Past exhibitions

Renee Poetzscher, feinart berlin, aino nebel, lunagramm, mond

18.08. - 29.09.2022

irden und licht

Objects and photography by Aino Nebel & Renée Pötzscher

"Ceramics and photography seem to have nothing in common. Aino Nebel creates poetic sculptures out of the kiln. Renée Pötzscher leaves the exposure of her motifs to controlled chance. Both artists think sculpturally - create earthen structures from the material and banish the light in ethereal forms. earthen and light. The mystery of union moves between heaven and earth." (Silke Tobeler, guest curator of the exhibition)

Aino Nebel. The objects of the sculptor, who was born in Berlin in 1972, arise from the combination of mineral materials such as clay, plaster, glass and porcelain with organic, transient and fragile materials such as blossoms, fruit, paper or sugar. The kiln firing allows self-sufficient sculptures to emerge from processes of softening, burning, crystallization and hardening, sometimes appearing like vessels, sometimes like natural formations, but in terms of form and surface structure they are too bizarre and idiosyncratic to be classified. The exhibition also shows a selection of drawings that provide further insight into the artist's studio.

Renée Pötzscher. A heart of the oeuvre of the photographer and video artist, who was born in Austria in 1945, are moon and moonlight, which she uses as inspiration and means of expression for her examination of female identity, her own body, representation and image of the female as well as self-presentation. In her works, light and its opposite, darkness or night, function as a chiasmus of medium and content. The exhibition shows a selection of her moon exposures and photographs, her luminograms (experimental works with artificial light) and self-portraits. The photographic works are accompanied by free drawings and diary entries.

Both artists have a diverse and extensive pool of works on paper. Made with watercolor, ink, chalk, pigment and pencil, these often serial works provide insights into the examination of line, colour, hatching and the responsiveness of the sensitive material paper.
For Renée Pötzscher, artistic work on paper has a meaning that is comparable to writing a diary: the act of drawing as a process of introspection, as a way of tracing your own mood and recording creative energies that find their meaning in the overall composition. Often in black or reddish-brown ink on an untouched background, the drawings are reminiscent of written characters, similar to intuitive calligraphy.
In drawing, Aino Nebel deals with similar questions as in the sculptural work: how do you do justice to the peculiarities of materials in their interactions? Like paper and its reaction to, for example, tea, oil or the tip of a pencil? What does a passing line express, what does one drawn with a ruler mean? And: how is spatiality created in a small format?

Finissage
Thursday 29.09.2022, 5pm - 9pm

>> Artist talk about the exhibition on YouTube (in German)

Renee Poetzscher, feinart berlin, aino nebel, lunagramm, mond

18.08. - 29.09.2022

irden und licht

Objects and photography by Aino Nebel & Renée Pötzscher

"Ceramics and photography seem to have nothing in common. Aino Nebel creates poetic sculptures out of the kiln. Renée Pötzscher leaves the exposure of her motifs to controlled chance. Both artists think sculpturally - create earthen structures from the material and banish the light in ethereal forms. earthen and light. The mystery of union moves between heaven and earth." (Silke Tobeler, guest curator of the exhibition)

Renée Pötzscher. A heart of the oeuvre of the photographer and video artist, who was born in Austria in 1945, are moon and moonlight, which she uses as inspiration and means of expression for her examination of female identity, her own body, representation and image of the female as well as self-presentation. In her works, light and its opposite, darkness or night, function as a chiasmus of medium and content. The exhibition shows a selection of her moon exposures and photographs, her luminograms (experimental works with artificial light) and self-portraits. The photographic works are accompanied by free drawings and diary entries.

Aino Nebel. The objects of the sculptor, who was born in Berlin in 1972, arise from the combination of mineral materials such as clay, plaster, glass and porcelain with organic, transient and fragile materials such as blossoms, fruit, paper or sugar. The kiln firing allows self-sufficient sculptures to emerge from processes of softening, burning, crystallization and hardening, sometimes appearing like vessels, sometimes like natural formations, but in terms of form and surface structure they are too bizarre and idiosyncratic to be classified. The exhibition also shows a selection of drawings that provide further insight into the artist's studio.


Both artists have a diverse and extensive pool of works on paper. Made with watercolor, ink, chalk, pigment and pencil, these often serial works provide insights into the examination of line, colour, hatching and the responsiveness of the sensitive material paper.
For Renée Pötzscher, artistic work on paper has a meaning that is comparable to writing a diary: the act of drawing as a process of introspection, as a way of tracing your own mood and recording creative energies that find their meaning in the overall composition. Often in black or reddish-brown ink on an untouched background, the drawings are reminiscent of written characters, similar to intuitive calligraphy.
In drawing, Aino Nebel deals with similar questions as in the sculptural work: how do you do justice to the peculiarities of materials in their interactions? Like paper and its reaction to, for example, tea, oil or the tip of a pencil? What does a passing line express, what does one drawn with a ruler mean? And: how is spatiality created in a small format?

