslinger, Martina Kügler (wall), Nschotschi Haslinger (floor). Courtesy the artists, Freundeskreis Martina Kügler, A Private Collection Frankfurt, Exile Gallery Vienna and Mountains, Berlin.

Installation view Hinter Deinem Schatten, Mountains, Berlin, 2024. L–R: Nschotschi Haslinger, Miriam Cahn, Nschotschi Haslinger, Martina Kügler, Miriam Cahn, Martina Kügler (wall), Nschotschi Haslinger (floor). Courtesy the artists, Freundeskreis Martina Kügler, A Private Collection Frankfurt, Exile Gallery Vienna and Mountains, Berlin.

Installation view Hinter Deinem Schatten, Mountains, Berlin, 2024. L–R: Martina Kügler, Martina Kügler, Miriam Cahn, Nschotschi Haslinger, Martina Kügler, Nschotschi Haslinger (wall), Nschotschi Haslinger (floor). Courtesy the artists, Freundeskreis Martina Kügler, A Private Collection Frankfurt, Exile Gallery Vienna and Mountains, Berlin.

Installation view Hinter Deinem Schatten, Mountains, Berlin, 2024. L–R: Martina Kügler, Miriam Cahn (wall), Nschotschi Haslinger (floor). Courtesy the artists, Freundeskreis Martina Kügler, Exile Gallery Vienna and Mountains, Berlin.

Installation view Hinter Deinem Schatten, Mountains, Berlin, 2024. L–R: Martina Kügler (wall). Courtesy the artists, A Private Collection Frankfurt and Mountains, Berlin.

Installation view Hinter Deinem Schatten, Mountains, Berlin, 2024. L–R: Martina Kügler, Miriam Cahn, Nschotschi Haslinger (wall). Courtesy the artists, Freundeskreis Martina Kügler, Exile Gallery Vienna and Mountains, Berlin.

Window view, Nschotschi Haslinger in Hinter Deinem Schatten, Mountains, Berlin, 2024. Courtesy the artist and Exile Gallery Vienna. Photo: Julie Becquart

Individual works:

Martina Kügler, Von oben herab, 1985 · Acrylic on paper, 100 × 65 cm · Courtesy A Private Collection Frankfurt and Mountains, Berlin

Martina Kügler, Untitled, 1985 · Acrylic and wax crayons on paper, 104 × 78,5 cm · Courtesy A Private Collection Frankfurt and Mountains, Berlin

Martina Kügler, Fantom, approx. 1985 · Acrylic on paper, 100 × 65 cm · Courtesy A Private Collection Frankfurt and Mountains, Berlin

Nschotschi Haslinger, Der gebastelte Sebastian, 2017 · Pencil on paper, 117 × 105 cm · Courtesy the artist and Exile Gallery Vienna

Miriam Cahn, Untitled, 2016 · Pastels on paper, framed 58.5 × 120.5 × 3.5 cm · Photo: Julie Becquart

Nschotschi Haslinger, Warmes Blut, 2023 · Coloured pencil on paper, 29.7 × 42 cm · Courtesy the artist and Exile Gallery Vienna

Martina Kügler, Untitled, 1970s · Graphite and oil on canvas, 80 × 100 × 2 cm · Courtesy Freundeskreis Martina Kügler and Mountains, Berlin

Miriam Cahn, blick auf den menschen, 2000 · Oil on canvas, 33 × 31 cm · Photo: Julie Becquart

Martina Kügler, Hinter deinem Schatten, 1979 · Graphite on paper, 70 × 50 cm · Courtesy A Private Collection Frankfurt and Mountains, Berlin

Martina Kügler, Untitled, 1970s · Oil on canvas, 100 × 80 × 2.5 cm · Courtesy A Private Collection Frankfurt and Mountains, Berlin

Miriam Cahn, an der grenze, 2019 · Pencil and coloured pencil on paper, framed 30.5 × 63.5 × 3.5 cm · Photo: Julie Becquart

Nschotschi Haslinger, Prokrastinationstransformationszeichnung, 2022 · Graphite on Paper, 111 × 86 cm · Courtesy the artist and Exile Gallery Vienna

Martina Kügler, Untitled, not dated · Oil pastels on paper, 65 × 50 cm · Courtesy Freundeskreis Martina Kügler and Mountains, Berlin

Nschotschi Haslinger, 2023 · Mixed media, 25 × 62 × 25 cm · Courtesy the artist and Exile Gallery Vienna

Nschotschi Haslinger, Reisebett II, 2023 · Mixed media, 37 × 60 × 31 cm · Courtesy the artist and Exile Gallery Vienna

Nschotschi Haslinger, Ouroboros, 2023 · Mixed media, 14 × 50 × 26 cm · Courtesy the artist and Exile Gallery Vienna

Martina Kügler, Die Nonne trägt schwarz, trotzdem lassen sich die Blumen auf dem Kleid nicht leugnen, approx 1972 · Drawing – Felt tip pen on paper, 58.5 × 42 cm · Courtesy A Private Collection Frankfurt and Mountains, Berlin

Martina Kügler, Pluto und der Mensch in der Landschaft, approx 1972 · Drawing – Felt tip pen on paper, 56 × 42 cm · Courtesy A Private Collection Frankfurt and Mountains, Berlin

Exhibition poster:

Mountains 5 Years – Boutique II
August 17–31, 2024

Opening reception: Saturday, Aug 17, 12–6 pm
Closing reception: Saturday, August 31, 12–6 pm

Extended opening hours during Boutique II: Tue–Sat 12–6 pm

Photos: Julie Becquart

*Please note that the exhibition is rehung on a daily basis and that the photos document the installation on August 16, 2024

