Works by Maud Tutsche, Jürgen Tenz († 2021) and ARATORA will be presented as the first in an annual series of exhibitions on the theme of collage. The exhibition aims to arouse curiosity about collage in a broader sense and thus raise awareness of the importance of searching for, collecting and reorganising things for the artistic process. The everyday, damaged and discarded objects are transformed and reinterpreted in this playful artistic work. In addition to classic collages, the three protagonists of the exhibition will be showing text-images, digital collages, assemblages, montages and objects.

Maud Tutsche (collage, collaged book cover)
„In my collages, I combine two aspects that are important to me: on the one hand, the critical examination of socio-political issues and, on the other, beauty and aesthetics. For me, the two are interdependent and inseparable.
My examination of social conflicts, disharmony and destruction leads to the search for harmony and beauty, which I want to realise in every work, and collage offers me space for experimentation.
I am particularly interested in the haptics of the different materials. I work with packaging, foils, my own prints, cinema posters, books, stamps, drawings, Japanese papers, Letrasets (letters), materials from my travels and combine all these techniques. The wealth of materials makes my collages sophisticated and unique. Thematically, I am interested in connections in light, form and colour — the seemingly incompatible. It's about dialogue on all levels.“ © Maud Tutsche

ARATORA (collage with digitised wood and additional modules, assemblage)
"My graphic and painterly works are not bound by tradition, they are a concrete, free path through my individual and complex universe. Everything depicted is to be seen as a unit whose pictorial content is located in both the macro and micro areas. The scale of form and the inner tension of a surface or figure are the most significant elements. Colour has only a limited relationship to form; colour serves the overall compositional experience. In the graphic reduction to basic elements, I develop a consistent response to the sensory overload of our current information and media world. Without renouncing the modern technologies and possibilities of digitalisation in my artistic work.
My five-colour laser printing process with digitised wood and additional modules is a logical development of all artistic tools such as brushes, pencils, etching needles, ink rollers, printing presses etc. with the technical knowledge of the 21st century.“ © ARATORA alias Frank W. Weber

Jürgen Tenz (relief collage, object)
„In addition to graphic art and painting, Jürgen Tenz (1942-2021) was interested in playing with other materials. On bicycle tours through Berlin, he collected materials from scrap yards, in his studio tin cans, battery parts, canvas, corrugated cardboard and printing blocks discarded from letterpress works. From 1997 to 2002, he used all these found objects, combined with emulsion paint and glue, to create sculptural figurations with a three-dimensional effect. He often drew his themes from series of paintings and prints and transformed them into his own colourful impressions in relief collages. His collages thrive on years of preoccupation with music, movement, dance and rhythm, not without his own humour, but also with slight hints of melancholy.

During the same period, Jürgen Tenz created sculptural objects: three-dimensional abstract forms from found objects such as tinplate, wood, canvas, cardboard and paint.“ © Gisela Tenz

25.04.-01.06.2024

Pandora laughs

Danielle de Picciotto

Born in the USA, Danielle de Picciotto moved to Kreuzberg in 1987 and discovered her sympathy for its vibrant club scene and the creative world between nightlife, squats and subversive art in pre-Wall West Berlin. Through actions such as the initiation of the first Berlin Love Parade together with Dr. Motte in 1989 and the founding of the Ocean Club with Gudrun Gut in 1996, she is one of the formative figures of the Berlin club and music scene after the boom of the Neue Deutsche Welle.

 
The exhibition "Pandora laughs" is dedicated to Danielle de Picciotto as a painter and drawer. Visual art is an independent medium in the interdisciplinary work of the internationally successful musician, performance artist, filmmaker and lyricist, but like the other genres, it can only be fully understood in its overall context. In addition to drawings and paintings from various creative phases, the silent film "Crossroads" (2017) and original sheets from one of her graphic novels, "We are Gypsies Now" (2013), are therefore part of the exhibition. Both provide insights into her life as a nomad from 2010 until the start of the coronavirus pandemic.

