Artists of the exhibitions

Mark Harrington "Old and new dreams" | 15.3.-18.4.2026

The exhibition by Mark Harrington at augsburg contemporary is an opportunity to present a conversation between large-scale paintings made in Norway and Germany during the past thirty years. 

A recurring strategy of Mark Harrington´s work is the use of diptychs, also multi-panel polyptych structures, which employ asymmetry and contrast in pursuit of unity. Paintings of the Nineties, made with oil on gesso, were scored with a multitude of narrow lines, markings that were physically embedded in the wet rapidly-applied gesso. When dry, the engraved gesso was flooded with mixtures of high-density pigment and oil, deepening a tonal contrast between upper and lower areas of the grooved plane. The gesso paintings are monochromatic, varying in saturation. Drying time imposed limits on drawing into the wet surface, with self-made tools, an approach, and pressure-element, in building the ground that has persisted until the present. Harrington´s decision in 2000 to adopt acrylic materials initiated other dynamics between drawing and the field of the painting. The structure of drawing within a more open surface area, and the eventual introduction of lines as multi-tonal veins of color, increased the options of a language of linearity in pictorial space.

Inge Gutbrod "Orte des Lichts" | 25.1.-7.3.2026

The installation by Inge Gutbrod at augsburg contemporary consists of thick-walled, dyed wax tubes of varying lengths and diameters. Precisely cast, each is illuminated by an opaque LED light resting simply on a glass dome. Some cylinders stand upright, some lie down, and some are propped against the wall, their interiors filled with a shimmering light that diffuses outwards. The black cables of the lighting are visible and deliberately laid on the floor, meandering like a kind of drawing. The colored glow of the objects creates a sense of mystery, even though the artist so crudely exposes the technique. She calls this installation "light-soaked," and indeed, the objects are so saturated with light that the colors appear charged with a uniform energy. One sees the structure of the cast wax, the thickenings and streaks that resulted from the casting process, gaining a sense of the material's robust physicality, and the colored light expands into the room. The different wax cylinders are color-coordinated, creating a harmonious palette that bathes the exhibition space in a unique, intense, and inviting light. The exhibition is complemented by colored wax panels mounted on the wall.

"Das gelbe Zelt" | 30.11.25- 17.1.26

augsburg contemporary showed 48 contemporary international positions* of the visual arts (China, Denmark, Germany, Greece, Ukraine, Malaysia, the Netherlands, Sweden, and the USA) are united in a single 20-square-meter space. The tent, the primal form of dwelling, conveys the impression of a house, offering space and protection. Yet it remains fragile, with only limited security, no stable walls, and no permanence. The thin fabric covering creates a unique space, a transitional area between inside and outside. Thus, the exhibition becomes a symbol of hope and confidence in these dark times, its light shining through the gallery's large window out into the world.*Dagmar Amling, Anja Behrens, Oliver Braig, Albert Coers, Claudia Desgranges, Isabelle Dyckerhoff, Christian Frosch, Inge Gutbrod, Anja Güthoff, Zita Habarta, Zandra Harms, Mark Harrington, Reiner Heidorn, Thomas Hellinger, Angelika Hoegerl, Bettina Hutschek, Karen Irmer, Inge Jakobsen, Trisha Kanellopoulos, Liu Ke, Andreas Kocks, Oleksiy Koval, Anna Maria Kursawe, Elvira Lantenhammer, Florian Lechner, Carolin Leyck, Zhou Li, Lodtalad, A. Paola Neumann, Ursula Oberhauser, Jürgen Paas, Marc Peschke, Artemis Potamianou, Esther Pschibul, Ivo Ringe, Gabriele Schade-Hasenberg, Katharina Schellenberger, Kirk Sora, Angela Stauber, Jaee Tee, Doris Titze, Iemke van Dijk, Veronika Veit, Maria Wallenstal-Schoenberg, Veronika Wenger, Thomas Wunsch, Tang Xiao, Gong Xuyao

RHYTHM SECTION X / 28.9.-8.11. 2025 (Albert Coers DE, Iemke van Dijk NL, Liu Ke CN, Oleksiy Koval UA, Zhou Li CN, Lodtalad CN, Artemis Potamianou GR, Veronika Wenger DE, Tang Xiao CN, Gong Xuyao CN). Five artists from China and five artists from Europe are presenting their latest works on the theme of rhythm in visual art. "Not being limited by the greatest and yet being enclosed by the smallest" is a definition that encapsulates the project of this group of artists. Rhythm SectionThe essential core that unites the artists of the Rhythm Section group in their work is their reflection on rhythm as an inherent constant. A clear understanding of rhythm allows for an infinite variety of individual variations. Rhythm Section is a platform for artists interested in exchanging ideas on the topic of rhythm in the visual arts. Rhythm Section comprises not only visual artists working in installation, drawing, video, sculpture, painting, and digital art, to name just a few, but also art critics, theorists, philosophers, and teachers of rhythm and movement. Alongside group exhibitions, Rhythm Section organizes artist talks, lectures, and symposia on the topic of rhythm in the visual arts.

Oliver Braig “summertime sadness” / 20.7.-23.8.2025

The art of Oliver Braig is characterized by a playful approach to words, meanings, and materials, the sensual appeal of surfaces, and a subtle irony. He developed works specifically for this exhibition and installed them in relation to this one space. Large, almost dramatic content, HOPE, LESS, MESS, AGE The meager forms, sculpted in cardboard and piled up the wall, meet high-end surfaces that appear deep but are in fact completely flat. Influenced by minimal and conceptual art, Braig creates a sensual art form that questions social norms and systems. He confronts viewers with surprising shifts in perspective, precisely creating space for their own interpretations. It's supposed to be a hot summer, and the "summertime sadness“. Gently but firmly take possession of the visitors. Swoosh!”

PAPER PROUD – a Mail Art project by Detel Aurand and Isabelle Dyckerhoff / 16.6.–12.7.2025

Mail Art as an artistic exchange: How to stay in touch when you no longer live in the same place? When you can't travel, as in pandemic times? The artists Detel Aurand and Isabelle Dyckerhoff. They have dedicated themselves to art via mail and collaboration, developing a series of works on Mail Art: a silent conversation on paper that, parallel to their own artistic practice, brings with it different approaches and challenges. Mail Art was a means of communication across borders in Eastern Europe during the Cold War and an artistic element for On Kawara, Ray Johnson and Robert Rehfeldt.