Michiel Ceulers, Brigitte Nicole Grice, Eric Meier, Olivia Parkes, Marianne Vlaschits, John Matthew Heard, Sophia Domagała, Wagehe Raufi, I. S. Kalter, Lauren Coullard

Max Geisler, Anne Schmidt, Laura Schusinski, Eric Meier, Sophia Domagała, Osmar Osten, Edi Dubien, Wagehe Raufi, Martina Kügler, Monika Maurer Morgenstern, I. S. Kalter, Michiel Ceulers

Sophia Domagała, Michiel Ceulers, Brigitte Nicole Grice, Eric Meier, Olivia Parkes, Marianne Vlaschits, John Matthew Heard

David Medalla, Yana Tsegay, Edi Dubien, Guy Allott, Wagehe Raufi, Eric Meier

John Matthew Heard, Eric Meier, Wagehe Raufi, I. S. Kalter, Lauren Coullard, Yana Tsegay, Guy Allott, Lauren Coullard, Kris Knight, Yorgos Stamkopoulos, Olivia Parkes, Max Geisler

Laura Schusinski, Eric Meier, Sophia Domagała, Osmar Osten, Edi Dubien, Wagehe Raufi

Nele Jäger, Eric Meier, Monika Maurer Morgenstern, I. S. Kalter, John Matthew Heard, Eric Meier, Wagehe Raufi, I. S. Kalter, Lauren Coullard, Kris Knight, Yana Tsegay

Osmar Osten, Monika Maurer Morgenstern, I. S. Kalter, Marianne Vlaschits, John Matthew Heard

Exhibition flyer

Osmar Osten
Wir gehen rückwärts
June 29 – August 3, 2024

Opening: Saturday, June 29, 12–6 pm – coinciding with Summer BBQ by Nagel Draxler, Mountains, Anton Janizewski, BQ, from 3 pm
Finissage: Saturday, August 3, 3–6 pm / 4 pm exhibition walkthrough with Osmar Osten

Freie Presse | Matthias Zwarg, Die Welt im Rückwärtsgang

Photos by Julie Becquart

David Medalla
Mountains at Basel Social Club
June 9–16, 2024

Edi Dubien
Le Petit Prince
April 27 – June 8, 2024

Opening Friday, April 26, 6–9 pm
coinciding with Gallery Weekend Berlin 2024 openings

DE Pressemitteilung · EN press release · FR communiqué de presse
CV Edi Dubien

Photos by Julie Becquart

Edi Dubien, Untitled (Le Petit Prince I), 2024 · Charcoal, pencil, soft pastel and watercolour on paper · 64,5 × 50 × 2 cm · Unique

Edi Dubien, La Chambre Aux Dinosaures, 2023 · Oil on canvas · 162 × 130 × 2 cm · Unique

Edi Dubien, Je Me Suis Caché, 2023 · Oil on canvas · 146 × 114 × 2 cm · Unique

Edi Dubien, Blaireau Casque, 2023 · Oil on canvas · 130 × 97 × 2 cm · Unique

Edi Dubien, Garçon et Écureuil, 2023 · Oil on canvas · 116 × 89 × 2 cm · Unique

Edi Dubien, Untitled, 2023 · Oil on canvas · 46 × 38 × 2 cm · Unique

Edi Dubien, Visage Garçon Barbe Oiseaux, 2024 · Ceramic (Sandstone) · 38 × 25 × 34 cm · Unique

Edi Dubien, Casque Avec Écureuil, 2023 · Ceramic (Sandstone) · 45 × 18 × 29 cm · Unique

Edi Dubien, Tete de Mort et Oiseaux, 2023 · Ceramic (Sandstone) · 36 × 15,5 × 21 cm · Unique

Edi Dubien, Untitled, 2024 · Charcoal, pencil, soft pastel and watercolour on paper · 64,5 × 50 × 2 cm · Unique

Edi Dubien, Untitled , 2024 · Charcoal, pencil, soft pastel and watercolour on paper · 64,5 × 50 × 2 cm · Unique

Edi Dubien, Untitled (Le Petit Prince II), 2024 · Charcoal, pencil, soft pastel and watercolour on paper · 64,5 × 50 × 2 cm · Unique

Mountains and Mist
Michiel Ceulers, Omer Halperin, Toulu Hassani, Nele Jäger, Antonia Kuo, Anne Schmidt, Ani Schulze, Marianne Vlaschits, Juewen Zhang
March 9 – April 13, 2024
Opening Saturday, March 9, 12–6 pm

Michiel Ceulers, Nicht der Homosexuelle ist pervers, sondern die Situation, in der er lebt / Taxi zum Klo, 2019 – 2024 · Acrylic, oil, spray paint on found frames, toilet seat and canvas · 44,5 x 131,5 x 4 cm / 17.5 x 51.8 x 1.6 in · Unique

Omer Halperin, Afikokeres 1, 2022 · Charcoal on paper · 110 × 50 cm / 43.3 × 19.7 in · Unique

Omer Halperin, Dorin, 2020 · Charcoal and soft pastel on paper · 57 × 57 × 3 cm / 22.4 × 22.4 × 2 in · Unique

Toulu Hassani, Untitled, 2021 · Fine-lead pencil and oil on canvas · 90 × 70 × 2,5 cm / 35.4 × 27.6 × 1 in · Unique

Nele Jäger, Tearing Hands, 2021 · Fabric and water · 365 × 110 cm / 143.7 × 43.3 in · Variable heights · Edition 1/1 + 1 AP · Unique