 

Danielle de Picciotto's artistic work is characterised in particular by working out of the process, experimenting with overlapping materials and layers and a love of storytelling. A guiding source of inspiration is her curiosity for the regions between the inner and outer edges of the collective psyche. Who is the individual "I" and who makes it what it is, what I AM: family expectations, cultural rules, social and moral taboos? And: does this question become more explosive when it comes from the mouth of a woman?

 

Since the 2000s, de Picciotto has increasingly combined her detailed ink drawings in black and white with colourful surrealist painting. Layers become stories and intermediate worlds. On the one hand, the results are reminiscent of the visual culture of Pop Surrealism, which was inspired by psychedelic music, comics and anime, among other things, and emerged beyond the established gallery and museum scene. On the other hand, their subliminal humour, the play with magical ideas, hybrid creatures and animals show similarities to works by surrealists such as Leonora Carrington.

 

De Picciotto's references to female figures from fairy tales and myths as well as quotations of symbolically erotically charged objects such as crowns, veils, daggers, flowers, birds and cages place her works in the context of debates about female identity and the violence of role models, but retain their independence by focussing on individual themes such as longings, doubts and fantasies. — Pandora laughs and her laughter is rebellion.

 

About the artist 

Danielle de Picciotto's works are exhibited internationally, including the Staatsgalerie Stuttgart, IMOCA Indianapolis Museum of Modern Art, London Museum of Art, ACMI Museum, Melbourne, Film Museum Frankfurt a.M., Institut de Cultura, Barcelona and Centre Pompidou, Malaga. She has produced several films with her animated drawings for the Deutsches Auswärtiges Amt. In 2023, she was honoured with the Poetic Lens Award for her poetic video "Awake" in Eugene, Oregon, USA. In 2019, she toured North America as a spoken word solo artist represented by the Goethe Institute. She has produced three film documentaries: "neubauten.org, Die Tour 2004", "How Long is Now" and "The Art of Lary 7" as well as the silent film "Crossroads". Danielle de Picciotto has been working with Alexander Hacke (Einstürzende Neubauten) on music productions and stage shows since 2001. Since then they have been touring the world with their band hackedepicciotto and have been married since 2006. Since 1990, the artist has recorded a total of 16 albums with Mick Harvey (Nick Cave & The Bad Seeds), Monika Werkstatt, Gudrun Gut and Crime & The City Solution, among others.

Danielle de Picciotto in conversation with Marion Brasch on radioeins | 22.04.2024

Danielle de Picciotto, feinartberlin, radioeins, radio, ausstellung, berlin, interview

15.03.-18.04.2024

Wanderjahre

Louis G.N. Busman

Louis, Busman, painting, landscape, travelling, Wanderjahre, feinart berlin, 2024

Finissage
Thursday, 18.04. 18:00-21:00

Louis George Nicolas Busman was born 80 years ago in Maarssen, the Netherlands. "You always want to get away in order to come home again", the art historian, writer and critic Dr. Olav Münzberg quoted him in 1991 in the foreword to a catalogue entitled "Excursions". A modest title, because perhaps nothing has shaped Louis G.N. Busman's life more than travelling: Europe from Italy to Norway, from England to Hungary; Argentina, Chile and Peru, Panama, Guatemala, Mexico, USA, Canada, Japan, Hong-Kong, Thailand, Lebanon, Namibia, Morocco. 

In the year of the tenth anniversary of his death, the exhibition "Wanderjahre" (English "Travelling Years") is dedicated to the landscapes of this passionate painter. The various faces of his landscape paintings symbolise a longing for faraway places, adventure and freedom, but also something deeply inward and peaceful. As the eye wanders into a landscape, so it returns — "a cycle", writes Louis G.N. Busman. What does landscape mean to him? "Being able to take a deep breath." In every landscape there is a sense of wonder at existence and, on the other hand, introspection: "Point of self. Point of calm. Point of observation. Point of existence." The painter is included in his work by feeling and thinking.(1)


What does the viewer see in a water-soaked marshland full of lush tufts of drunken green grass (Esteros del Iberá, 2011), what do we hear in the spray-spitting surf that foams up in front of bare pebbles (West of British Columbia, 1997), what does the hollowed-out, fallow earth in the Lausitz open-cast mine smell like (Das Loch, 1991)? Louis G.N. Busman's paintings trace the sensual qualities of the natural environment, trying to grasp with colour and ductus what is as elementary as it is personal: light, freshness, dryness, coolness, the storm in the face, heat, thirst, loneliness, silence and noise. And it is always the viewer's gaze that flows into the body of a landscape.