With PAPER PROUD Detel Aurand and Isabelle Dyckerhoff are reviving this form of communication and drawing attention to the importance of paper and media such as daily newspapers. Their collaboration began in 2013: For one month, the artists each edited the front page of the daily newspaper in the city they were currently in and sent it by mail to the other, who then further developed it. In 2013, this resulted in 29 front pages with the Süddeutsche Zeitung and the Tagesspiegel for PAPER PROUD#1. In February 2015, for PAPER PROUD #2, they created 28 pages with the New York Times and the Tagesspiegel. PAPER PROUD #3 followed in June 2015 between Berlin and Reykjavik. PAPER PROUD #4, the most recent exchange by mail between Berlin and Jochberg, Austria, was created in 2021.

Isabelle Dyckerhoff >>repeat<< / 27.4.-7.6. 2025

What are repetitions? What is a series? What is serial? Are these even the right words for works that begin with the same or similar painterly means and gestures, and when, moreover, these individual works become a series? Or is "repeat" rather the "questioning, searching, cautious approach, process-oriented work," that "art exists not only in the finished work, but above all in the process?" (Joerg Staeger). The exhibition presented works by Isabelle Dyckerhoff that explore this question.

Christian Frosch "Showcase Malereiforschung" / 16.3.-19.4.25

For 25 years, Christian Frosch´s work has focused on documenting all processes, tools, and materials involved in the painting process. The studio becomes a laboratory, a place where structured thinking, experimental image creation, and alchemical play converge. Finding new concepts and testing them in standardized procedures and experimental setups define his artistic practice. Some of these investigations and experiments culminate in series of works. For the exhibition "Showcase Painting Research" at augsburg contemporary, for example, colored ice cubes melted onto paper, sponges filled with paint flew, and a standard household robotic vacuum cleaner became a painting assistant.

Frosch (born 1968) lives and works in Munich and Greifswald. He holds the chair for painting, drawing, space, and interdisciplinary strategies at the Caspar David Friedrich Institute of the University of Greifswald. His works are part of public and private collections.

Esther Irina Pschibul "Lächle noch" / 2.2.-8.3.2025

In the artistic work of Esther Irina Pschibul the focus is on the human being, and in particular the human figure. Pschibul's artistic research explores the tension between the body, the space that surrounds it, and its inherent emotional state. This field is deconstructed at augsburg contemporary. Visitors encounter traces of human emotion, indifference, and destructiveness; disembodied space and autonomous form. The artist expresses herself impulsively and conceptually, taking a stand. With her drawn line language, small, sharp-edged ceramics, and a large textile wall installation, she responds to political and future events.

Sebastian Bühler "Parking - structures and shapes" / 10.11.-14.12.24

Where others go on, stays Sebastian Bühler. He stands, looks closely, and discovers the allure of imperfection. He gently focuses on the damaged, which we are usually accustomed to ignoring, and photographs it with care and respect. He reveals what was previously hidden and shows that beauty can be found even in destruction. Sebastian Bühler conveys not only a new perspective on the surface, but also on what lies beneath, and above all, on ourselves.

Jürgen Paas "STRANGE KIND OF COLORS" / 22.9.- 26.10.2024

In the new series of works »JUKEBOX" and "TARGET" from Jürgen Paas the installed wall and floor objects are reduced to the elementary formal language of line, circle, and square. Composed on the one hand of spirally wound ribbons of color, and on the other hand of vertical stripes, they only reveal their multifaceted visual experience to us as we walk around them or pass by. Differently arranged colored stripes allow the viewer to gain insights by comparing the individual objects, insights that stem from the selection of colors and their interaction. Optical color mixing and the apparent rotation of the objects are reminiscent of kinetic art, but the arrangement of various superimposed forms in the wall installations goes far beyond this. The complexity of these installations relates to the overall perception of the space and influences the viewing experience through their constellation and the respective perspective adopted by the viewer as they pass by. Mounted at a distance from the wall and under the right lighting conditions, the objects appear to float above the background, thus reinforcing the imaginary rotation. In the objects of the vertically spaced stripes, the preceding color reflects the following one, influencing the quality and intensity of the color effect.

Anja Behrens und Anna Maria Kursawe "Die Intensität der Orte – Strömung und Abstraktion" / 28.7.-31.8.2024

The work of Anja Behrens and Anna-Maria Kursawe explores the expressive power of landscapes under the influence of their specific characteristics and the unique light of each location. They capture the contrasting moods of the North and South. The exhibition juxtaposes Arctic interpretations of nature with Mediterranean cityscapes. By comparing the different perspectives and modes of expression of the two artists—the Nordic flow of nature versus the Southern abstraction—the intensity and formative power of places are revealed.

Claudia Desgranges und Angelika Hoegerl "Schnittstellen" / 16.6.-20.7.2024

Claudia Desgranges (*1953, lives and works in Cologne) is influenced in her painting by Abstract Expressionism, Color Field painting, and American Minimalism. The support for her works is aluminum, which, held invisibly at a distance, appears to float flat on the exhibition walls. The surface shimmers with metallic reflections through delicate layers of paint, unfolding its own unique interplay of light and color. 'Time Strips' and 'Composite Paintings' are among Claudia Desgranges' most distinctive series. In her Time Strips, Desgranges composes oscillating color sequences and empty spaces that appear more planar or staccato, depending on her mood. In the Composite Paintings, the artist brings together two or more painted aluminum plates to form a single composition. The varying distances of the plates from the wall emphasize the depth of the works and their object-like quality. The 'Rough Cuts' series, shown at augsburg contemporary, consists of individual "color cuts" that are assembled into a composition. Simply through the glazing layering of a few very broad, continuous brushstrokes, the paint itself generates a wealth of the finest color modulations and contrasts such as light-dark, luminous-dull, warm-cold. The almost monochromatic surfaces appear floating, infinite, and immaterial. They function as a colorful overall composition, but also as individual images, creating contrasting associations such as proximity and distance, transience and movement, presence and infinity.