Nele Jäger, Tearing Hands, 2021 · Fabric and water · 365 × 110 cm / 143.7 × 43.3 in · Detail · Edition 1/1 + 1 AP · Unique

Antonia Kuo, Incised Screen I, 2023 · Incised chemical painting on light-sensitive silver gelatin paper mounted on aluminum in aluminum frame · 41,9 × 32,4 cm / 16.5 × 12.75 in · Unique

Anne Schmidt, 2020 · Veneer wood, heat, oil glaze · Each shoe 42 × 15 × 15 cm / 16.5 × 5.9 × 5.9 in · Unique

Anne Schmidt, Aware of their sense of ease, 2020 · Veneer wood, heat, oil glaze · 42 × 15 × 15 cm / 16.5 × 5.9 × 5.9 in · Unique

Anne Schmidt, They deserved to be listened to, 2020 · Veneer wood, heat, oil glaze · 42 × 15 × 15 cm / 16.5 × 5.9 × 5.9 in · Unique

Ani Schulze, The Convent of Pleasure – Episode 1, 2023 · 4k, sound, 15 min · Edition 5 + 2 AP

Ani Schulze, The Convent of Pleasure – Episode 1, 2023 · 4k, sound, 15 min · Screen capture · Edition 5 + 2 AP

[L] Ani Schulze, Bessere Hälfte I (HBD), 2023 · Glazed ceramics, grasses, flowers · 38 × 15 × 19 cm / 15 × 5.9 in · Unique
[R] Ani Schulze, Bessere Hälfte IIIII (HBD) , 2023 · Glazed ceramics, grasses, flowers · 19,5 × 16 × 21 cm / 7.7 × 6.3 × 8.3 in · Unique

Marianne Vlaschits, Rose Portal, 2020 · Oil on linen · 83,3 × 50 × 2 cm / 32.8 × 19.7 × 0.8 in · Unique

Marianne Vlaschits, Fathers and Suns, 2022 · Oil on linen · 50 × 39 × 2,5 cm / 19.7 × 15.4 × 0.9 in · Unique

Marianne Vlaschits, Fresh Telescope, 2022 · Oil on linen · 50 × 39 × 2,5 cm / 19.7 × 15.4 × 0.9 in · Unique

Juewen Zhang, untitled (Sophia), 2023 · Charcoal and pencil on paper · 100 × 70 cm / 39.4 × 27.6 in · Unique

Invitation card

Guy Allott Men with pipes
January 20 – February 24, 2024
Opening reception Friday, January 19, 6–9 pm
Artist Talk Wednesday, February 21, 7 pm

Press release
Catalog of works

Contemporary Art Library
INDEX WEEKLY
KUBAPARIS

.
❮❮ Men with pipes serves as a powerful visual exploration of the multifaceted subculture of chemsex, capturing both the allure and the darker aspects that accompany it. Through his masterful brushstrokes and keen artistic vision, Guy Allott invites viewers to delve into the complex nuances of this evolving social landscape.

The inspiration for the Men with pipes series comes from a long history of depicting smokers in art, and especially the iconology of smoking in the pre-modern and modern era, with Van Gogh, Picasso, Cézanne, and Munch as the genesis for this painting project. ‘It was a period when oral and genital satisfactions became confounded, and desire blended with hostility’ (Dolores Mitchell). Yet Allott’s Men with pipes have to be seen in a contemporary context. If you look at their glass pipes, they are obviously tied to drug use, and as we learn from the artist, more specifically to sexualised drug use, also known as chemsex. In the last decades chemsex has become an established practice among gay subcultures (especially in London and Berlin), to enhance sexual experiences with other men.

As the taboo topics surrounding sexuality and recreational drugs come together and inform Guy Allott’s concept of portraiture, he aims to preserve anonymity whilst giving a voice to people from an underground scene, and ultimately raising awareness of this phenomenon. In the context of the gallery’s recent group show Unputdownable, the artist wrote: ‘My friend Simon Watney had emailed and suggested I read some things including the obituary of David Stuart (1967—2022) which I was pleased to do since he was a HIV activist and global campaigner to help reduce the risks of chemsex on the gay community, and who were ultimately the very people I had made imagined portraits of over the last few years.’

In the exhibition, the suite of portraits is complemented by a small number of canvases made at the same time as the Men with pipes, as well as The Side Door from the artist’s previous exhibition at Mountains which acts as a baton between the two shows. ❯❯ (from the press release)

Photos by Julie Becquart

Guy Allott, Young Man with Pipe (Men with pipes I), 2021 · Oil on canvas · 30 × 25.5 × 2 cm / 11.8 × 8.9 × 0.8 in · Unique

Guy Allott, Man with Pipe (Men with pipes II), 2022 · Oil on canvas · 40 × 30 × 1,5 cm / 15.7 × 11.8 × 0.6 in · Unique

Guy Allott, Portait for Malcolm (Men with pipes III), 2023 · Oil on canvas · 29,5 × 21 × 2,5 cm / 11.6 × 8.3 × 0.9 in · Unique

Guy Allott, The Boy Who would work it all out a lot later (Men with pipes VI), 2022 · Oil on canvas · 50 × 40 × 2,5 cm / 19.7 × 15.7 × 0.9 in · Unique

Guy Allott, Ophelia in Drag (Men with pipes XIII), 2022 · Oil on canvas · 45 × 35 × 1,5 cm / 17.7 × 13.8 × 0.6 in · Unique

Guy Allott, Ben’s Son, This is another soul, this is not or ever was the man – that calls himself Ben’s Son (Men with Pipes IX), 2022 · Oil on canvas · 46 × 35,5 × 1,5 cm / 18.1 × 14 × 0.6 in · Unique