Finissage
Thursday 29.09.2022, 5pm - 9pm

30.06. - 11.08.2022

women things

Christian Wewerka

Panel discussion
Friday, 05.08. 7pm | Jens Pepper, Dilyana Gibelin and Christian Wewerka talk about erotic photography, the representation of woman nudity, fetish and violence

The photographs by Christian Wewerka (*1961), to which the exhibition is dedicated, are erotic stagings of young women: sometimes quietly observing, sometimes sensually, sometimes provocatively, always directly and without any fear of clichés. From 2019 on, the photographer has been working with the scenic confrontation of his female models, who are usually not or only sparsely clad, with significant objects: antique furniture, a coffee set, a teddy bear or a feather headdress from the variety show. Comparable to theater or film, a frame situation is staged for each shooting, in which Wewerka then develops expressive scenes together with the model. This scenic approach, which turns an arranged situation into a stage for spontaneous communication between model and photographer, is the focus of the exhibition. Christian Wewerka takes the inspiration for this strategy of photographic direction from acting practice. His own career as an actor and speaker began in the early 1980s at Berlin's OFF theaters under the influence of well-known national and international teachers such as Geraldine Baron and Keith Johnstone.
Wewerka's photographs are given a painterly character through the way he uses light and a deliberately reduced composition of color and form. The reduced design of the pictorial spaces is reminiscent here and there of Lost Places: places in nowhere, places that have fallen out of time — perhaps like some fantasies that can be found in them. There is a peculiar tension between the intimacy and the simultaneous remoteness of the female body in the pictures. What they show in terms of erotic appeal and the provocation of nudity is softened by Wewerka's feeling for the protagonists' inwardness. By this, the boundaries between strength and vulnerability, authenticity and play, devotion and pride become blurred.

12.05. - 23.06.2022

Jürgen Tenz

Blausaftapparat und Propellerengel

juergen tenz, jürgen, feinart berlin, kunst, artist, kaufen, buy

// Until 25.06.2022 you also find Jürgen Tenz at CSR Contemporary Show Room, Friedrichstraße 69, 10117 Berlin | Opening hours: Mon-Sat 10am - 8pm //

Born in Berlin-Siemensstadt in 1942, Jürgen Tenz, a contemporary of the so-called “Trümmerkinder” years, stands for a generation of artists who, from the Second World War onwards, experienced Germany in the ups and downs of significant socio-historical changes: after the sapping post-war period, the years of the Economic Miracle, the division of Germany into East and West, Cold War, Wall building and reunification. Died in December 2021, the artist Tenz, who came from commercial graphics and scientific drawing, has spent his life dealing with the role of humans in society and the conflicts that exist between these two levels. Whether we encounter singular figures, figural scenes or masses of small bodies in his works, which, falling, flowing, form new large structures - everywhere something or someone seems to be at stake, yes, a process or a transformation seems to have started.


The variety of genres and styles that Tenz' oeuvre brings together reflects how the artist kept asking himself new questions and how he was also looking for new formulations for classical themes. The exhibition can only give a glimpse of this comprehensive life's work. Nevertheless, the selection of pen drawing and gouache (1970s), letterpress (1990s), painting and collage (1997-2014) and etching (2006-2019) shows his multi-layered attitude and independence.


What all works have in common is the decision for figurative representation, whether finely worked out in a masterly manner or lifted from reality by reduction and abstraction, whether in the concentration of black and white of graphics or in the colourfulness of expressive painting. The confrontation with ancient mythology as well as the play with art history, mechanics, social politics and the aesthetics of dance tell of the artist's thirst for knowledge. It is not least in this respect that his work represents the progressive complexity and processuality of the 20th and 21st centuries in an extremely topical way.

24.03. - 05.05.2022

Faces of life

Manfred Carpentier - Michael Dressel - Dieter Matthes

michael dressel, manfred carpentier, dieter matthes, fotografie, berlin, faces, cities

With Manfred Carpentier, Michael Dressel and Dieter Matthes, three personalities meet in the exhibition who are also privately on friendly terms. Their photographs share an interest in people, especially people in the big cities of the world. What sets them apart is how they make us perceive the world in their images. Their photographic concepts cover a broad spectrum between inwardness, Street Photography and an idea of people and urban space as an artistic entity.

From 2010 to 2018 Manfred Carpentier, born in 1954 in Gerolstein (Eifel), managed the Carpentier Gallery, raum für kunst in Berlin-Charlottenburg with a focus on Berlin photographers and Berlin-specific topics. The gallery was an important hub for the photography scene in that city and beyond. Carpentier's own photographic work spans genres such as landscape, still life, nude and portrait. In his series "Selfies" he makes himself a model. The expressive portraits, which are created using a remote shutter release, appear like stills of an uncompromising self-questioning. Against a black background, faces fan out into multiple identities. If you follow their titles, the portraits appear like studies of human states: "Guessing", "Screaming", "Being amazed" - and always the question: who am I? Carpentier dissolves the answer into fragments of a movement, almost as if the photographer were dissecting himself with his camera. He is alone, no second person in the room. I and I. By superimposing several results of a shooting, images are created that are reminiscent of the painter Francis Bacon. In his "Expressionism" series, Manfred Carpentier interprets texts by the German poets Jakob von Hoddis and August Stramm. His photomontages seem just as fragmented and irritating as their expressionist poems. They consist of motifs from open source images from the web and our own photographs. In this “eclecticism” of images that fluctuate freely on the internet and his own photographs, the fragmentary nature of the “Selfies” returns. In both series there is also a reference to the over-complexity of the digital age with its unmanageably large number of identities and “images”. And it is also about criticism: "Every day," according to Carpentier, "billions of selfies buzz through the networks sterilized from everything social, with the result of a global, psychosocial neglect".