The works of Angelika Hoegerl (*1962, lives and works in Utting am Ammersee) is characterized by a geometric formal language based on an intensive study of historical architectural plans, particularly the floor plans of Gothic cathedrals. She explores the fundamental principles of vault construction by analyzing the systems of rib vaults, thus revealing the architectural "essences" of our building history. She modifies and combines various rib structures and vault intersections, extracted from floor plans, into wall reliefs. In her more recent work, she connects the essential elements of medieval vault architecture with the modern structural designs of the Italian architect Pier Luigi Nervi. She primarily achieves the lightness of these space-defining elements with textile materials, which she uses to clad and encase her architectural structures. Materials such as imitation leather car headliner meet light blue velvet, or roofing felt is combined with glossy lining fabrics. Another textile material she uses is transparent organza silk in delicate shades, which she employs much like architects' tracing paper, creating multiple layers of floor plan drawings on it, thus establishing an additional genre in her work. The visible overlapping of the drawing and the fabric fibers results in a moiré effect, which also creates a three-dimensional effect from certain perspectives.

Oleksiy Koval "The Big Easy" / 5.5.-8.6.2024

Painting is the application of color(s) to a surface using the hand or any tool. That is to say, a painter deals with color, surface, and movement. Countless color systems are now known, and even the division of the surface has become a science, but the movement involved in painting remains "an unexplored forest." The movements in the sequence of time and in the juxtaposition of the surface have been and remain my guiding principles in painting to this day. At 17, I wasn't quite aware of this yet, but I experienced the rhythm of applying colors intensely for the first time. In my mid-twenties, I realized that rhythm gives form to the application of color. ... Rhythm brings the primary qualities of painting to the fore. If the rhythm of the color on the surface is right, the painting is right. I have color and a surface in front of me. I apply the color to the surface and get 1, 2, or 8. I paint until I have conquered the surface! From: Ping Pong. Oleksiy Koval in an interview with Selima Niggl, in: Oleksiy Koval, Acht, 2023.

Daniel Man "between thoughts" / 17.3.-20.4.2024

Daniel Man's work is influenced by the traditions of Chinese culture. He combines them with contemporary forms of expression such as graffiti and the attitudes of contemporary art. His works are an ode to the connection between past and present, between Eastern philosophy and Western aesthetics. Both his canvas and paper works can be seen as a study of the duality of the human mind, which Man allows to emerge spontaneously in a reciprocal process, without any pre-planning. They contain moments of calm and restlessness, chaos and order, manifesting themselves in a constant dance between thoughts. In his execution, Man often goes beyond the canvas, integrating paper cutouts and painted walls and ceilings of the exhibition space. Such a work can only be grasped by walking through it. It thus represents a bridge to Chinese scroll paintings, in which the act of exploring the landscape through sight is essential. This artistic fusion of surface and space creates an immersive experience, inviting the viewer to delve into the world between thoughts. Inspired by the words of the American poet Wendell Berry, who said, "(...) When we no longer know what to do, we have come to our real work and when we no longer know which way to go, we have begun our real journey. (...)", Daniel Man's art allows us to recognize that true insight often lies in the spaces between thoughts. It is in this space between thoughts that we can find a deep connection to our innermost selves and to the world around us. "Between Thoughts" is not just an exhibition of images, but a place for reflection and contemplation. It is an invitation to open the mind and explore the beauty and complexity of the world that lies between thoughts.

Bettina Hutschek "TYPEWRITTEN" / 21.1.-2.3.2024

With the exhibition “TYPEWRITTEN" shows Bettina Hutschek a cross-section of typewritten works created over more than 20 years. Thus, the series “UTE“(2002) Dream images with influences from news reports, family memories and concrete poetry; in “Maltese Proverbs“ (2013) the artist visualizes proverbs; and in her latest series “Typewritings“(2022-24) she combines collage elements with typewritten text, using the elements of image and text in a humorous and experimental way. In a specially for Augsburg Contemporary In her installation featuring wall drawings, Bettina Hutschek presents works on paper and artist's books. Hutschek is an artist and filmmaker whose work explores questions of historiography. She examines narratives, forms of knowledge transmission, and the influence of images and language on collective experience. In doing so, she develops often complex artistic analyses of contemporary phenomena, creating imaginary worlds and narratives of "expanded history."

Artists of the exhibition "Überlagerungen" / 26.11.-23.12.2023

Katharina Schellenberger reworks found objects, placing the old in a new context. This approach also characterizes the "Documentas" series. It originated, in a sense, from a "byproduct." On the documenta 15 (2022) Katharina Schellenberger observed how an artist used the shared “lumbung press“She made prints and sorted out some sheets. Schellenberger inquired and was allowed to take the misprints for further use. The artist used them as a support for a series of 15 expressive drawings, for which she rubbed oil paints directly onto the paper with her fingers. As with other series, she worked without preliminary sketches or templates. The additional challenge that Schellenberger set for herself with the “Documentas“Her self-imposed challenge was to rework each sheet with the greatest possible variation using a few carefully chosen techniques. The works on paper can be viewed individually, but also function as parts of a narrative. Katharina Schellenberger (born 1978 in Schweinfurt) lives and works in Munich and Landsberg am Lech. She studied painting for two years at the Accademia di Belle Arti in Rome. Her works have been exhibited in Germany, Denmark, and Austria, among other countries. She participated as a guest artist in Bolivia's national pavilion at the last Venice Biennale.”

Maria Wallenstål-Schoenberg applies paint to her watercolors in glazed layers, achieving a special luminosity and intensity in each hue. In her work, color manifests itself in the form of abstract shapes. These are inspired by nature, but do not depict anything representational; rather, they convey atmospheric moods. Warm and cool colors create a dynamic contrast in their interplay. Maria Wallenstål-Schoenberg often utilizes the effect of complementary colors. The characteristic flow of the watercolors requires intervention from the artist, who can only partially control the movement of the paint. Chance becomes a participant in the artistic process. Towards the edges, the paint thickens into fine lines, separating the forms from the underlying layers. This principle of layering leads to a diversity of color values: they range from delicate nuances to saturated hues. Maria Wallenstål-Schoenberg (born 1959 in Uppsala, Sweden) lives and works in Munich. She studied in Uppsala, Ulm, and with Jerry Zeniuk in Munich. Her work has been shown in exhibitions in Germany, Austria, and Italy, among other countries.