Guy Allott, Man with Pipe (Men with pipes X), 2023 · Oil on canvas · 45 × 35 × 2,5 cm / 17.7 × 13.8 × 0.9 in · Unique

Guy Allott, Men with Hair on Fire (Men with pipes XII), 2024 · Oil on canvas · 45 × 35 × 2,5 cm / 17.7 × 13.8 × 0.9 in · Unique

Guy Allott, Boy with Pipe (Men with pipes VII), 2022 · Oil on canvas · 30.5 × 25 × 1,5 cm / 12 × 9.8 × 0.6 in · Unique

Guy Allott, Man with Double Pipe, 2022 · Oil on canvas · 46 × 35 × 1,5 cm / 17.7 × 14 × 0.6 in · Unique

Guy Allott, Boy with pipe (Men with pipes V), 2022 · Oil on canvas · 50 × 40 × 1,5 cm / 19.7 × 15.7 × 0.6 in · Unique

Guy Allott, Man with Monocole (Men with pipes VI), 2022 · Oil on canvas · 31 × 23 × 1,5 cm / 12.2 × 9.1 × 0.6 in · Unique

Guy Allott, Men with Pipe on the Heath at Night (Men with pipes XI), 2022 · Oil on canvas · 30 × 22.5 × 2 cm / 17.8 × 8.9 × 0.8 in · Unique

Guy Allott, Untitled (The Sword), 2023 · Oil on canvas · 150 × 120 × 3 cm / 59 × 47.2 × 1.2 in · Unique

Guy Allott, Torches in the Forest, 2021 · Oil on canvas · 71,5 × 61 × 2 cm / 27.9 × 24 × 0.8 in · Unique

Guy Allott, The Lost New Balances of Hamstead Heath, 2023 · Oil on linen · 40 × 35 × 2,5 cm / 17.7 × 13.8 × 0.9 in · Unique

Guy Allott, Knowledge + Compassion, 2023 · Oil on canvas · 54 × 35 × 2,5 cm / 21.3 × 13.8 × 0.9 in · Unique

Guy Allott, Pheasant (For Morpheus), 2023 · Oil on canvas· 90,5 × 60 × 2,5 cm / 8.5 × 6.1 × 0.9 in · Unique

Guy Allott, His Edges (Owl), 2020 · Oil on canvas · 54 × 35 × 2,5 cm / 21.3 × 13.8 × 0.9 in · Unique

Guy Allott, The Side Door, 2020 · Oil on linen · 65 × 55 × 2,5 cm / 25.5 × 21.6 × 0.9 in · Unique

Sophia Domagała
LIBERTÉ (être belle)
November 10, 2023 – January 13, 2024

Friday, November 10, 6–9 pm | Opening reception
Saturday, December 16, 3 pm | Dialogic exhibition walkthrough with Sophia Domagała (artist), Clementine Butler-Gallie (independent curator) and Markus Summerer (director Mountains)

DE Pressemitteilung / EN press release
Works

taz | Beate Scheder: Liniert Richtung Freiheit (print) / Körper, Teile, Stoffe (online)

Documentation by Julie Becquart

Sophia Domagała, Lines and Flowers on Sieverding, 2022 · Flowers on nettle, linen, inkjet prints, acrylic, denim, jeans, dried branches · 235 × 228 × 2,5 cm / 92.5 x 89.7 in · Unique

Sophia Domagała, Lines over White, 2022 · Acrylic and pants on canvas and wood, metal hinges · 175 × 272 × 2 cm / 68.8 × 107 × 0.8 in (open), 175 × 136 × 4,5 cm / 68.8 × 53.5 in (closed) · Unique · Closed view

Side view

Open view

Sophia Domagała, But I Protest, 2022 · Acrylic on fabric and linen, nylon thread · 99,5 × 84 × 2,5 cm / 39.1 x 33 x 0.9 in · Unique

Sophia Domagała, The Yellow Bit, 2023 · Acrylic, linen, nylon thread · 150 × 170 × 2 cm / 59 x 67 x 0.7 in · Unique

Sophia Domagała, Lines in a Square, 2023 · Linen, nettle, nylon thread · 80 × 70 × 1,5 cm / 31.4 x 27.5 x 0.6 in · Unique

Sophia Domagała, The Red Frame, 2023 · Acrylic, linen, nettle, nylon thread · 82 × 74 × 1,3 cm / 32.2 x 29.1 x 0.5 in · Unique

Sophia Domagała, Lines and Pearls, 2023 · Nettle, nylon thread, pearls · 65 × 45 × 1,5 cm / 25.5 x 17.7 x 0.5 in · Unique

Sophia Domagała, Blue Lines with some Red, 2023 · Linen, nettle, nylon thread · 49 x 44 x 1,4 cm / 19.2 x 17.3 x 0.5 in · Unique

Sophia Domagała, Tower of Love, 2023 · Acrylic, coloured pencil, nettle, nylon thread, paper · 55 × 37,5 × 1.5 cm / 21.6 x 14.7 x 0.5 in · Unique

Sophia Domagała, Kuss, 2023 · Coloured pencil, linen, nettle, nylon thread, paper, textile fabric · 92 × 75 × 1,7 cm / 36.2 x 29.5 x 0.6 in · Unique

Sophia Domagała, A Red Heart on a Hat, 2023 · Acrylic, linen, nettle, nylon thread, paper, watercolours · 68,4 × 53,4 × 1,7 cm / 26.9 x 21 x 0.6 in · Unique

Sophia Domagała, Princess in a Tower, 2023 · Acrylic, coloured pencil, linen, nettle, nylon thread, paper · 90 × 60 × 1,5 cm / 35.4 x 23.6 x 0.5 in · Unique