"He is drawn into the world in order to find in the distant silence or in silent proximity that which touches his individual existence as a primal landscape. It is the elemental power of nature that he wants to feel, breathe, hear and see. He wants to discover the secret of its interior. That which has not been created by human hands and which it keeps hidden."(2)


Louis G.N. Busman, born in Maarssen, Netherlands, in 1944, studied at the Alkmaar Pedagogical Academy from 1960 to 1965 and, after a short period of teaching, at the Gerrit Rietveld Academy in Amsterdam from 1967. He moved to Berlin in 1971. He has been a member of the Verein Berliner Künstler since 1979, initiator of the group "Maler vor Ort" since 1986 and a member of the Deutscher Werkbund and Künstlersonderbund. In 2000 he was honoured with the ARAG Art Prize. His works are represented in numerous public and private collections, including the art collection of Queen Beatrix of the Netherlands. Louis G.N. Busman died in Berlin in 2014.

___________________

1 All quotations in the text from: Olav Münzberg. Rekonstruktionen eines Gefühls - Es gibt sowieso kein Jetzt - Bilder von Louis, in: Louis. Ausflüge, Berlin 1991, p. 5f.

2 Dr. Petra Lange about Louis G.N. Busman, in: Katalog ARAG-Kunstpreis 2000, S.2.

07.12. - 22.12.2023

Puppet Garden

Maria Wirth

"Flowery night, colourful darkness,
flourishing garden with fantasy fruits.
Bathing naked on the first day
and pray on the last.
Walk when the glass is full,
to places where you can only drink from springs.
Doll dreams and evening grey
Kiss lips like a butterfly.
To be born anew every morning."

MW, April 2023











07.09. - 28.10.2023

Zuflucht Sehnsucht

Michael Jastram

feinart berlin, Galerie, Berlin, contemporary art, sculpture, michael jastram, maria wirth, exhibition

The bronze sculptures by Michael Jastram, born in Berlin in 1953, show archaic-looking companions, female horsemen, warriors, goddesses, lonely drifters. They tell of man as an eternal traveller but also of his rationality and creative ability. Technical inventions let us overcome our physical limitations and dream of things that are still out of sight: Ladders, stairs, bridges, a boat, a wheeled cart. These ideas are as ancient as they are always wanting to be rediscovered in every human life. There is also something fateful in this image: man as driven and displaced.

"There is no substitute for travel. At home, others are the strangers; on the road, we are the strangers. Travelling requires exposing ourselves to risk, and we do it because strangeness is threatening but at the same time enticing." (Christoph Tannert 2018)

Michael Jastram's artistic commentary on society and politics is not provocative, not lurid but therefore by no means less effective. On the contrary, the political dimension in Michael Jastram's works is expressed in quiet tones: neither admonishing nor accusing and nevertheless, or perhaps precisely because of this, from a historically aware perspective with a broadened horizon into the future and the past.

Jastram's pictorial world is inhabited by beings and things that seem to come from a distant time. In addition to the aforementioned driving objects, we find huts on wheel frames, stilt houses and towers, then horses, bulls and today boats. Horses in particular are often in the company of women — proud riders. A reformulation of myths.The rich world of mythological and archetypal images feeds our imagination, it is about pausing, contemplating and imagining.Just as myths were told in antiquity, Jastram's sculptures invite us to search for the reason behind the mystery that shrouds their origins. Thus, the unbridled steed with its rider perhaps becomes a mirror of primal longings, a symbol of values such as pride, grace, freedom or reminds us of moments of solitude and introspection.

feinart berlin, gallery, berlin, modern art, lore kegel, exhibition, afrika, travels, painting, expressionism

27.07. - 31.08.2023

The painter Lore Kegel

Paintings of a cosmopolitan and Grande Dame of the Hamburg art scene (1901-1980)

Lore Kegel was one of the first women to study at the Düsseldorf Art Academy from 1919 to 1922. Living in Hamburg since the mid-1920s, the emancipated, adventurous woman made a lasting name for herself primarily as an art dealer and collector of non-European, especially African art — a passion that also deeply inspired her work as a painter and poet. 