Artist of the exhibition "VERTIEFUNGEN" /22.10.-18.11.2023

Karen Irmer works in the media of photography and video. Although her works are rooted in the tradition of nature and landscape photography, the artist is not concerned with staging specific sections of nature. Rather, she aims to make the processual nature of visible reality tangible and to condense atmospheric moods in her work. In doing so, she repeatedly explores the relationship between illusion and reality and questions traditional patterns of perception. This interplay with perception is also evident in her works from the series "Permanently Ephemeral," which were created during a residency in Klagenfurt, Austria. Blur and ambiguity replace a clear perception of what is depicted. Trees and their reflections merge in the photographic works into an almost inseparable unity, preventing viewers from clearly determining their position. The smooth surface of the acrylic glass, which integrates the image's surroundings into the photograph, creates additional disorientation. Karen Irmer (born 1974 in Friedberg, Bavaria) studied at the Academy of Fine Arts Munich under Sean Scully. Her work has been exhibited at venues including the Deichtorhallen in Hamburg, the Kunstverein in Munich, and the 7th Tashkent Biennale of Contemporary Art. Karen Irmer taught at the Braunschweig University of Art (HBK). Since 2015, she has been a member of the German Photographic Academy.

Ulrich Egger explores architectural spaces, real and imagined places, and non-places. His artistic work develops within the tension between photography, sculpture, and architecture. The experience of spaces is integrated into the artistic process, whether through their documentation via photography or their sculptural translation. In this way, architecture opens itself to a new interpretation, in which reflections and forms of light deceptively distort our perception of space and offer a glimpse into an inner dimension where the familiar is alienated. In Egger's sculptures, fragments of windows, architectural elements, and building materials are assembled. These assemblages and reconstructions are attempts to imbue the relationship with spaces with an emotional character. Time leaves its mark on architecture through the use of these buildings by the people who inhabit them. The artist works to pass on a historical testimony to the sensitive experience of spaces. Ulrich Egger (* 1959 in St. Valentin auf der Heide, South Tyrol) studied sculpture at the Academy of Fine Arts in Florence and graduated in 1985. During his artistic career, his works have been shown in numerous international solo and group exhibitions in public and private spaces.

Artist of the exhibition "Kontext" / 17.9.-14.10.2023

What happens when two visual worlds meet? Ideally, they generate new connections and insights. Images always exist within a context, such as the context of their creation. The works of both Stauber and Frattini themselves create contexts that now enter into new relationships in this joint exhibition.

With Angela Stauber and Manuel Frattini The exhibition "Context" brings together two painters whose approaches are based on a very fundamental concept of painting. For both, painting is not merely a method for creating representational images, but a process of making visible something that only comes to life through the application of paint. In Frattini's work, memories and feelings appear primarily in symbolic forms, while in Stauber's paintings, it is mostly the areas of color that convey both what has been seen and what is longed for. Both artists create a space of "in-betweenness" in their work—between abstraction and figuration. Painting thus becomes something that makes us question our visual perception.

Both Stauber and Frattini experiment with relating paintings or painterly fragments to space. The interweaving of pictorial planes creates both overlaps and disruptions. In doing so, the artists raise the question of how meaning arises in our perception, how contexts are formed, and how images become legible.

Manuel Frattini, born in Offenburg in 1968, completed his studies in painting at the State Academy of Fine Arts in Karlsruhe under Prof. Peter Dreher and Prof. Silvia Bächli, graduating as a master student. Scholarships enabled him to undertake residencies in France, Japan, Korea, and Canada, among other places. Since 1999, his works have been exhibited internationally, including at the Contemporary Art Space Osaka CASO, Gallery Optica in Montreal, the Württembergischer Kunstverein Stuttgart, the Kunstverein Freiburg, and, in 2009 and 2013, at the Ecke Galerie in Augsburg. His most recent institutional solo exhibition, "Traces of the Outside World," took place in February 2023 at the Morat Foundation for Art and Art History in Freiburg. Manuel Frattini lives and works in Freiburg.

Angela Stauber, born in Munich in 1977, lives and works there, having spent time abroad, including in Great Britain in 2015-16. She completed her studies in painting and graphic arts in 2005 at the Academy of Fine Arts Munich under Prof. Sean Scully as a master student. Her works have been shown at venues including the Staatsgalerie Stuttgart for the exhibition "Mythos Atelier," at art fairs such as Preview Berlin, Art Karlsruhe, and the Roter Kunstsalon, and most recently at Positions Berlin Art Fair, as well as in numerous exhibitions and group shows at art associations in Brühl and Munich. Institutional presentations, including at the Minories Gallery in Great Britain, the Nellimarka Museum in Finland, and the Sejong Culture Center in Seoul, South Korea, and a feature on her work in the ARTE television program Metropolis, attest to her international recognition. A grant for visual arts from the City of Munich and a grant from the City West Action Fund in Berlin enabled her to undertake extensive urban projects in both cities in 2014 and 2015. Her long-standing collaboration with Galerie Zweigstelle Berlin has allowed her to realize numerous solo and group exhibitions.

Artist the exhibition "air from another planet" / 13.8.-9.9.2023

In her work, Anja Güthoff brings seemingly unrelated things into a new context of meaning and arranges them according to her own unique set of rules. The wild and the tamed, nature and culture, painting and photography enter into symbiotic relationships. At the same time, Güthoff's works always possess a process-oriented quality. They seem to expand and grow—like nature, from which numerous found objects originate. From expansive, overflowing installations to the smallest assemblages of just a few found objects, the works do not reveal themselves at a glance. Rather, they invite viewers to adopt different perspectives in order to grasp the work in its multifaceted nature. The moment of discovery plays a crucial role for both the viewer and the artist, as her work is preceded by searching and collecting.

Anja Güthoff (born 1965) studied drawing at the Augsburg University of Applied Sciences. She has received numerous awards, including the Augsburg Art Prize for Fine Arts, the Swabian Art Prize, and the Gersthofen Art Prize for Fine Arts. Anja Güthoff lives and works in Augsburg.