Sophia Domagała, Mickey Mouse, 2023 · Coloured pencil, felt-tip pen and wax crayon on paper · 29 × 20,5 cm / 11.4 × 8 in, framed: 30 × 21 × 3 cm / 11.8 × 8.4 × 1.1 in · Unique

Sophia Domagała, Hello Kitty, 2023 · Coloured pencil, felt-tip pen and wax crayon on paper · 29 × 20,5 cm / 11,4 × 8 in, framed: 30 × 21 × 3 cm / 11.8 × 8.2 × 1.1 in · Unique

Sophia Domagała, Lines over Newton_01, 2023 · Felt-tip pen, permanent marker and wax crayon on book page · 29,3 × 20,5 cm / 11.5 × 8 in, framed: 30 × 21 × 2 cm / 12.2 × 7.8 × 0.7 in · Unique

Sophia Domagała, Lines over Newton_04, 2023 · Permanent marker on book page · 29,3 × 20,5 cm / 11.5 × 8 in, framed: 30 × 21 × 2 cm / 12.2 × 7.8 × 0.7 in · Unique

Sophia Domagała, Lines over Newton_03, 2023 · Permanent marker on book page · 29,3 × 20,5 cm / 11.5 × 8 in, framed: 30 × 21 × 2 cm / 12.2 × 7.8 × 0.7 in · Unique

Sophia Domagała, Lines over Newton_02, 2023 · Felt-tip pen on book page · 29,3 × 20,5 cm / 11.5 × 8 in, framed: 30 × 21 × 2 cm / 12.2 × 7.8 × 0.7 in · Unique

Sophia Domagała, Flowers on Princess, 2023 · Felt-tip pen on book page · 26,3 × 19,5 cm / 10.4 × 7.7 in, framed: 30 × 21 × 2 cm / 11.8 × 8.3 × 0.8 in · Unique

Sophia Domagała, Mughal Hunting Coat, 2023 · Permanent marker and collage on paper · 27 × 19 cm / 10.6 × 7.5 in, framed: 31 × 21 × 2 cm / 12.2 × 8.3 × 0.8 in · Unique

Sophia Domagała, A Shoe over her face, 2023 · Permanent marker, wax crayon, collage on paper · 29 × 23 cm / 11.4 × 9 in, framed: 41 × 31 × 2,5 cm / 16.1 × 12.2 × 0.9 in · Unique

Sophia Domagała, Katzenmann will tanzen, 2023 · Felt-tip pen, permanent marker, wax crayon, collage on paper · 29 × 23 cm / 11.4 × 9 in, framed: 41 × 31 × 2,5 cm / 16.1 × 12.2 × 0.9 in · Unique

Invitation card

unputdownable
Guy Allott, Norbert Bisky, Edi Dubien, Kris Knight, David Medalla, Norbert Witzgall
September 8 – October 28, 2023 EXTENDED THRU NOVEMBER 3

Friday, November 3, 6–9 pm: Finissage, with a reading by Guy Allott (London)

With book recommendations by ivallan’s Second-Hand & Exceptional Books, Berlin + Guy Allott, Cara Benedetto, Norbert Bisky, Matthew Blaise, Douglas Boatwright, Vee Bozek, Edi Dubien, Oriane Durand, Mascha Jacobs (Dear Reader), Kris Knight, Sergio Matalucci, Bettina Mertel, Silke Nowak, Isabel Parkes, Gabriel Rossell Santillán, Anna-Lena Wenzel, Norbert Witzgall.

Curated by Klaus R. Voss (exhibition) and Norbert Witzgall (books)

DE Pressemitteilung / EN press release / FR communiqué de presse
List of book recommendations

Artland 3D Tour
Siegessäule

Installation view

Guy Allott, Man with Double Pipe, 2022 – oil on canvas, 45 × 35,5 × 1,5 cm

Guy Allott, Boy with Pipe Five, 2022 – oil on canvas, 30,5 × 25 × 1,5 cm

Guy Allott, Ben’s Son, This is another soul, this is not or ever was the man – that calls himself Ben’s Son, 2023 – oil on canvas, 46 × 35,5 × 1,5 cm

Norbert Bisky, Othering, 2023 – oil on canvas, 50 × 40 × 5 cm

Norbert Bisky, Coriolis, 2023 – oil on canvas on mirror, 150 × 120 × 5 cm

Edi Dubien, Voir clair dans les champs blancs où vont les renards, 2022 – acrylic on canvas, 130 × 97 × 2 cm

Edi Dubien, untitled, 2023 – watercolour, graphite on paper, 21,5 × 15,5 × 3,5 cm (framed)

Edi Dubien, untitled, 2023 – watercolour, graphite on paper, 30,5 × 42,5 × 3,5 cm (framed)

Kris Knight, Auscultate, 2020 – oil on canvas, 41 x 30,5 x 2 cm

Kris Knight, The Climber, 2016 – oil on canvas, 44 x 34 x 3 (framed)

Kris Knight, Elbow breathing, 2017 – oil on canvas, 40,6 x 30,4 x 2 cm

David Medalla, Gaités tropiques, no. 1, 1997 – oil on cotton paper, 68,5 x 55 x 5,4 cm (framed)

David Medalla, Poets on the edge of a volcano, 1997 – watercolour, graphite on paper, 123 x 83 x 4 cm (framed)

Norbert Witzgall, Markus, 2008 – oil on canvas, sequins, 40 x 30 x 2 cm

Norbert Witzgall, Schiesser, 2019 – oil and acrylic on board, Schiesser undies, 33 x 26,7 x 4 cm