 

Lore Kegel's life was marked by an inexhaustible curiosity for travels to foreign cultures, for their nature, people and crafts. As early as the early 1930s, she traveled to India, Tibet and Lapland, and after 1945 to Central Africa, South America, Southeast Asia and Egypt. Under the National Socialist government, she was excluded from the Reich Chamber of Culture because of her Jewish ancestors. During the war, she organized so-called „Kegel-Abende" in her house on the Eilenau until it was bombed in 1943, where artists, writers and humanities scholars regularly met. Important names of the art scene gathered around her, especially from the Hamburg Secession and with connections to the Berlin Brücke, including Friedrich Wield, Rolf Nesch, Emil Maetzel, and Richard Haizmann. 

 

The exhibition is dedicated to Lore Kegel as a painter and drawer. The lithographs, pastel and charcoal drawings on display date from 1962-72, an artistically productive period in which Kegel engaged not only with Central Africa (Congo, Gabon and Ecuador) but also with her travel impressions from South America (Machu Picchu, Andes, Bogota), Sri Lanka, India and Egypt (Abu Simbel). The expressionist, sometimes cubist or even futurist gesture of her paintings is in the spirit of the manifold approaches to the renewal of art and society, as they spread at the beginning of the 20th century. At this time, many artists were looking for the exotic to break away from tradition and to offer the promise of originality and naturalness. Lore Kegel, too, derives from her encounters with non-European worlds an astonishing richness of themes, captured in vital colors and with a practiced, dynamic hand. Especially from the abstracting condensation of natural and architectural motifs, but also from the depiction of masks of indigenous peoples, speaks her sense for the forces of the irrational, the magical and the imagination, which come alive in the encounter with the foreign. 

 

The convolute of drawings and lithographs by Lore Kegel is represented by the gallery in cooperation with the Hamburg collector couple Silke and Tim Tobeler, who administer the estate. 

10.06. - 20.07.2023

Michael Dressel

9 HOURS APART. Photography from Berlin and Los Angeles

The Life of Michael Dressel tells an extraordinary German-American artist's biography. Born in East Berlin in 1958, after a failed escape attempt and two years in the GDR penitentiary, he experiences a few short but intense years in the wild pre-wall fall West Berlin. Even before the fall of the Wall, he finds himself on the West Coast of the USA and makes Los Angeles his new home. There he works for years as a sound editor for numerous Hollywood films, some of which have won Oscars and Golden Reels for sound, including the last sixteen Clint Eastwood films, resulting in his appointment to the Oscar Academy. Throughout this time, he regularly commutes between the two metropolises - at home in both cities and equally familiar and foreign. 

Reflection on daily experience in the world of stars and Hollywood studios and awareness of their ultimate inadequacy played a special role in his photographic work from the beginning. How many people are there who came to Hollywood full of dreams and hopes and who now eke out an existence in the shadow of the "dream factories"? "On Hollywood Boulevard, the so-called "Walk of Fame", a never-ending spectacle full of tragic, comic, absurd and sometimes dangerous situations takes place. In this environment I find human scenarios that are often timeless and point beyond the concrete place." (MD) That Michael Dressel's work is often classified under the rubric of social documentary only incompletely captures his concern. Without question, social commentary cannot be separated from photographs of people, many of whom have been marginalized by poverty, illness, drugs, or strokes of fate. For Dressel, however, this is only the superficial first layer of his pictures. 

What makes a picture a good picture, he says, is the visualization of a more fundamental level that is effective and valid regardless of the place and time of the photograph, regardless of the class, race, origin, or age of those portrayed.  The exhibition pursues this idea and shows photographs from Berlin for the first time alongside the photographs from Hollywood and Los Angeles. The 9-hour time difference between the two cities represents more than just different time zones: "When I come to Germany, I often feel like I'm coming from a social future..."