Michael Dressel has appeared several times in Brennpunkt (most recently no. 1/2022). His photo book “Los(t) Angeles” was published in November 2021 together with an exhibition at Rheinsberg Castle (until May 15, 2022). In June 2022 his photographs will be on view in a "Hollywood" exhibition at the Helmut Newton Foundation. This growing public presence is a long overdue answer to a special German-American artist biography and the path of an unmistakable street photographer. Born in East Berlin in 1958, stage designer, arrested trying to escape over the Wall and imprisoned for two years in a Stasi prison, Michael Dressel found his way to Los Angeles at the age of 27. The city became his second home. For years, in which he worked as a sound editor in numerous well-known Hollywood films, he photographed people on the city streets: bizarre appearances, some of them homeless, confused and aggressive people. Michael Dressel's approach is the special empathy and eye level he brings to the protagonists of his recordings. A tension that is difficult to classify between insecurity, yes, alienation and at the same time the feeling of being close to these people on the fringes of society, of recognizing their dignity - this is what makes his work so fascinating. Despite the lack of taboos in recording poverty, decay and social marginalization, they still illuminate something completely different: something that connects us all. In an interview with F. Scott Hess, Dressel says, “I believe in magic, the magic that comes from pointing a camera at life and freezing a few hundredths of a second into an image. After that, the image turns into something that conveys what I think and feel about this world. This magic enables me to photograph myself in this world.” (quoted from Los(t) Angeles. Michael Dressel, Gingko Press/ Hartmann Books 2021, p.167)

Dieter Matthes, born in West Berlin in 1952, received his doctorate in human medicine from the Free University of Berlin and worked for nine years as a specialist in internal medicine and classical homeopathy. In 1970 he began to deal intensively with the medium of photography. He realized numerous publications in photo magazines such as Photographie, Foto-Magazin, Olympus Magazin and Brennpunkt and received awards at international photo salons. From 1989 Dieter Matthes concentrated his professional focus on photography, initially as a journalist with assignments for Stern, ZEIT-Magazin, FAZ-Magazine, GEO-Magazine, Focus, Forbes and others. For the magazine GLOBO he accompanied reports all over the world, including about New York, Montevideo, Guadeloupe, Eastern Orient Express and Bangkok. In addition to other projects, between 1995 and 2000 he was one of the main authors of the “Blickwinkel” column in the Berliner Tagesspiegel. His “Metropolis” series appears like a kind of international character study of large cities: a study of concrete, steel and glass, of visual axes fleeing towards the sky and a living space that consists almost entirely of architecture. In a world where there is nowhere to put your feet on the ground, people seem small and exposed. Dieter Matthes often leaves them in their anonymous space. However, there are also shots in which the protagonists seem to establish an emotional connection with him: an intense gaze, a fleeting touch, a kissing couple, a child watching the photographer. Especially the series "Childhoods" looks for such moments. Dieter Matthes' pictures retain a standpoint of quiet contemplation. In this way, they sometimes succeed in making the coexistence of city and people perceptible as an artistic structure, a composition that is coordinated with one another.

An article on the exhibition will be published in brennpunkt. Magazine for photography, issue no. 02/22 (April-June).

17.02. - 17.03.2022

Folding time. And moving on

C.D. Aschaffenburg, Sara Assadi, Marek Benczewski, Jan Beumelburg, Ebrahim Ehrari, Caty Forden, Christiane Grasse, Saint James, mehrdad m., Maryam Motallebzadeh, Aurore Millet, NÄNZI, Boriana Pertchinska, Wolfgang Petrick, Ulrich Reimkasten, Mathias Roloff, Uwe Sernow-Rose, Jan Sobottka, TAD.berlin, Tiba

What if time could just be folded up and thrown away, yes, skipped backwards? And then just continue where you left off? After two years of the corona pandemic at the latest, we know very well that this is not possible. Every one in his and her own way.

After the end of the first lockdown in May 2020, 17 artists spontaneously realized a joint exhibition in the gallery feinart berlin, combined with a collection of individual reports and statements on their experiences under Corona.


"For me, it was like falling into a coma, sometimes with no idea what and who I would see when I woke up." (Tiba) | "Painting the view from my apartment I had the strange feeling that the real world began to look like my paintings. It kept me focused in a way I hadn't felt for years." (Caty Forden) | "The Corona period made it possible to experience a special ambivalence between hiding and showing, protection and isolation, which is inherent in masking: on the one hand, digital masks as a media condition to maintain social contacts. On the other hand, the mask in real space as protection from and for other people.” (Sara Assadi) | "One could also see the crisis like an illness as a way in which art can make a significant and perhaps historic contribution to shaping the future." (Maryam Motallebzadeh) | “Crises are always opportunities and opportunities must be seized. After the crisis, nothing will possibly be the same as it was before. Art will have to reclaim its place and many things will be called into question in the process. Ultimately, it is about a paradigm shift that is long overdue, about the relationship between the material and the mind, technology and the people.” (Ulrich Reimkasten)


How do you read these sentences today, at the beginning of 2022? Two years after the first corona lockdown was imposed, we want to continue with a second group exhibition, but less to look back than forward: We are here and we will continue!