Norbert Witzgall, Straight (George), 2019–2021 – oil on board, cashmere sweater, 60 x 43,7 x 15 cm

Photos: Julie Becquart, Berlin

I. S. Kalter | Yana Tsegay
June 2 – August 20, 2023

June 2 – July 22: Wednesday to Saturday 1–7 pm
July 23 – August 20: Tuesday to Saturday by appointment

Opening reception: Thursday, June 1, 6–9 pm
Summer Drinks: Saturday, July 8, 5–8 pm

EN press release / DE Pressemitteilung

art in berlin | Maximilian Wahlich, Totes Tier und die Illusion eines ‘Urzustandes’. I. S. Kalter | Yana Tsegay bei MOUNTAINS, June 2023
PASSE-AVANT R A D A R, July 15, 2023

Photos: Julie Becquart, Berlin

Installation view

I. S. Kalter, Existential Threat, 2023 – Mixed media on linen, artist’s frame, 69 × 84 × 6 cm

I. S. Kalter, Oslo, 2023 – Mixed media on linen, artist’s frame, 49 × 59 × 6 cm

I. S. Kalter, Expression of Reason, 2023 – Mixed media on linen, artist’s frame, 69 × 84 × 6 cm

I. S. Kalter, Bordeaux Takeover Bordeaux, 2023 – Mixed media on linen, artist’s frame, 69 × 84 × 6cm

I. S. Kalter, Odium, 2023 – Mixed media on linen, artist’s frame, 49 × 59 × 6 cm

I. S. Kalter, Doxa (Genuineness is Morality), 2023 – Mixed media on linen, artist’s frame, 69 × 84 × 6 cm

I. S. Kalter, Human Victim Identification (I), 2023 – Mixed media, 60 × 12 × 12 cm

I. S. Kalter, Human Victim Identification (II), 2023 – Mixed media, 60 × 12 × 12 cm

I. S. Kalter, Human Victim Identification (III), 2023 – Mixed media, 60 × 12 × 12 cm

I. S. Kalter, Entering A Hole Without Knowing Whither, 2023 – Galvanized Diamond fence, 200 × 310 cm

Yana Tsegay, Giant Track / Found in Rocks, 2022-2023 – Acrylic and molding paste (painted frame) on nettle fabric, 140 × 180 × 2 cm

Yana Tsegay, Giant Track / The Trackmakers, 2023 – Acrylic and molding paste (painted frame) on nettle fabric, 140 × 180 × 2 cm

Yana Tsegay, Pangea Split Apart Faster, 2023 – Acrylic and molding paste (painted frame) on nettle fabric, 140 × 180 × 2.5 cm

Yana Tsegay, Fossilization / Snakes, 2023 – Acrylic on nettle fabric, 50 × 45 × 4 cm

Yana Tsegay, Fossilization / Fairy, 2023 – Acrylic on nettle fabric, 30 × 25 × 4 cm

Yana Tsegay, Fossilization / Last Dance, 2023 – Acrylic on nettle fabric, 55 × 40 × 4 cm

Yana Tsegay, Fossilization / Preservative Finishing Touch, 2023 – Acrylic on nettle fabric, 60 × 35 × 4 cm

Yana Tsegay, from A Natural History Of (Senckenberg Museum), 2023 – Photo-performance / direct print on acrylic glass, 37 × 25 × 1 cm

Yana Tsegay, A Natural History Of (Senckenberg Museum) IV, 2023 – Photo-performance / direct print on acrylic glass, 37 × 25 × 1 cm

Corps Célestes
Gaëlle Choisne, Rindon Johnson, Jordan Loeppky-Kolesnik
March 11 – May 20, 2023

Friday, March 10, 6 – 9 pm Opening reception
Sunday, March 12, 12 – 6 pm SUNDAY OPEN by INDEX
Friday, April 28, 6 – 9 pm Book Launch: Corps Célestes exhibition catalogue, with a text by Isabel Parkes

Special opening hours during Gallery Weekend Berlin 2023:
Friday, April 28, 1 – 9 pm
Saturday, April 29, 11 am – 7 pm
Sunday, April 30, 11 am – 6 pm

Press release
Works
Floorplan

Exhibition photography by Julie Becquart, Berlin

Installation view

Jordan Loeppky-Kolesnik, Weir (Petrichor), 2023 – chrome-plated wrought steel, 40 × 58 × 30 cm

Jordan Loeppky-Kolesnik, Weir (Petrichor), 2023 (detail) – chrome-plated wrought steel, 40 × 58 × 30 cm

Jordan Loeppky-Kolesnik, Laser, 2017 (reedit 2023) – video, found footage, 1 min 35 sec, looped

Jordan Loeppky-Kolesnik, Sleeplessness, 2023 – marble, grout, steel, 650nm laser, motion sensor, lithium battery, 43 × 12 × 12 cm

Jordan Loeppky-Kolesnik, Sleeplessness, 2023 (detail) – marble, grout, steel, 650nm laser, motion sensor, lithium battery, 43 × 12 × 12 cm

Rindon Johnson, Peace Be Going, 2023 – livestream from Hemme Milch Uckermark dairy farm

Rindon Johnson, Peace Be Going, 2023 (detail) – livestream from Hemme Milch Uckermark dairy farm

Jordan Loeppky-Kolesnik and Rindon Johnson, Interoperable Fist, 2023 – blown glass, neon, electronics, 19 × 30 × 30 cm

Jordan Loeppky-Kolesnik and Rindon Johnson, Wade, 2023 – blown glass, neon, electronics, 21 × 23 × 30 cm