Michael Dressel in an interview with Annette Riedel at Deutschlandfunk Kultur (in German) | 11.07.2023

Michael Dressel, Deutschlandfunk Kultur, Berlin, Radio, interview, Annette Riedel, feinartberlin, gallery, photography

Michael Dressel in an interview with Silke Super at radioeins (in German) | 04.07.2023

Michael Dressel, feinart berlin, gallery, berlin, radioeins, exhibition, photography, los angeles

27.04. - 06.06.2023

S O I L

Christine Jackob-Marks

About the exhibition
The English word soil summarizes themes that characterize the entire creative path of Christine Jackob-Marks: the ground, the earth (world, planet), the cause; to soil: to pollute, contaminate, sully. The exhibition focuses on one of the painter's guiding genres, the landscape in transition from the 1980s to the current series of works. In particular, the assaulted, threatened landscape, where something is at stake, is representative of her exploration of the threats to the natural world that is our home and condition of life. In doing so, the artist demonstrates sensitivity to a special, contradictory beauty of nature, which unfolds incomparably fascinating, bizarre and imaginative color games not despite but precisely in processes of withering and decay. After all, isn't it the abysmal and the ugly that the actual igniting power for change and innovation lies in, while pure beauty only knows complacency? 

If one compares Christine Jackob-Marks' works of recent years with earlier works on nudes, landscapes, still lifes, and animal portraits, one can describe a turning away from representational depiction. Significantly, the painter does not understand this in any way as a turn to abstraction. Quite the contrary: anyone following her artistic development will find, especially in the landscape-related paintings, a progressive intensification of essential thoughts that accompany the entire oeuvre. The driving questions such as "where do I come from?", "why am I in the world?", "what is the unity of the cosmos?" testify to an incessant search for the essence of being and refuse any simple solution. If Dr. Peter Raue saw in Jackob-Marks' paintings the "loss of the innocence of the landscape", today in them the guilt and innocence of color, form and ductus as well as of the painting process itself seem to be put up for negotiation. This would be the logical culmination of the credo described by the artist: "destroy what is seen because it is not really what is seen; there is another reality behind it." 

A look at Jackob-Marks' path since her exhibition debut in Berlin in 1984 makes one aware that her artistic "keynote" has always remained the same through all variations of motifs and execution. Just as in Faust the search for what holds the world together at its core seems inseparable from the seduction of evil, so she repeatedly reaches out to doubt and the unfamiliar to advance her artistic work. "I am the painting," she says, leaving us to wonder if her artistic path itself is the answer.

09.03. - 20.04.2023

Thomas Kleemann

Fortsetzung einer Wiese

The illusionistic power inherent in the works of Thomas Kleemann allows spaces made up of architectural and landscape elements to emerge before the eyes of the beholder. Formulated in a polyperspective and three-dimensional manner, often built up with silicon carbide and pasty binder paint, they almost appear walkable and touchable: tunnels, stairs, ruins, walls, in between colored areas of light yellow, cobalt blue or red-orange, then a shore, a cliff. The meaning of these things, or: witnesses of the visible world, remains enigmatic and feeds our imagination. This makes Kleemann's pictorial worlds autonomous and inexhaustible. Resisting the separation of abstraction and realism, the artist follows the approach of thinking everything in terms of painting, that is, developing pictorial spaces out of the inherent logic of form and color. For the viewer, both self-sufficient space and time are opened up into which he can enter. — What is behind the surface of reality? Nothing maybe. Maybe everything.

Thomas Kleemann, born in Geesthacht in 1954, completed his studies at the Berlin University of the Arts as a master student under Johannes Geccelli. In 1983 he received a scholarship from the German Academy in Rome Villa Massimo, Casa Baldi, and from 1986 to 1988 the Karl-Hofer-Gesellschaft. He has been a freelance artist since 1985 and lives and works in Berlin and Melz/ Müritz. Kleemann has numerous exhibitions in well-known art associations, galleries and museums in Berlin, Hamburg, Potsdam, Düsseldorf, Saarbrücken, Mannheim, Dresden, Kiel, Munich, among others, e.g. solo exhibitions in the Ostholstein Museum Eutin, Kulturforum Villa Oppenheim Berlin or Rosenhang Museum Weilburg. His works can be found in public and private collections in over 20 countries, including the Berlinische Galerie, Kupferstichkabinett, Staatliche Museen zu Berlin, Daimler Art Collection Berlin, the Schleswig-Holstein Ministry of Culture and the Bürgergalerie in Kiel.