Reiner Heidorn's oversized paintings explore the relationship between humanity and nature. His works possess a captivating quality, drawing viewers into their world. Microscopic elements, reminiscent of air bubbles, appear in these mystical natural spaces alongside grass- and moss-like structures. Various shades of blue and green, from lime green to turquoise, evoke associations with forests, lakes, and underwater realms. A self-taught artist, Heidorn has developed a unique painting technique and coined the term "Dissolutio" for his work, meaning "disappearance." This lends the pieces an additional contemporary relevance: climate change will make certain experiences of nature impossible, further accelerating humanity's alienation from its natural environment. Reiner Heidorn (born 1966) is a self-taught artist working in painting. His work has been exhibited in various German cities and in France, Italy, Brazil, and the USA, among other countries. Reiner Heidorn lives and works in Weilheim.

Artist the exhibition "Lineaturen" / 9.7.-5.8.2023

Veronika Wenger explores the possibilities of drawing in her artistic work. Delicate, almost whispered lines of poetic aesthetics contrast with powerful, dynamic structures. Wenger's works unfold between the poles of abstraction and figuration. They show allusions to architecture, the human form, and writing. Although the works have a starting point in the material world, the reference object loses its meaning in the course of the artistic process. Thus, even supposed words, in their illegibility, remain pure lines. Veronika Wenger works on MDF, paper, and cardboard, using various pens as well as spray paint. This creates, in some cases, luminous areas of color that overlay delicate lines. Veronika Wenger (born 1967) studied drawing, video, and lithography at the Academy of Fine Arts in Munich. Her work has been exhibited both nationally and internationally, including in Amsterdam, Istanbul, London, Odessa, Berlin, and Wuhan. Veronika Wenger lives and works in Munich and Penna San Giovanni.

Florian Lechner is a trained sculptor and has dedicated himself to abstraction as an artist. In his artistic research, he explores aesthetic questions of our increasingly digital world. Lechner creates physical, digital, virtual, pictorial, and sculptural spaces. The sometimes hybrid processes result in abstract, aesthetic spaces of experience in the form of performative states. Lechner's works address, among other things, aesthetic production and reception, themes of abstraction and concretization, scale and disproportion, and materialization. The medial status within the stream of images of our time, constitution through distribution, fluidity, and network space are starting points for the artist's investigations. Florian Lechner (born 1981) studied at the Academy of Fine Arts in Munich after training as a stonemason and sculptor, and was a master student of Professor Hermann Pitz. His works have been exhibited in Munich, Frankfurt am Main, and Hanover, among other places. Florian Lechner lives and works in Munich and Freiburg.

Artists of the exhibition "komplementär" / 4.6.-1.7.2023

Complementarity is a central theme in the work of the Freiburg artist. Herbert X. Maier's paintings oscillate around two seemingly opposing poles. On the one hand, an empirical object is explored through painting, its form questioned, and appears devoid of its context and usually greatly enlarged in a multi-layered structure of transparent glazes as a solid color space. Diametrically opposed to this, solid color spaces emerge from purely painterly means, from surfaces and colors that condense in countless layers of glaze. Both types of paintings are juxtaposed in a complementary manner. Herbert X. Maier explains his approach: "In the complementarity of the juxtaposition of images, I seek the gap and the transition between genres, the closed and the open. The static and the fluid, volume, depth, and surface texture, the stable and the unstable simultaneously." Herbert X. Maier, born in 1959, lives and works in Freiburg. He has participated in solo and group exhibitions both nationally and internationally, and his work is held in public collections (State of Baden-Württemberg, Morat Institute Freiburg, Deutsche Bank Collection, Commerzbank Collection, Municipal and State Museums). Of particular note are his numerous work grants in North and South America and Armenia. His work reflects his extensive travels to all continents, most recently to Laos and Cambodia in 2023.

Thomas Wunsch (Lives in Wiesbaden) occupies a highly independent position in the field of photography. His works distance themselves from the classical canon of themes. They do not aim to capture the state of reality at a specific moment and do not refer to a concrete object. Wunsch's works are defined by abstract-expressionist structures. They show the interplay of shadow and light, of blurred and sharply focused passages. Through their gestural and tactile aesthetic, they approach the medium of painting while simultaneously questioning the role of photography. What should, what may, photography do? Thomas Wunsch's works offer viewers no concrete reference point to a real-world object, but instead open up an even greater space for association. Beyond any sense of place, they create new worlds that amplify the enigmatic and dreamlike quality of the works. Thomas Wunsch began photographing abstractly in 2000. His works have been exhibited at venues including the Huantie Times Art Museum in Beijing, the Museum of Contemporary Art in Seoul, the Overbeck Museum in Bremen, the Haus der Kunst in Munich, the Goethe-Institut in Frankfurt, and the Goethe-Institut in Phnom Penh. Wunsch's photographs also appear on the LP and CD covers of the renowned German record label ECM.

Artists of the exhibition "latent | image | sculptural" / 7.5.-27.5.2023

Johannes Franzen's artistic work is based on the possibilities of generative artificial intelligence. For "latent," he uses a Generative Adversarial Network (GAN) in which two neural networks—a generator and a discriminator—compete against each other. The generator attempts to produce realistic images, while the discriminator's task is to determine whether these images are real or fake. During the learning process, the generator improves its image-generating capabilities, and the discriminator optimizes its ability to distinguish between real and generated images. This adversarial process continues until the generator produces images indistinguishable from real ones. Franzen's crucial conceptual intervention lies in withholding categories from the AI, thus systematically undermining the machine's process. | Johannes Franzen studied film at the Städelschule in Frankfurt as a master student under Professor Peter Kubelka and at Cooper Union in New York. He lives and works in Frankfurt am Main and Offenbach.

In his work, Florian Ecker explores sculpture and its materiality, marble. With his piece "sculptural image," he pursues a new approach: he approaches the pictorial aspect of sculpture. Ecker colors various contoured fragments of white marble in vibrant hues. In a scientific manner, he works with colored light reflections that arise from refraction within the crystalline structure of the marble and are used in petrography for rock identification through visual comparison. At the same time, Ecker's work alludes to the polychromy of ancient sculptures. These were by no means as white as the marble from which they were created. Rather, they wore colorful clothing and had skin, hair, and eye colors. With his new work "sculptural image," Ecker further explores the boundaries of sculpture.  Florian Ecker (born 1977) studied sculpture as a master student of Prof. Olaf Nicolai at the Academy of Fine Arts Munich and lives and works in Wasentegernbach.