Jordan Loeppky-Kolesnik and Rindon Johnson, Wade, 2023 (detail) – blown glass, neon, electronics, 21 × 23 × 30 cm

Jordan Loeppky-Kolesnik and Rindon Johnson, Diaphragm, 2023 – blown glass, neon, electronics, 28 × 30 × 34 cm

Jordan Loeppky-Kolesnik and Rindon Johnson, Diaphragm, 2023 – blown glass, neon, electronics, 28 × 30 × 34 cm

Gaëlle Choisne, Luggage astral_crystal, 2023 – recovered suitcase, deer antlers, acrylic paint, stained wax, wood, mercury mirror, ceramic, chain, video screen, 137 × 65 × 46 cm

Gaëlle Choisne, Luggage astral_crystal, 2023 (detail) – recovered suitcase, deer antlers, acrylic paint, stained wax, wood, mercury mirror, ceramic, chain, video screen, 137 × 65 × 46 cm

Gaëlle Choisne, Safe space for a passing History_Toussaint Louverture, 2023 – plywood, glazed ceramic, mesh rib, gems, tattoos, coin, cori, uv printing, collage, painting, 67 × 52 × 2 cm

Gaëlle Choisne, Safe space for a passing History_Toussaint Louverture, 2023 (detail) – plywood, glazed ceramic, mesh rib, gems, tattoos, coin, cori, uv printing, collage, painting, 67 × 52 × 2 cm

Gaëlle Choisne, Safe space for a passing History_Corps Céleste, 2023 – plywood, glazed ceramic, gems, tattoos, coin, cori, uv printing, collage, painting, 44.6 × 37 × 1 cm

Gaëlle Choisne, Safe space for a passing History_Corps Céleste, 2023 (detail) – plywood, glazed ceramic, gems, tattoos, coin, cori, uv printing, collage, painting, 44.6 × 37 × 1 cm

Gaëlle Choisne, Safe space for a passing History_Capois-La-Mort, 2023 – plywood, glazed ceramic, gems, tattoos, coin, cori, uv printing, collage, painting, 51 × 46 × 1 cm

Gaëlle Choisne, Safe space for a passing History_Capois-La-Mort, 2023 (detail) – plywood, glazed ceramic, gems, tattoos, coin, cori, uv printing, collage, painting, 51 × 46 × 1 cm

Gaëlle Choisne, Safe space for a passing History_Frizzy Pazzy, 2023 – plywood, glazed ceramic, gems, tattoos, coin, cori, uv printing, collage, painting, 37 × 33 × 1 cm

Gaëlle Choisne, Safe space for a passing History_Frizzy Pazzy, 2023 (detail) – plywood, glazed ceramic, gems, tattoos, coin, cori, uv printing, collage, painting, 37 × 33 × 1 cm

Gaëlle Choisne, Aluminium cryptic, 2023 – aluminium foil and color photo, dimensions variable (photo: 29,7 × 21 cm)

Gaëlle Choisne, Aluminium cryptic, 2023 (detail) – aluminium foil and color photo, dimensions variable (photo: 29,7 × 21 cm)

Gaëlle Choisne, E.G.O., 2023 – audio, single channel, 8 min, looped

Martina Kügler (1945 – 2017)
Terrapozzoli
January 20 – February 25, 2023

Press release
Work list

Press and features:
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KUBAPARIS

Installation views by Julie Becquart

Drawings courtesy of Freundeskreis Martina Kügler

Drawings courtesy of Freundeskreis Martina Kügler

Martina Kügler, Elektroschock, 1989 – Graphite on paper, 21 × 29,7 cm. Courtesy of Freundeskreis Martina Kügler

Martina Kügler, Chameleon mit Wassertropfen (Terrapozzoli III), 1989 – Oil on Canvas, 130 × 160 cm

Martina Kügler, Untitled (Terrapozzoli IV), 1990 – Oil on canvas, 130 × 160 cm

Eric Meier Flaschen & Geister
November 5, 2022 – January 7, 2023
Opening Friday, November 4, 6–9 pm
Book Launch + Finissage, Saturday January 7, 3–7 pm

DE Pressemitteilung | EN press release

Press and features:
Exberliner
tip Berlin

Exhibition views by BQ FOTO, Berlin

Eric Meier, Spirit II, 2022, NVA fabric, Powertex, epoxy resin, 88 x 95 x 96 cm

Eric Meier, Spirit I, 2022, NVA fabric, Powertex, epoxy resin, 80 x 40 x 31 cm

Eric Meier, NOT, 2022, wall engraving, 205 x 141 x 0.5 cm

Eric Meier, NOT (detail), 2022, wall engraving, 205 x 141 x 0.5 cm

Eric Meier, Kiffa18, 2022, wall engraving, 30 x 33 x 0.5 cm

Eric Meier, AAA, 2022, wall engraving, 90 x 88 x 0.5 cm

Eric Meier, AAA (detail), 2022, wall engraving, 90 x 88 x 0.5 cm

Eric Meier, Tschau (detail), 2022, wall engraving, 62 x 11 x 0.5

Eric Meier, DEAD (detail), 2022, fusioned booze bottles, Wodka Gorbatschov, Yelzin, Putinov

Eric Meier, Rückfall, 2022, fusioned booze bottles, 42 x 32 x 9 cm

Eric Meier, Berliner Luft, 2022, fusioned booze bottles, 53 x 55 x 8 cm

Eric Meier, Magendoktor, 2022, fusioned booze bottles, 64 x 58 x 19 cm

Eric Meier, Landschaft II (fremd), 2022, b/w pigment print on Hahnemühle Baryta paper, 46 x 79 cm