26.01. - 02.03.2023

GRAPHICS

Wolfgang Petrick - Ulrich Reimkasten - Mathias Roloff

"Drawing creates an artist's reservoir, it is his breathing." (Ulrich Reimkasten) — In the execution of a line on white paper, sensations, figures, motifs are formulated, comparable to thoughts when struggling for words. Again and again placed in an origin of nothing, drawing is a search and self-reflection. At the same time, it always demands a confrontation with reality as a "model" in the transfer from the eyes to the artist's hands. These reflections on drawing inspire this exhibition. The juxtaposition of Wolfgang Petrick, Ulrich Reimkasten and Mathias Roloff gives it an art-historical depth, because artist personalities from three generations with three fundamentally different "German-German" biographies meet here:
 
WOLFGANG PETRICK, born in Berlin-Neukölln in 1939, lived in Ludwigsfelde from the age of three and a half to twelve and returned to West Berlin in 1951. Here he made his way as one of Berlin's renowned painters and object artists, and from 1975 to 2007 as a professor at the Hochschule der Bildenden Künste.
ULRICH REIMKASTEN, born in 1953 in Lichtenstein (Saxony) and from 1995 to 2018 professor for painting and textile arts at the Halle Art Academy Burg Giebichenstein, proved himself to be a stubborn cosmopolitan even as a student and working artist in the GDR.
MATHIAS ROLOFF was born in East Berlin in 1979 and grew up there and represents the artists of a generation that grew up in the reunified Germany in their youth. From 2000 he studied painting and graphics at the Berlin University of the Arts, in 2006 he completed his master class with Volker Stelzmann.
 
The graphics shown in the exhibition encompass a wide variety of materials and techniques, from classic pencil drawing, screen printing and etching to photogravure, text-image collage and the integration of digital pigment prints to finger drawings with clay or the ink of mushrooms.

 

Background information on the artists and the works on display
 
 WOLFGANG PETRICK began his artistic career in the 1950s surrounded by teachers who were close to the Bauhaus, Abstract Expressionism, Surrealism, gestural painting and Art Brut. In addition to 15 other Berlin artists, including Karl Horst Hödicke and Markus Lüpertz, he was a founding member of the exhibition group "Großgörschen 35" in 1964, which strived for independence from institutionalized market strategies. In contrast to the established trends, Petrick together with Hans-Jürgen Diehl and Peter Sorge founded the „Critical Realism, which had set itself the goal of doing away with the narrow-mindedness and the constraints of German post-war society" (Harald Falckenberg). Although Petrick distanced himself from this project in the late 1970s, a lasting statement on the task of "realistic" art is preserved in it: the appeal to the artist to reflect on the upheavals and crises of his time, on the changes and deformations affecting the individual as well as affecting society. Even as a young artist, he worked intensively on the Prinzhorn Collection, one of the most comprehensive collections of art by the mentally ill. The importance of his artistic work in this context got acknowledgement in 2011 with his participation in the exhibition “From Kirchner to today. Artists react to the Prinzhorn Collection”. For Alexander Tolnay, in Petrick we encounter "conditions of a world suffering from banalities and increasing violence" (ibid.), although in the intense, charged images so many things are voiced that are worrying — globalization, asylum, genetic engineering, economic crises, disciplining of the mind and body, self-optimization, hopes, longings, fears, impacts, decay — one only fully follows them if one understands that there is a peculiar charm in everything inedible, uncomfortable: the "poetry of enigmatic things that preserve the memory of something, that once had a meaning for the people” (quoted from Wolfgang Petrick, ibid.), because it was the aesthetics and the intelligence of the people that created these things.
>> Visit profile in the feinart portal