Artists of the exhibition "New Chapter" / 9.10.-20.12.2022

Ivo Ringe*1951*, studied sculpture, printmaking, and painting at the Düsseldorf Art Academy under Joseph Beuys and Rolf Sackenheim. He is particularly interested in proportions in painting and the interplay of colors. He lives and works as a freelance artist, curator, and lecturer in Cologne. In his brand-new series, he presents colorful, energetic paintings, all created in the South of France, where he stayed this summer at various locations, having been invited by institutions. The at least three superimposed layers of imagery, which differ significantly in form, content, and color, merge into a predominantly complementary-colored whole. His geometric-abstract interactions of color and proportion reveal the joie de vivre and vibrancy of the southern light.

Artist of the exhibition "In the Bunker" / 3 July - 13 August 2022

Veronika Veit In her sculptures, installations, and films, Veit combines diverse aspects into a vision of a new reality. She questions the reliability of social as well as physical systems, in both the digital and the material world. Control, or rather loss of control, and temporal systems are two central themes in Veit's work, which has grappled with our misguided belief in control since the beginning of her artistic practice. She questions whether we are even capable of understanding what we are doing and how complex processes are interconnected. In doing so, she creates new systems in which contradictions collide and merge into something new, which can be understood more associatively than logically.

Artist the exhibition "Landscape" / 3.4.-14.5.2022

The work of the American Trisha Kanellopoulos The artist is strongly influenced by her instinctive and visual impressions of the landscape. She follows a strict compositional structure dominated by a horizontal framework. The desired tactile effect is achieved through the use of earth as her primary painting material. Layers are superimposed on the canvas, their hardness and softness, coarseness and fineness, always coalescing into a poetic whole of form and space. "For years I have used homemade natural pigments, based on earths from around the world, to grasp the aesthetics of line and the elegance of the landscape. My involuntarily received visual impressions of the landscape influence my painting and are reflected in my pictures. Furthermore, I visualize a balance between rigor and fluidity—a unity of form, space, and clarity." | Artist statement

Rüdiger Lange Rüdiger Lange is primarily a landscape painter. His choice of subjects remains largely classical: the river, the rock, the sky, individual trees and shrubs. However, he has broken new ground in his painting technique: he has exchanged the brush for the palette knife, and his supports are plywood panels. His sensitivity, his ability to recognize the countless nuances of structure, color, and light in nature, to absorb them into his inner eye and then translate them into his own painterly compositions, results in paintings that convey both tremendous power and energy, and a peculiar melancholy and delicate beauty. Rüdiger Lange situates his paintings, meaning they depict very specific landscapes, which he paints predominantly en plein air. For years, he has dedicated himself to the Lech River, with all its pristine character and the problems caused by its industrialization. This ever-evolving group of works, consisting mainly of large-format oil paintings, depicts the entire course of the Lech River, from the original Lech in Tyrol to the industrialized Lech in Bavaria, the 'tamed Lech', as Dr. Stefan Lindl published in 2014.

Artists of the exhibition "wintry" / 14.11.-18.12.2021

Christoph Dittrich (*1971 in Ulm), studied at the Munich Academy of Fine Arts, a master student of Hans Baschang, lives and works in Augsburg. In his long-standing work, Christoph Dittrich explores spatial-physical constellations using methods of superimposition, layering, and clustering. In this exhibition, he presents a large-format painting from a brand-new body of work. The forms and spatial bodies typical of his art are no longer circular with hard contours as in the Dots series, nor translucent as in the Liquides series, but rather softer and more fluid. The painted organic or vegetal motifs are reminiscent of nests in a fantasy landscape. This artist, who straddles the line between abstraction and representation, has once again succeeded in completely reinterpreting his subject matter.

Zita Habarta Its artistic roots lie in drawing and sculptural design. Using the computer as an experimental tool, she adds a new dimension to her skills. As a result of extensive computer-based experiments, she has created a digital toolkit with which she transfers information gathered from the world around us to create new spaces of perception, possibilities, and associations. The mostly monochromatic creations, sculptural spatial structures, fragments, and visions appear as if freed from artificial material by a 3D printer and made visible outside the computer – as fine art pigment prints or as experimental superimposed images (since 2019) presented on installation screens.

"In the images of Susanne Jung The subtle colors, which challenge the viewer's gaze, come together in clear distinctions: the more intensely colored differs from the more subdued, the narrow from the wide, the bluish from the reddish, the dense from the more transparent. And yet, one perception is also reflected in the other: the darker is also permeated by light, the narrow participates in the wide, the warmer shimmers even in cooler ones. As a result, thinking in terms of boundaries dissolves and merges into a convergence of connections, without dissolving the clear distinctions. Dr. Erich Franz, LWL State Museum for Art and Cultural History, Münster.

Timo Weil (*1992 in Munich), studied product design at Munich University of Applied Sciences. He worked for furniture designers Stefan Diez and Konstantin Grcic, has been self-employed since 2021, and lives in Berlin. With his 'possession ban' stools, Timo Weil explores the boundaries between design and sculpture. He was inspired by the pelvic skeleton of a whale, a found object from Ghana, which he had scanned and 3D printed by the Friedberg-based company Voxeljet to reproduce it. In contrast to the organic form of the skeleton, which serves as the seat, the designed bases are very austere and minimalist. This raises the question that Stefan Eberstadt already posed with his Bamberg stools: Is it a stool or a sculpture, a functional object or a work of art?

Artists of the exhibition "autumnal" / 18.9.-31.10.2021

The focus of Renate Balda (*1955) focuses on the work process itself. She lets "the material work," making the surface and pure color the subject of her art. In this way, the smallest structural features and the gentlest color transitions become the main protagonists of her works. Artist statement: "The material does what it can, and that's enough for me." The exhibition features gold-leafed color panels (shellac ink on Japanese paper, gilt edges, each 18 x 18 cm, from 2020). They are the artist's homage to Italian panel painting of the Trecento.

Zandra Harms(*1968) has developed a highly distinctive and clear visual language in her artwork to evoke very contemporary feelings and moods. Tents, curtains, figures, faces. A space emerges from darkness. The pastel colors are rubbed onto the support in thin layers. Through the repeated layering of these layers, figures and elements take shape. The viewer experiences the spatiality directly and in a multifaceted way, ranging from dreamlike memories to fleeting encounters. The depictions appear detached from reality, yet are all the more immediately legible for it.