Folding time and moving on, or as the artist Mehrdad Mobasseri quoted his favourite writer in April 2020: “We never realize ourselves. We are two abysses — one fountain staring at the sky.” (Fernando Pessoa)

>> Contact & Plan to visit

waria wirth, malerei, charlottenburg, berlin, artist, wunschmaschinen, philosophie, feinart berlin

18.11. - 16.12.2021 | extended until 29.01.2022

Wish Machines - Maria Wirth

At the Finissage: reading & discussion with Lilian Noetzel
Inspired by paintings from the exhibition, the author develops what she calls a philotasy: an essayistic narration about the creative, about chaos, about questions concerning human nature and human's will to culture.


About the exhibition
“It breathes, warms, eats. It sucks, it fucks. The Es ... Everywhere there are machines in the truest sense of the word: machines of machines, with their clutches and gears. An organ machine connected to a source machine: the current produced by this one is interrupted by the other. The breast is a machine for making milk, and the mouth machine is linked to it. The mouth of the person without appetite stands between an eating machine, an anal machine, a speaking machine, a breathing machine (asthma attack). In this sense everyone is a hobbyist; everyone has his own little machines.“
(Deleuze/ Guattari, Anti-Oedipus: Capitalism and Schizophrenia)


The paintings of Maria Wirth (*1987) are about corporeality, identity and interpersonal realities. Her color-intensive, abstract pictorial spaces house human and animal bodies, which, as concise as they may appear at first glance, close up at the same time and conceal deep contradictions. The artist, who received her M.A. Philosophy at the Free University of Berlin, in her work repeatedly deals with femininity and eroticism — a subtle eroticism that touches more on existential aspects than on lust and passion. In her independent imagery, she explores ambivalent feelings and values ​​that are contrary to the simple logic of opposites such as man-woman, power-impotence, perpetrator-victim, love-hate, young-old.

With the title “Wunschmaschinen” (English „Wish machines“), Maria Wirth puts her work from 2021 in the light of a psychological-structuralist critique of capitalism and consumption in the mind of the French philosophers Gilles Deleuze and Félix Guattari. Is, for example, our desiring unconsciousness, which tends towards self-satisfaction, production and consumption the real demiurge, the real capitalist of this world? It is no coincidence that animals and chimeras appear again and again in the artist's pictures, which she creates as alter-ego of the sensual as well as the unconscious dimensions of humans, in which animal and human, instinct and reason merge.
>> Exhibition review by female-gaze.blog

14.10. - 11.11.2021

Shades of Water

Ebrahim Ehrari

From 1957 Ebrahim Ehrari, born in Urmia, Iran (West Azerbaijan Province) in 1938, worked for two years as a pipeline welder on the island of Kharg in the Persian Gulf. In some cases, diving was carried out to a depth of up to 40 meters without diving equipment. This haunting experience of the sea, its power and quiet depth as well as its variety of forms have shaped the artist's work for a lifetime. Works from Ehrari's early and late work now come together in an exhibition entitled “Shades of Water”. The focus is on the motif of water: water as an element of life, as a symbol for purification, time and knowledge, but also as a representative of fate, the unconscious and longings, as well as an elemental force and warning.

Ebrahim Ehrari's early work is determined by masterful etchings, which Michael Nungesser aptly describes in 1982 as metaphorically encoded imagery between realism and symbolic exaggeration: "naturalistic in form, fantastical in structure, color and content combinatorics", balancing "between the pictorial and the poetic symbolic". In comparison, the intensely colored, abstract oil and acrylic paintings of the late work express a desire to break the boundaries of the representational and to celebrate color.


Ebrahim Ehrari's artistic life's work, as well as the social and political awareness that defines him, unite two poles: the connection to homeland on the one hand and the striving for self-determination and freedom on the other. In Berlin since 1966, he studied graphic design between 1968 and 1973 under Prof. Wolfgang Ludwig and Prof. Hans Fortsch at the HdK. 1973-75 he taught in the field of graphic techniques at the Faculty of Fine Arts at the University of Tehran and at the University of Applied Arts there. From 1975-78 he studied art history at the Free University of Berlin and between 1976 and 2003 headed the etching workshop of the Künstlerhaus Bethanien from the BBK. Ebrahim Ehrari has been involved in art and cultural exchange between Germany and Azerbaijan since 1983, e.g. as co-founder and chairman of the Azerbaijani-German Cultural Association. The Berlin-Baku Gallery in Schöneberg, which he founded in 2007 (headed by his daughter Parwane Ehrari from 2014), was not only a renowned exhibition venue until 2018, but also a meeting place for artists from different cultures and nations.