ULRICH REIMKASTEN began his artistic career with training as a pattern and textile draftsman and early involvement with textile art and ornamentation from various high cultures, especially with Near Eastern carpets. In 1974 he graduated as a textile designer from the University of Applied Sciences in Schneeberg (Erzgebirge). After graduating from Burg Giebichenstein in 1980, he worked as a freelance artist in Berlin. From 1985 to 1988 he was a master student at the GDR Academy of Arts under Herbert Sandberg. In the SEPIA Institute for Textile Arts, an institute affiliated with Burg Giebichenstein, which Reimkasten founded in 2010, his lifelong efforts to preserve and further develop the textile arts, especially tapestries, continue to have an effect.
 Already in the early independent drawings of the 1980s (selection in the exhibition), Reimkasten refuses the socialist ideal of "realistic" representation, according to which art has to flatter an exemplary reality or ideology. His drawings result in "lethal encounters between animals and humans" (Alexander Haeder, in: Drawings. Tapestry. Painting. Ulrich Reimkasten, 2005), it's about turmoil, eroticism, procreation, mortality and the latently endangered balance between humans, nature and history. Long before intensively dealing with paleolithic cave drawings (1992-96 trips to France and Spain) and the life of indigenous people (from 1996 four trips to the Tarahumara, Sierra Madre, Mexico), the artist undertook experiments with self-made painting materials, for example stains from natural substances and dissolved quartz and stone flour, clay or even the ink of mushrooms. His love of materiality and compaction of the picture layers shows parallels to Wolfgang Petrick. Notes/text messages, quotations from prehistoric iconographies or ornamentally intertwined people and animals are hidden under the upper “skin” of the graphics. Reimkasten sets topics such as the artificialization of the world and the progressive regulation of nature and people in modern times in relation to universal myths and the idea of a genetic linkage of culture and nature. "Ultimately, what interests me is the unnatural, the unnaturalness of our world." (Ulrich Reimkasten)
>> Visit profile in the feinart portal

While studying painting and graphics at the Berlin University of the Fine Arts (2000-2006), MATHIAS ROLOFF developed a special interest in the painting traditions of Flemish-Dutch landscape and still life painting of the 16th and 17th centuries and Mannerism and, at first sight in contrast, Paul Klee's theory of the abstraction of color fields and magic squares. His mature style finalizes the connection and further development of these traditional lines in the confrontation with surrealistic principles: the construction of dystopian, fantastic worlds and the rejection of the normal dimension of time and space. Instead, it seems to be about inventing a world somewhere between reality and dreams, maybe even inventing new myths? — In 2002, Roloff worked as an assistant for stage design at the Berlin State Opera. In this context, Christoph Tannert speaks of “thinking and creating out of the color, out of the material” while always giving the figurative a chance (in: Alles muss in der Luft stehen. Mathias Roloff, 2020). The exhibition features graphics from series of works that show compositions of human figures, their gestures, movements and interactions. The figures are often so condensed that the line of movement of one seems to create the contours of all the others. They form their own changing Gestalt. Perhaps this reflects the "dependencies to which the human individual is subject in his actions", external influences and one's own values — a topic that keeps occupying the artist and which calls to mind the explosive nature of the uncertainty of categories such as identity, truth and future, which are being pushed further by digitalization and globalization in the 21st century.
>> Visit profile in the feinart portal

01.12.2022 - 19.01.2023

Sibyl smile

C.D. Aschaffenburg and Maria Wirth

If works of art had a smile, it would often be a Sibyllic one. Sibyls, the seers of ancient Greek mythology, only answered the questions about the weal and woe of fate with hints or riddles and sometimes dismissed their guests with the ambiguity of a mere smile. Her profession was no  clarification or explanation. Rather, they handed the responsibility of thinking and interpreting directly (like a mirror?) back to those seeking advice.
 
The reference to this ancient motif emphasizes an essential common endeavor of the two artists in the exhibition, namely raising questions or not allowing them to rest, i.e. stimulating the desire to ask questions instead of answering them, combined with the fascination for everything mysterious , ambiguous, absurd in the being and thinking of man.