Thomas Hellinger (*1956) creates images, spatial images, that evoke urban architecture and, beyond it, conjure landscapes of diverse light phenomena. The creative process, however, is not a depiction of visible things and spatial relationships, but rather the opposite: formal structures and the superimposition of painted fragments of reality bring forth the images. These are images that explore our act of seeing: the movement of looking within the process of perception.

As a three-dimensional compositional element, it allows Spomenko Škrbić (*1969) Škrbić creates picture supports from wooden panels that slide side by side and over one another. These panels play a central role in the interaction of color and its application. The paint material itself and its processing, as well as the three-dimensional compositional elements, engage in a dialogue between serial color architecture and autonomous compositional development. The demonstrated, confident craftsmanship emphasizes the aura of authenticity. In his paintings, with their sometimes archaic-looking materiality, Škrbić skillfully plays with the interplay of density and transparency, surface and depth, establishing a polar network of relationships between surface, pictorial space, and color form.

Artists of the exhibition "summery" / 18.7.- 11.9.21

The starting point for the paper works of Udo Rutschmann His three-dimensional works are frequently his forte. The artist develops series of drawings that use the self-generated terrain of his ceramic “incubator” works as the starting point for graphic investigations. Using a special printing technique, he transfers sections of the ceramic surfaces onto paper. As if trying to find suitable systems for the self-created worlds, he establishes grids, embeds the reliefs rendered in two dimensions within sheltering areas of graphite, and provides them with support through spatial boundaries drawn with a white correction pencil. The trained architect Rutschmann, who still draws on a wealth of practical visualization techniques beyond sophisticated computer programs, subtly complements the artist here. With a precise knowledge of historical models, not only in concrete and constructivist art, he seeks to explore his themes in depth through serial exploration. Text: MA Birgit Höppl | By Udo Rutschmann We will be showing two works on paper as well as four new oscillator works. This presentation will be accompanied by an early work by the British performance artist. Bruce McLean with the title "Be attention BE"as well as the work"& or & or & o" of the American conceptual artist Lawrence Weiner.

Illusion and reality – statics and process. Karen Irmer's powerful photographic work "State of Change" | June 6–26, 2021

Ice floes piled up in bizarre formations are reflected in the water. Gnarled tree shapes are mirrored in a lake. In Karen Irmer's photographic series "State of Change," we encounter natural spaces of intense atmosphere. The vertically oriented scenes appear mystical, mysterious, and at times even menacing. But only at first glance do we believe they are a true representation of reality. We are quickly overcome by the feeling that something is amiss in these images. Guided by our need for orientation, we examine the photographs for their veracity, ultimately uncovering the incongruity between perception and reality.

The apparent reflections of ice floes, branches, spray, and clouds prove to be an illusion. A line runs precisely through the center of each image, disrupting the unity of the composition. Karen Irmer has added a second image, rotated 180 degrees, to the upper photograph. She took the photographs from different perspectives, sometimes even in different locations. By combining the two images, Irmer generates artificial worlds in which a surreal space-time unity manifests itself. And yet: despite knowing their composition, we perceive the two photographs as a single image.

Irmer calls her works "states of change," thus already alluding to a paradox. While a state denotes something static, change is always linked to a process. Irmer's paintings, too, are ultimately paradoxes. They explore the relationship between illusion and reality, uniting these contradictory poles through their aesthetics and deriving their particular tension from this. Time and again, Irmer's works provoke irritation and question patterns of perception. This interplay with our perception runs like a red thread through the artist's oeuvre. Simone Kimmel, 2021

Artists of the exhibition "Domestic Space | Sculpture" / 25.4. - 29.5.2021

Florian Lechner(*1981, lives in Munich) works as a sculptor in both the analog-physical and digital-virtual realms. He deconstructs and condenses, questioning the conventions of sculpture as well as the status of a trace of action, a relic. His work explores the static object and its potential possibilities. In this way, he creates spaces for experience within the discourse surrounding a sculptural presence. His abstract works, situated at the boundary between reality and fiction, can certainly be seen as symbols for our demanding, digitally shaped world, in which the question increasingly arises whether this distinction still holds true. The current project “Clippings“Using 3D software and 3D printers, it explores the question of whether printed sculptures assume a similar function and role for representation and embodiment as photography does.

Katrin Leitner(Lives in Kassel) is a researcher who explores methods of artistic thinking, working, and argumentation, the diverse paths, states, and structures of perception and consciousness, and forms of processing. In her artistic work, she repeatedly poses fundamental questions about the present, past, and future, about our existence, about space and time, and examines how knowledge can be preserved and passed on within human communities. Art as an existential component of our lives, the creation of cultural information for future generations, the complex interrelationships of our social structures and the fabric of interpersonal relationships, as well as an intuitively sound, highly sensitive, and sensual approach to the material itself, form the foundation of her artistic practice.

Jürgen Paas(*1958, lives in Essen) formally incorporates elements of Minimal Art – he creates circles, rectangles, squares, and cubes, translating them into an open painting system that explores individual aspects such as color, form, and space. In doing so, he combines systematicity and order with chance and irregularity, which manifests itself in an extremely varied and sensual material-based painting. Multicolored figurations painted and mounted on the wall engage in a dialogue with the archive systems of brackets, color charts, and color strips placed on or next to them. The regular geometric forms of circle, rectangle, and square suggest a mathematical clarity, but in their interplay, they evoke a rhythmic spatial resonance that, within the context of synesthetic perception, creates a polyphonic Gesamtkunstwerk. Text: Dr. Gabriele Uelsberg, Rheinisches Landesmuseum Bonn

Artists the exhibition "Domestic Space | Painting" /March 14 - April 17, 2021

The new series “Praise of the Shadow" fromCarolin Leyck(*1967, lives in Munich), whose exhibition in Augsburg is inspired by the book of the same name by Jun'ichiro Tanizaki. In it, the author describes differences between Japanese and European aesthetics. The examples concerning the use of light and shadow and the significance of black in Japan, in particular, challenged the artist to work with this color for the first time. Black is not actually a color, but rather the absence of color. It absorbs almost all light. Here, it becomes the stage for the richness and beauty of the other colors. The application of paint, in contrast to the black, is airy and transparent. The colorful, almost calligraphic brushstrokes seem to glow from within. In her search for a particular color harmony within the painting, the artist moves between experience, chance, and intuition. The motifs emerge from the interpretation of organic forms in nature. The painting process is one of adding and subtracting. Like a sculptor, she models the figure, which ultimately stands confidently. They are organic sculptures that move joyfully and humorously in the space and, in contrast to the black, appear so light and fluttering.

