• Vrooom, 2022 • mixed media on canvas, 160 x 107 cm
    Vrooom, 2022 • mixed media on canvas, 160 x 107 cm
  • Übertragung_24, 2021 • mixed media on canvas, 27.5 x 42.5 x 3.5 cm
    Übertragung_24, 2021 • mixed media on canvas, 27.5 x 42.5 x 3.5 cm
  • Übertragung_18, 2021 • mixed media on canvas, 26.5 x 20.5 x 3.5 cm
    Übertragung_18, 2021 • mixed media on canvas, 26.5 x 20.5 x 3.5 cm
  • Lange Arme, kurze Beine, 2020  • installation view at Kunstmuseum Thun (CH)
    Lange Arme, kurze Beine, 2020 • installation view at Kunstmuseum Thun (CH)
  • Lange Arme, kurze Beine, 2020  • installation view at Kunstmuseum Thun (CH)
    Lange Arme, kurze Beine, 2020 • installation view at Kunstmuseum Thun (CH)
  • Artist_Proof_02, 2019/20  • installation view at Kunstmuseum Thun (CH)
    Artist_Proof_02, 2019/20 • installation view at Kunstmuseum Thun (CH)
  • Schnittmengen, 2019 • installation view at Bildungszentrum Uster (CH), Kunst am Bau
    Schnittmengen, 2019 • installation view at Bildungszentrum Uster (CH), Kunst am Bau
  • Schnittmengen, 2019 • installation view at Bildungszentrum Uster (CH), Kunst am Bau
    Schnittmengen, 2019 • installation view at Bildungszentrum Uster (CH), Kunst am Bau
  • Heavy file, 2019  • installation view at Kunstmuseum Winterthur (CH)
    Heavy file, 2019 • installation view at Kunstmuseum Winterthur (CH)
  • Unpainting, 2017 • installation view at the Art Gallery NSW, Sydney, Australia (AUS)
    Unpainting, 2017 • installation view at the Art Gallery NSW, Sydney, Australia (AUS)
  • Fred Thieler Preis 2017 • installation view at Berlinische Galerie, Berlin (D)
    Fred Thieler Preis 2017 • installation view at Berlinische Galerie, Berlin (D)
  • gradually_real, 2014, • installation view at Sydney Biennale (AUS)
    gradually_real, 2014, • installation view at Sydney Biennale (AUS)
  • gradually_real, 2014, • installation view at Sydney Biennale (AUS)
    gradually_real, 2014, • installation view at Sydney Biennale (AUS)

News

Ohne Titel

Untitled: New Painting from Southern Germany and Switzerland

Painting is back. Again. It is bursting with self-confidence, liveliness, radiance, and diversity. This makes it an ideal time to take stock. With a major joint exhibition, the Museum zu Allerheiligen Schaffhausen and the Kunstmuseum Singen are examining the current status of the medium in southern Germany and the German-speaking parts of Switzerland.

What new influences are currently evident in painting? How do painters deal with pressing issues of our time? And what art-historical currents—in an updated form—remain present? Untitled is the title of this boundary-crossing exhibition—a paradox only at first glance: the word is often used by artists in the titles of their works, so as not to steer the viewer’s perception in any given direction. The exhibition also uses this approach, for good reason: it is about discovering the breadth and the multifaceted nature of painting without preconceptions. Though the exhibition is untitled, it features many exciting young painters—an ideal opportunity to delve deeper into contemporary painting!

Curators: Julian Denzler, Museum zu Allerheiligen Schaffhausen, and Christoph Bauer, Kunstmuseum Singen

A joint project by the Museum zu Allerheiligen Schaffhausen and the Kunstmuseum Singen

 

Paint it all

Painting is frequently pivotal to contemporary art discourse. Other genres seldom equal its ability to express returns and ructions, challenges and constant reformulations. In Berlin, painting has a solid tradition. While other places have repeatedly declared the genre dead, painting simply carried on in the divided city and carried on again after the Wall came down.

The exhibition “Paint it all!” is a bugle call and a love letter to recent painting in Berlin. Featuring ten outstanding artists, it presents 15 selected works as teasers rather than as a stock check. Plenty more awaits discovery.

It is impossible to pin down Berlin themes or a particular Berlin style. The old dispute between abstract and figurative is over, and there is no longer any traction in creating a new Berlin myth around subculture and subjectivity. The proverbially cool city now takes its international ambience for granted. As a result, the works rarely reveal where they were made. So how does painting in Berlin set out its stall? At this exhibition as alive, versatile, serene and deeply interested in tradition and discourse. There are still, it seems, sound reasons for picking up a brush and paint in response to the world and to questions of painting. The exhibited works are from the Berlinische Galerie’s own collection and most are on show in the museum for the first time.

The exhibition will be open to visitors from 12.10.22 at 10 am. There will be no opening event and no press conference.

Artists

Tamina Amadyar (Kabul/Afghanistan *1989)
Tatjana Doll (Burgsteinfurt *1970)
Philip Grözinger (Braunschweig *1972)
Eberhard Havekost (Dresden 1967 – Berlin 2019)
Olaf Holzapfel (Dresden *1967)
Zora Mann (Amersham/UK *1979)
Gerold Miller (Altshausen *1961)
Peter Stauss (Sigmaringen *1966)
Christine Streuli (Bern/Switzerland *1975)
Thomas Zipp (Heppenheim *1966)

Gallery Exhibitions

Group Show (Adieu Gessnerallee!)