09.09. - 07.10.2021

Ungeschehene Orte

Thomas Kleemann

Thomas Kleemann, Tagesspiegel vom 02.10.2021

Anyone who knows the illusionistic spaces with fragments of architecture and nature by Thomas Kleemann (*1954) knows that these are by no means ideas of landscapes, and yet these scenes have such an intense, three-dimensional effect that one would like to let one's gaze wander indefinitely . Coming from abstraction as a master student of Johannes Geccelli (UdK 1981), he has been condensing his color structures and reliefs made of silicon carbide on canvas since the 1990s in such a way that recognizable objects and, with them, familiar worlds appear. But there is no reality here. What the artist shows us is beyond. It seems as if other realities were created here, deep and mysterious. The architecture and the landscape references in his paintings, on the other hand, are downright archetypal: bridges, houses, stairs, banks, mountains, the sea. Assembled in enigmatic color and light spaces, they expand the subjective image experience into the area of ​​collective image memory. In this way, Thomas Kleemann's works open a door back into the imaginary spaces of a far-reaching cultural history. It may therefore appear as if the paintings reveal not so much space as time. Although most of them do not show people, they are not deserted. On the contrary, everything seems to be inhabited by the human mind, indeed intended for it to be roamed.


Thomas Kleemann, scholarship holder of the Deutsche Akademie Rome Villa Massimo, Casa Baldi, and Karl Hofer scholarship holder, has been working as a freelance artist since 1985 and lives and works in Berlin and Melz/Müritz. He has had numerous solo and group exhibitions in well-known art associations, galleries and museums, among others in Berlin, Hamburg, Potsdam, Düsseldorf, Saarbrücken, Mannheim, Dresden, Kiel, Munich, such as solo exhibitions in the Ostholstein Museum (Eutin), Kulturforum Villa Oppenheim ( Berlin) or the Rosenhang Museum (Weilburg) as well as presentations at art fairs, including Nord Art, Art Fair Düsseldorf, ART Innsbruck, art Karlsruhe and the POSITIONS BERLIN ART FAIR.


05.08. - 02.09.2021

Wildbahn Berlin

17 years photography of Berlinart scene by Jan Sobottka

gallery feinart berlin, contemporary art, jan sobottka, wildbahn, exhibition, niebuhrstrasse 71, maria wirth

In the exhibition, Jan Sobottka shows selected results from 17 years of photography of the Berlin art scene and its protagonists - captured in two subjects: on the one hand, the documentation of numerous openings in galleries, museums and studios, on the other hand, the works about models in private, more intimate spaces beyond the public. In order to take a look at the personalities behind Jan Sobottka's portraits, the exhibition is supplemented by original artworks from some of the artists shown.


Participating artists: C.D. Aschaffenburg, Roger Ballen, Horst Bartnig, Manfred Carpentier, Michael Dressel, Angela Dwyer, Samira Freitag, Hermann Kleinknecht, Gertrude Köhler, Colette Lumiere, Gerhard Mantz, Elisabeth Masé, NÄNZI, Wolfgang Petrick, Gérard Waskievitz and Maria Wirth | From the privat property of Jan Sobottka: unique pieces from Alexander Kluge and Jonathan Meese


Events

  • Vernissage days Thu, Fri, Sat 05./06./07.08. every day 17:00-21:00
  • Fri 06.08. 18:00 Bazon Brock: "Kunst jenseits des Marktes, also Kunst"
  • Thu 02.09. 18:00 talk with Dr. Jeannot Simmen, Jan Sobottka and Maria Wirth about the Berlin art scene


About the photographer Jan Sobottka

Trained as a painter under Prof. Wolfgang Petrick at the HfBK, the artistic style of his photography thrives on his knowledge of design principles and motif history of painting. The influence of the Renaissance on Jan Sobottka's way of lighting, the choice of the image section and the unified composition is particularly evident in his portrait work. Like the painters of that time, he is fascinated by the look and the pose as expressions of self-consciousness, pride, yes, the mystery of a person.

www.catonbed.de - The fund from which Jan Sobottka selects his photographs is the largest, freely accessible online image archive of Berlin art scene with around 50,000 images. Created as documentation, the archive tells of how the photographer is always interested in the stories behind the captured faces. The key to his art lies in building a natural, mutual relationship with his counterpart.

One of the photographer's credo is to work with available light, that is, with the light available on site. To get involved with light as an uncertain, unstable component, the challenge of developing good results in rooms as he finds them - this is an important source of inspiration.

Jan Sobottka has been working with models since 2007. In contrast to classic studio photography, he develops the shoots in his private environment, often without a stipulated time frame and scenic direction. Most of the models are young women, and one of the charms of his photographies lies in the fact that they always negotiate the topic of femininity - in all facets of their melancholy, life-drawn, lonely, playful, flirtatious or lustful attitudes, but also the question of how women need to have their bodies recognized, to be favored and to want to be favored by their beholders. From this point of view, Sobottka's photographs can also be related to the ongoing debate about gender images, which have significantly shaped the forms of self-determination of women in the modern western world.

01.07. - 29.07.2021

Vom Wind getragen

Maryam Motallebzadeh

gallery feinart berlin, contemporary art, maryam motallebzadeh, exhibition, niebuhrstrasse 71, maria wirth

Whether painting, ink drawing on paper, installation or film, Maryam Motallebzadeh’s works of art can be understood as a kind of contemporary witnesses - created in the awareness of specific times in life and the influence of specific social and political circumstances that influence the artist's perception and thinking. This is one of the reasons why traveling and encounters with other cultures have always been an important source of inspiration for finding artistic themes.