Marcus Lichtmannegger(*1969, lives in Berlin) studied painting at the Academy of Fine Arts Munich as a student ofSean ScullyMarcus Lichtmannegger graduated in 2007. Alongside his artistic practice, he works in the social sector as a caregiver for people with mental and physical disabilities. At first glance, his art appears spontaneous, intuitive, and abstract, seeming light and unforced. The current works in the exhibition were all created during 2020 and early 2021. These are works on paper that emerged from a flow of daily painting practice, set aside, and then reworked several days or weeks later. Layers of time accumulated. A wide variety of influences, stemming from the boredom of lockdown, such as handicrafts, find their way into these latest works, for example, in the form of embroidery or collage. Gender and material stereotypes are consciously subverted. Drawing and thread are given equal value. Even clinging to a seemingly unsuccessful work appears as a further development of his social work in relation to art. On the one hand, it is anti-heroic, but always connected to art history, which here does not adhere to the classical canon.

The gallery's large shop window will beAngela Stauber(*1977, lives in Munich, master student ofSean Scully) to place a painting that reflects the interface between inside and outside, between public and private space. It depicts a passageway, leading inwards from the outside and outwards from the inside. However, the viewer's gaze is not guided in a specific direction, but rather almost distracted by a staccato of colored planes, focusing it on the picture plane. There, the actual painting merges with reflections or impressions from the opposite side. This creates a play between depth and flat surface. The artist primarily wants to set a colorful and easily recognizable sign for the outdoor space, demonstrating that art continues to thrive even in these times. The title “always here“This is intended to emphasize the ever-lasting nature, the existence and presence of art. Therefore, it is important to Stauber to use the window as a stage, as a canvas visible from the outside.”

Those who view the stained-glass windows in the interior are immediately reminded of a sacred space and the ancient tradition of church windows, primarily by the vibrant colors. However, upon closer inspection, this association quickly dissolves, as the painting is more gestural and spontaneous. A publication will accompany this work, featuring a contribution by [author's name].Wolfgang Ullrich.

Artists of the exhibition "Domestic Space Photography" / 31.1. - 6.3.2021

Anja Behrens She lives in Hamburg. She works as an advertising photographer for various companies. At the same time, she continuously works on independent art projects, which are shown in exhibitions and in public spaces. "I am absolutely fascinated by color, texture, harmony/disharmony, and structures, both large and small. Subtle approaches and various layers always play a major role for me because, in life, nothing usually seems clear-cut or unambiguous. In my work, I can intuitively engage with and capture the themes that move and preoccupy me. That is a great privilege!"

Karen Irmer (Born in 1974, lives and works in Augsburg) became known for her work, which blurs the boundaries between film and photography. With keen observation, the artist explores places that are inaccessible due to their nature or by definition, thus touching upon the inexplicable longing for the unknown that sometimes grips humanity. She creates works in which the boundaries between the real and imagined worlds become indistinct. We enter uncertain territory where our perception is constantly challenged. In search of image and film material, the artist travels to Japan and Korea, to Arctic Iceland, and to remote islands. She hikes through uninhabited and barren regions to find inspiration for her artistic work.

The works ofKirk Sora(Lives in Wismar) challenge the viewer in many ways. One must take time to unravel their mystery. Each image is a self-contained statement, and simultaneously an invitation to pause and a call to contemplation. Kirk Sora studied at the Dresden Academy of Fine Arts and was a master student of Hans Peter Adamski. "My photographs are dreams painted with sunlight, made to share with the world the stories that light tells me."

Artists of the exhibition "glow" 15.11. - 19.12.2020

Inge Gutbrod (born 1963) explores the properties of wax, artistically interprets it, and brings out its sensual qualities. She combines it with color, whether as an additive or as colored surfaces, shaping it in rows, in space, in strands, on a plane, as piles, on tracks, in grids, in frameworks. Arrangements, in short. And she is interested in change, in non-identity, in informal variation, in controlled surrender. This also applies when she works only with color—without wax—as a print or as a drawing.

Annekatrin Lemke (Born 1980) is a wood sculptor whose work explores the relationships between surface, color, form, structure, and light. Her preferred material is linden wood. Her works have an object-like character and appear as an intermediate stage between sculpture and painting. They are completed by the incident light, which emphasizes the plasticity and structure and clearly highlights their object-like nature.

Gisela Hoffmann (born 1963) works with industrially manufactured materials such as acrylic glass. Using various technical processes like screen printing and sandblasting, which she carries out in her own workshop, she creates objects and multiples. The fluorescent material she uses collects the incident light within the glass and re-emits it at its cut edges and roughened surfaces. The refractions of light and the subtly applied color scheme define the space and/or energetically charge it.

Artist Statement Javis Lauva“All my works from recent years bear the title ‘Swarm,’ combined with a number composed of the date and key figures. My works can be categorized within the field of ‘elementary painting,’ relying entirely on relational connections between position, extension, color, and rhythm. The term ‘Swarm’ places the self-referential aspect of painting within the realm of nature as well as within social processes of interrelated organizational movements.”

Ortwin Michl (born 1942) is a painter and was a professor and, for a time, dean at the Georg-Simon-Ohm University of Applied Sciences in Nuremberg; Michl is considered one of the founders of the Kunst Galerie Fürth, which opened in 2002. His abstract panel paintings—mostly related to nature—focus on color, pictorial space, and rhythm, on purely painterly aspects of representation.

Artist Statement A. Paola Neumann“My paintings are planned. They are preceded by series of watercolors, from which some are then selected for large-format execution. The construction of the image in oil paint requires many opaque and translucent layers and usually takes several weeks to months. I work exclusively with brushes. In the end, however, the brushstrokes are barely visible, and the surface has a satin sheen.”