The experimental film artist and painter C.D. Aschaffenburg (*1953) realizes this idea in a special combination of contemporary magic realism and experiments in the field of expanded painting. His condensed pictorial compositions, linked here and there with quotations from art history from ancient mythology to classical modernism, unfold ambiguous worlds full of fantasy, wit and irony.

The paintings by the artist Maria Wirth (*1987) are inspired by ancient mythologies and surrealistic ideas, but always circling the border between abstraction and representation, confronted with substances of an own "logic" such as shellac, glue, ash and plant materials. Femininity, corporeality, intimacy and crossing over human(istic) and animal identity categories are among the central themes of her artistic work.

Every smile is a possible re-enchantment of the world.
Every smile is seduction and at the same time wanting to be seduced.
Every smile is a proof of the irredeemability of the hope for the unequivocal truth.
Every work of art is a potential smile.

GALLERY VISIT
Virtual tour trough the exhibition „Sibyl smile“ with C.D. Aschaffenburg and Maria Wirth in the Galerie feinart berlin as a 360 degree panorama

Presented by: ART@Berlin

13.10. - 24.11.2022

Umgepflügte Zeit

Elisabeth Störmer-Hemmelgarn

How could a “plowed time” ("Umgepflügte Zeit") be imagined? Would that mean tearing past, present and future out of order, dismembering them and throwing them out in pieces to see what would emerge here? Does this mean: timelessness, a stop in the cycle of growth and decay? The works of the painter Elisabeth Störmer-Hemmelgarn lead us to dilapidated buildings, embedded in a wild nature: old church vaults, ruins, abandoned factories, mills, garden sheds, a colony of decomposed beach chairs by the sea. We also see vast poetic landscapes and skies that seem to be made solely for the grandeur of clouds. With a few exceptions, the images are deserted. But not humanless, because in every lonely building, yes, every rusty tool we encounter the legacy of a person. Long past their prime, these leftover architectures and implements still echo the voices that once worked here. What thrives and blossoms in their place is nature. She takes back the place that was taken from her and contrasts her indestructible beauty with the disappearance of culture. 

Light plays a special role in all paintings. "There isn't an interior work by Elisabeth Störmer-Hemmelgarn in which a window, a door, a gate, a passage doesn't open and let in light: radiant, glistening, flooding, friendly light".(1) Whether bursting out behind high cloud mountains, plunging a forest clearing into the soft dawn of day, or throwing fields of sunshine through an attic hatch — the light always comes from beyond the pictorial space, becoming invitation, promise, foreshadowing, and mystery.

  • (1) Edda Bosse, Introduction for the exhibition „Bilder von Gedeih und Verderb — 20 Jahre Malerei von Elisabeth Störmer-Hemmelgarn“, Overbeck Foundation 


Elisabeth Störmer-Hemmelgarn (*1948)
1968-1973 Graphic studies at Staatliche Hochschule für Bildende Künste Berlin | 1973-1976 Studies at Pädagogische Hochschule Berlin | 1976-1980 Teacher of fine arts and biology in Berlin | Since 1980 freelance painter | 1980-1997 Member of BBK | 1989-2004 Member of the artist group "Maler vor Ort", an association of the seven Berlin painters and sculptors Matthias Koeppel, Ernst Leonhardt, Hans Beyermann, Falko Hamm, Louis, Kornelius Wilkens and Elisabeth Störmer-Hemmelgarn | 1990 Admission to the VBK as the first female member since 1841 | 1994-2001 Member of Künstlersonderbund Deutschland, contemporary realism | 1996-1998 First chairman of Künstlersonderbund | 2018 Establishment of the Elisabeth Störmer-Hemmelgarn Foundation as part of the Stadtmuseum Berlin Foundation

Elisabeth Störmer-Hemmelgarn at TAGESSPIEGEL, Edition 19.11.2022/ Section MEHR BERLIN

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?

>> 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

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)

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

18.11. - 16.12.2021 | extended until 29.01.2022

Wish Machines - Maria Wirth

“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


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.

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

Lecture by 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.

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.

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.

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.

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.

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.

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.