The exhibitions of the native Iranian often have the character of rooms that are filled, like diaries, with notes and with traces of thoughts, feelings and experiences from an eventful life. The artist, standing between Orient and Occident, has dealt intensively with topics such as home, identity, language and the relationship between I and nature.

The exhibition „Vom Wind getragen“ (engl. “Carried by the Wind”) is dedicated to the theme of fate and brings together works that are formally characterized by a particular lightness and dynamism. But also here one can quickly discover unsettling aspects, be it where passionately spread red attacks soft white surfaces, be it where the motif of the veil opens up a complex field of meaning between hiding and uncovering, alienation and intimacy, rejection and temptation. For example, in the installation „Hinter dem Schleier“ (“Behind the Veil”), Maryam Motallebzadeh works with the symbolism that this motif possessed in ancient Egypt and ancient Greece. At that time the veil stood for the dividing line between life and death, between delusion and knowledge, death and rebirth.

Some of the works shown in the exhibition were created during the Corona pandemic and emphasize the current importance of questions about transience, uncertainty and, last but not least: love.

>> Visit artist's website

15.04. - 24.06.2021

U T O P I E R

Willi Sitte and Ulrich Reimkasten

"Brave, subtle and overdue, this new view of the Sitte work and a successful symbiosis with Reimkasten's many facets.
Thank you for this experience and deserved success for you and the artists. Went home enthusiastic and enriched."
S. Ikonomow, exhibition visitor, 16.04.

gallery feinart berlin, willi sitte, ulrich reimkasten, gdr, art, exhibition, niebuhrstrasse 71, maria wirth

15.05. 7p.m. lecture Dr. Eckhart Gillen about the art historical backgrounds of the exhibition and the connection of Willi Sitte's and Ulrich Reimkasten's oeuvres
>> watch lecture on YouTube

Between generations - whether teachers and students, fathers and sons, mothers and daughters - there is a time of upheaval. Especially in art: a time of instruction, questioning and identity formation. Here, the where from and where to of biographies are negotiated and the framework for the transmission and change of values, ideas and artistic forms of expression are established.


On the occasion of Willi Sitte's 100th birthday in 2021, the gallery feinart berlin is showing a selection from his “Hommages to the Masters” together with drawings and paintings by Ulrich Reimkasten, who belonged to Willi Sitte's group of students between 1975 and 1985.

Willi Sitte's prints “Hommages to the Masters” imagine, following the pathos of his expressive body representations and lively, pulsating picture compositions, the stylistic worlds of his great idols such as Michelangelo, Courbet and Ernst. Here, in their own way, the early drawings and inks by Ulrich Reimkasten tie in. They give an insight into the studio of the young artist as well as his examination of role models and the search for his own language of expression. The exhibition shows what the now emeritus professor for painting and textile arts at Burg Giebichenstein, Kunsthochschule Halle and one of the few contemporary tapestry masters has developed in his mature oeuvre by presenting paintings from various series.

The exhibition is characterized by a curiosity for what connects and divides the artistic decisions of the two personalities as well as for the fine movements in between, not least as representatives of two generations. There is also the question: what is realism? The answer can be found between the continuity and the breaks of a concept of art, a concept of art that is closely linked to the time of German division and reunification, which shaped many human lives.

03.12.2020 to 21.02.2021

A u f B r u c h

Aurore Millet

The exhibition with the title "AufBruch" (English "BreakOut") is inspired by the question to what extent Aurore Millet's in content and style complex works produced between 1996 and 2020 can be looked at and understood in the continuum of an artistic development. The drawings, photo prints and paintings have in common that, at the origin of every creative process, the artist is concerned with the act of looking closely and seriously: looking between and behind the things in our everyday world of perception and their abstraction or, in some cases, radicalization of the essentials such as colors, contours, negative- and positive forms. To look closely in this way means to be attentive, alert and critical, as for example in the series Reminiscence, that was created from 2001 to 2004 out of personal experiences with the war in Palestine and Israel.

Between everything and nothing stands life - and artistic freedom. Aurore Millet's works challenge us to face the world again and again with alert eyes and senses.


>> Visit website of the artist

Figurescapes - Anne Hoenig

08.10. - 12.11.2020 >> EXTENDED UNTIL 26.11.2020!

The exhibition brings together works from four central series by Anne Hoenig: “At Arm’s Length”, “Hard Boiled Painting”, “Time Slice” and “Men in Suits”, which were created from 1993 onwards. The show includes portraits of personalities such as Jorge Luis Borges, William S. Burroughs, Man Ray and Inga Humpe. In her work, Anne Hoenig repeatedly deals with the coexistence of intimacy and distance and it often seems as if the inaccessibility of the figures opens up a space for emotions for the viewer, even for the promise of sensuality and closeness. 
As motifs she chooses people, mostly enigmatic women, in apparently private moments in life, whose atmospheres they occupy with their expressive gestures and posture. The old masters' plastic and brilliantly colored painting technique gives all of this the character of something mysterious and hidden. The places where we meet the people are always in resonance with their insides and invite us to take part in the picture happening, as confidants or secret observers.