Eric Meier, Landschaft III (geschlossen), 2022, b/w pigment print on Hahnemühle Baryta paper, 46 x 79 cm

Eric Meier, Landschaft V (gebrochen), 2022, b/w pigment print on Hahnemühle Baryta paper, 79 x 60 cm

Eric Meier, Landschaft VI (gefangen), 2022, b/w pigment print on Hahnemühle Baryta paper, 46 x 79 cm

Eric Meier, Landschaft VII (verwachsen), 2022, b/w pigment print on Hahnemühle Baryta paper, 79 x 64 cm

Eric Meier, T.b.a.m.f.s.A.t.j.w.t.d.O.o.t.d.t.b.a.g.S.a.o.y. (I), 2022, b/w pigment print on Hahnemühle Baryta paper, 50 x 37.5 cm

Eric Meier, T.b.a.m.f.s.A.t.j.w.t.d.O.o.t.d.t.b.a.g.S.a.o.y. (VIII), 2022, b/w pigment print on Hahnemühle Baryta paper, 50 x 37.5 cm

Eric Meier, T.b.a.m.f.s.A.t.j.w.t.d.O.o.t.d.t.b.a.g.S.a.o.y. (XXI), 2022, b/w pigment print on Hahnemühle Baryta paper, 50 x 37.5 cm

AMTSALON | 4th Amtsalon Gallery Pop-Up @ former Amtsgericht Berlin Charlottenburg, Kantstrs. 79
Donnerstag, December 1, 2022, 18–8 pm, VIP Preview
Friday, December 2, 2022, 12–8 pm
Saturday, December 3, 2022, 12–8 pm

Installation view

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

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 and features:
Contemporary Art Library

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 and features:
Contemporary Art Library

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:
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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. (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

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Work list
3D Tour

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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

Work list

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

Souvenir de God Pan and Blue Love (Quartet No. 36), 2022 – Oil, acrylic, pastel and pigment on canvas, 120 × 90 x 2,5 cm

Fallen Petals für the Forlorn and Phantom Giraffe (Quartet No. 37), 2022 – Oil, acrylic, pastel and pigment on canvas, 120 × 90 × 2,5 cm

L’Aventure du Soleil, the Duck and une Pomme Croquée (Quartet No. 35), 2022 – Oil, acrylic, pastel and pigment on canvas, 120 × 90 × 2,5 cm

Duck, Duck, Dragon au Soleil Hotel (Quartet No. 33), 2022 – Oil, acrylic, pastel and pigment on canvas, 120 × 90 × 2,5 cm

Installation view (photo: BQ FOTO, Berlin)

Martina Kügler (1945–2017)
THE ROOMS LOOKS RATHER EMPTY
April 30 – June 18, 2022

3D Tour
Work list

Press and features
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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, 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:
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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 R. 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) 01–10, 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, 12–7 pm | Special opening hours during Gallery Weekend Berlin 2021
June 10, 5–8 pm | Exhibition catalog launch

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

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

Installation view

Experiment (The Black Candle), 2018, Oil on linen, 110 × 90 × 3 cm

Wall IV, 2019, Oil on linen, 122 × 91 × 4 cm

Monster I, 2017, Oil on linen, 28 × 23 × 4 cm

Monster II, 2019, Oil on linen, 120 × 98 × 3,5 cm

Swiss Chalet Hideaway, 2020, Oil on linen, 122 × 91 × 4 cm

Learning to write, 2020, Oil on linen, 140 × 99 × 3 cm

The Recovered Tools, 2020, Oil on hessian, 133 × 120 × 7 cm

Absentis Activis, 2020, Oil on linen, 150 × 105 × 3 cm

The Door at Night, 2020, Oil on linen, 150 × 100 × 3 cm

The Side Door, 2020, Oil on linen, 65 × 55 × 2,5 cm

Installation view

Large Early Painting, 2020, Oil on unprimed linen, 90 × 60 × 3 cm

The Monster’s Second Painting, 2020, Oil and glow paint on line, 60 × 50 × 2 cm

He Remembers He Found It In The Forest But Didn’t Remember If He Had Made It, 2020, Oil on hessian,
45 × 40 × 2 cm

The Monster’s First Painting, 2020, Oil on linen, 30 × 25 × 2 cm

Protoplanet I, 2020, Oil and hessian on wood, 24 cm diameter

Monster Emotions, 2020, Oil on linen, 40 × 30 × 2 cm

Installation view

I Am A Building, 2020, Oil on linen, 52 × 40 × 2 cm

Pliers Grips Adjustable Spanners, 2020, Oil on linen, 45 × 35 × 2 cm

Hammer Scissors Stapler Ruler, 2020, Oil on linen, 35 × 30 × 2 cm

Pen Pencils Felt Tip, 2020, Oil on linen, 30 × 25 × 2 cm

Screw Drivers, 2020, Oil on canvas board, 30 cm diameter

Alien IX, 2020, Oil on linen, 40 × 30 × 2 cm

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

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

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, 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 – MARTINA KÜGLER

ASSISTED SURVIVAL – YORGOS STAMKOPOULOS

ASSISTED SURVIVAL – JOHN MATTHEW HEARD

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 – 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 – SARAH CHOW

L’Arbre du Soleil – STEPHAN DILLEMUTH

Photos: groupshow.eu

Invitation card

Lies About, Gussglashalle Berlin, DE
May 2019
Guy Allot, Max Geisler, John Matthew Heard, Eric Meier, Olivia Parkes, Laura Schusinski, Loredana Sperini, Yana Tsegay

Exhibition photography: Julie Becquart

Installation view Lies About