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03.09. - 01.10.2020

Welcome to my zoo

Maria Wirth


A research focus of the exhibition are intermingled and mythical creatures, that in their surrealistic appearance are as unprecedented as they are forward-looking. The researcher, Maria Wirth, has long since proven that categorizations and classifications such as “female”, “male”, “hermaphrodite” are obsolete and outdated and, with the creation of her own species, opens up perspectives for intersex communication and multiphonic interactions that in their real dimension and impact cannot yet be recorded today. Based on ancient notions of body and soul and their timeless metaphorics, the beings and companions created by the artist follow an aesthetic beyond anthropocentric conventions and address the question of their legitimation. What begins as a confrontation with distorted, overstretched, fragmented, sometimes absurd body shapes and poses leads behind the facade of cultivated human and domesticated animal life and on this way to the fundamental question of naturalness, beauty and reality.

Maria Wirth is now opening her treasure chambers and laboratories, her greenhouses and aviaries exclusively for you. Marvelling and surprises are guaranteed.


>> More information about Maria Wirth and her contribution to feinart berlin's "Corona Intra Views"


30.07. - 27.08.2020

Berlin: ein Kind, das noch im Traum lacht - Frauke Bohge

“An hour is not just an hour; it is a vessel filled with scents, tones, plans and climates. What we call reality is a certain relationship between sensations and memories.”
Marcel Proust


For Frauke Bohge, time and memory form a central field of inspiration in terms of content and form. Her landscapes and cityscapes reveal her sense for the interweaving of space- and time dimensions, her sense for the meaning of places as carriers of memories. After all, it is above all striking places that - as remembered or real - preserve what lies behind us or will one day lie. The exhibition (English title "Berlin: a child who still laughs in dreams") juxtaposes a selection of cityscapes with works from Frauke Bohge's current series on the subject of childhood. In painting and textile collage, she takes up the question of the possibility of returning to a past (lost?) time of our Selves. What is it that lies behind us as a past or childhood? And what does this childhood mean that we see as adults in young faces? Answering these questions would be a journey to the beginnings of the individual personality.

>> More information about Frauke Bohge and her contribution to feinart berlin's "Corona Intra Views"

25.06. - 23.07.2020

Setzen Sie sich! - Siegfried Kober

Siegfried Kober Ausstellung feinart berlin

The exhibition brings together objects by Siegfried Kober (*1951) belonging to three work series that are very different in terms of their material and form. With their rugged, broken surface and archaic expression, Kober's wooden figures counteract the ideal of beauty of ancient sculpture and at the same time revitalize two primal motifs of ancient mythology: the emergence of the human face from nature and the creative but also destructive power lying in the hand of man. In contrast to this, the wire objects are light, penetrated by the background. These wire meshes stand in the room like drawings that have been transformed into bodies, flickering, and both attracting the eye and letting it run into empty space. In addition, Kober's graphic works on canvas appear like silhouettes, counterparts of his objects placed on the surface. The unmistakable ability of the sculptor to work with lines and contours in and on the room is particularly evident where the outlines of the wild boars and bulls have been carved into monochrome, black or white surfaces.

feinart berlin, Stefan Roloff Ulrich Reimkasten, Frauke Bohge, Siegfried Kober, Caty Forden, Maryam Motallebzadeh, TAD.berlin

Corona Intra Views 

21.05. - 19.06.2020

The exhibition brings together seventeen artists of very different origins, careers, phases of life, questions and working styles. The central theme of the exhibition is on the one hand the corona pandemic: an existential, exceptional global situation in life and work, which entails and entailed for artists as well as for everybody else both connecting and individually differentiated experiences. However, this only applies in a very broad sense, because what makes this artistic encounter even more visible is the artist's sensorium for the meanings between the lines, for the free spirit, the wit as well as for the detail and the critical view from a distance.

The extra: CORONA INTRA VIEWS ONLINE - prospects & insights into the thoughts and experiences of the participating artists in the horizon of Corona on our website >> Read Corona Intra Views 

feinart berlin, C.D. Aschaffenburg

Unweit Jenseits - C.D. Aschaffenburg

16.02. - 19.03.2020

The exhibition focuses on paintings by C.D. Aschaffenburg that show him as a wanderer between the worlds, a compositeur of dynamic pictorial spaces. Landscapes, imposing interior designs and sometimes magical figure scenes intertwine, so that utopian places bordering on the uncanny and the otherwordly evolve. The power of the motifs lives on a special picture atmosphere: the impression of hidden but meaningful connections, the promise of a deeper secret, but also the appearance of a departure and consciousness behind the abyss. Born in 1953, C.D. Aschaffenburg not only gained a reputation as a painter but also as a film producer and director in the experimental film field. At the opening reception his short film "Krause, oder ein beschriebener Film ist halt wie ein erzähltes Mittagessen" from 1988 will be shown.
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Exhibition "no bodies but minds"

Corporeality, in its diversity of expressive values and types, as well as its sensitivity to any deformation, is a leading source of works that Maria Wirth presents in the exhibition. They show bodies and figurative constellations that are fragmented, caught in alien postures, sometimes naked and distorted, posing or dancing, and always fragile. What connects the works in their content, are their hermetic references to motifs from ancient mythologies and philosophical discourses that are interested in all faces of passion, the search for the self and the zones of indeterminacy existence has. 

The German philosopher Hermann Schmitz said that art is "the result of an encounter of the body with the feelings". In this sense, the figures set in powerful color spaces are seen as visible counterparts of realities of the emotional and thought-life. Here corporeality proves to be something permeated by the mind and the emotional life, and on the contrary, spirit and feeling show themselves as something that does not exist without corporeality. 

Exhibition "FaceAbilities. Portraits à la Art"

We present six positions of the genre "Portrait" that in their technique and content approach are very different. Each of the artistic positions for itself and, even more, the juxtaposition of their differences and similarities give insights into the magic and the intimate intuition for the Other that characterizes artistic portraits.
By portrait, we mean the representation of a person with the special claim of using artistic means to capture something essential of that person. The Latin word origin protrahere (pull-out) recalls how closely linked it is to a process of discovery and disclosure. It is about the exploration and visualization of the character, the personality and also the history of the person to be portrayed. At the same time, every portrait always reflects its originator, for its vision and expressive language are what illuminates the model.
The path to a successful portrait is a dialogue with the counterpart, leaded by the artist's gaze, his observation and his empathy. While on the one hand it testifies the artist’s fine sensorium for realistic reproduction, the portrait transcends it at the same time: toward what we call the "inner," the "essence" of a human being.

The 6 artists
Sara Assadi - painting and object frames | Jan Beumelburg - painting, drawing and etching | Frank Jerke - photography | Hamid Sadighi Neiriz - staged photography | Ilona Ottenbreit - painting and drawing | Boriana Pertchinska - painting and transformation on wood and jute 

Exhibition "Figures as Ornaments"

Figures as Ornaments: bodies that become ornament-like formations, ornamental structures that grow into expressive bodies - animals, humans, intermediate beings. A changing between line, form and a world of figures metaphysically with metaphysical drive.

The exhibition is based on a series of works by the artist Maria Wirth (* 1987 Berlin), which since 2018 has been characterized by the deconstruction and formal distortion of the human and, again and again, animal body in communication with rhythms of ornamental or abstract organic forms. The series is about the moment in which line and form turn into suggestions of movement, impressions of feeling and also synaesthetic characters: it is about becoming Gestalt (form) and dissolution of it. From a philosophical perspective, the workseries is a critical reflection on the unity and consistency of identity and meaning.

As a guest artist we welcome the Iranian Mohsen Tighbakhsh alias Tiba (* 1968 Tehran). His painting grounds are hand-woven carpets mainly from Iran but also from other countries such as Turkey, Greece and North Africa. They bear witness to ancient life forms and, depending on their origin, have special colors, structures, materials and age. Under Tiba's hands, also a master of weaving techniques and virtuoso tattoo artist, spiral-contoured figures emerge on these rare rugs, breaking through the rough, haptic character of the background with colorful radiance and lightness of form. Each motif finds its balance in a combination of figuration and abstraction.

Exhibition "Twilight"

Twilight. With the twilight everything visible is submerged in an eerie ambiguity. This transition from day to night, which makes our perceptions insecure, involves a peculiar magic and the capacity to set our imagination in motion.

The exhibition brings together works by Dana Bennewitz and Jan Beumelburg, in which the concept of "twilight" is reflected in its very different meanings. We encounter the mysterious ambivalence of dreams and ancient myths, disputes with the "unconscious" and witty solutions for a balancing act between reality and imagination.

 Ideas of mystery and magic have always accompanied human societies. However, do we no longer need them today, today, in a world of economic fixation, rationalization and effectiveness? That's one of the questions this exhibition can give us.

Exhibition "UnMaking Characters"

UnMaking Characters. Since modern times, the question of the "I" has been the point of departure for the success of one's life - We are made and we are making characters. 

 In this exhibition, Sara Assadi (Iran), Maria Wirth (Germany) and Marek Benczewski (Poland) are inspired by the meaning complexity of the English word character to reflect contemporary ideas and experiences of the self through artistic means. The self as a "character" is personality, is an individual psyche, is expression, is imperative. It is a process that is both made and self-creating. 

 To make this visible, the three artists experiment with "UnMaking," that is, the deconstruction of characters. The content of her work arises from the dissolution, the unbundling of clear roles, forms and ideas.

Exhibition "Surreal Gardens. Between Baku and Berlin"

Surreal Gardens between Baku and Berlin - for the first time, Günay Shamsi, Azerbaijan, and Maria Wirth, Germany, are presenting their paintings and objects together in an exhibition. In their own individual way, they transfer surrealistic painting principles and motifs into a new, lively and experimental field of young post-postmodern art creation.

 The multi-facetted, sensitive and discursive worlds of ideas, which are made visible in the works of art by Günay Shamsi and Maria Wirth, are also combined in this exhibition into an overall aesthetic composition: a surreal garden that invites visitors to wander through and think through.