Galerie Barbara Thumm

No summer break for New Viewings! Experience exciting online shows & discover available art works at any time 🔗newviewings.de Image: Mukenge/Schellhammer, Exotic brain Holiday 01, 2022, Stuttgart NFT (upcoming set) \\\ #contemporaryart #digitalart #mediaart #painting #videoart #visualart #artonline #digitalartshow #emergingartist #newviewings #galeriebarbarathumm

In this interview curator Angela Rosenberg speaks with artist Valeria Heisenberg about her work for New Viewings #42 Valeria Heisenberg’s oil paintings are based on photographic snapshots of reflecting glass façades and shop windows. They represent an overabundance of visual information, with interlocked perspectives and conflicting vantage points, and thereby construct a representation of reality that it is at once familiar as well as irritatingly out of order. \ Valeria Heisenberg, *1968 in Munich, Germany, she lives and works in Berlin Please see the complete exhibition online here 🔗newviewings.de \\\ #contemporarypainting #contemporaryart #conceptart #oilpainting #womeninart #artcollector #artonline #emergingartist #onlineshow #newviewings #artistinterview #galeriebarbarathumm

Curator Angela Rosenberg had a Q&A with artist Christina Dimitriadis on her latest show for New Viewings #42. Christina Dimitriadis’ photographic series Island Hoping (2015–2018) of skerries – solitary rocky island formations – was photographed in northern Greece, close to locations the artist connects to childhood memories. \ Christina Dimitriadis, *1967 in Thessaloniki, Greece, she lives and works in Berlin Please see the complete exhibition online here 🔗newviewings.de \\\ #contemporaryart #conceptart #photography #installation #memories #identity #minimalism #notionsofshelter #landscape #curator #womeninart #artonline #artcollector #newviewings #galeriebarbarathumm

We regret to inform you that we have to postpone Kaloki Nyamai's exhibition "Moments That I Missed" due to shipping delays. You are still invited to join us for drinks this evening from 6 – 8 pm. Kaloki Nyamai will be present and El Hadji Sy's solo exhibition "Silhouettes Critiques" is on view in the main space. We will let you know you via our newsletter, Instagram and Facebook, as soon as the show can open and hope to see you then! 🔗bthumm.de \\\ #artshow #opening #artcontemporain #contemporaryartist #artgallery #ElHadjiSy #KalokiNyamai

We are proudly presenting Norwegian painter FELICITAS AGA for New Viewings 42, curated by Angela Rosenberg. Sound on! See the complete exhibition with online here 🔗newviewings.de Absent Friends. In her paintings FELICITAS AGA explores ambiguous objects and their potential for animation. Playing with the traditional genre of still life, her series of deserted houses and tents in transitory places, mystical settings, and surreal arrangements can be regarded as reflections of complex emotional experiences, such as isolation, solitude or shelter. Before the End (2019) in particular is inspired by a historical event, the competitive race for the South Pole between Robert Falcon Scott and Roald Amundsen. After 99 days Amundsen and his companions reached the South Pole on December 14, 1911, and returned in triumph. Scott, however, famously perished with all members of his crew, after having arrived at the pole a month later, finding the tent flying the Norwegian flag. AGA’s animation for Notions of Shelter turns the original painting Dusk (2022) into the virtual installation Absent Friends. It shows a lonely, abandoned hut at night, eerily illuminated by a kind of halo. Its fragile construction consists of flimsy windswept walls of lace. With its pointed roof the dwelling references tents, family houses, but also the basic architecture of the virtual and real gallery space. Sounds of indeterminable sources are perceptible, suggesting a forgotten dream, a pre-birth state in the womb or the underworld of some distant universe. Shadows spill from the painting, as if to dance on the floor and the walls of the virtual gallery, expanding the painting’s uncanny narrative of presence and absence in the virtual space of the gallery and the real space of the viewer’s imaginations. \ Felicitas Aga, *1968 in Katrineholm, Sweden, lives and works in London and Kronach \\\ #painting #contemporaryart #conceptart #fineart #surrealism #figurativeart #womeninart #artonline #no

Don’t miss: THE BREATH BEFORE performance by Alex Schweder & Mieko Suzuki (Sonic Inflatable) Performance starts hourly from Friday, 24th June, 3 pm until Sunday 6 pm at Silent Green, Berlin To book your slot please click link in bio! Curated and produced by Karina Mertin / Aboutnow for the 2020 A L’ARME! festival that was filmed by Frederic Detjens / taxitaxi, The Breath Before… was conceptualized as a ‘spatiosonic’ instrument in collaboration with sound artist Mieko Suzuki. Simultaneously creating sound and space as an intertwined experience. \\\ #performance #contrmporaryart #soundart #architecture #sculpture #conceptart #artshow

New Viewings 42 presents Island Hoping by CHRISTINA DIMITRIADIS. Christina Dimitriadis’ photographic series Island Hoping (2015-2018) of skerries – solitary rocky island formations – was photographed in northern Greece, close to locations the artist connects to childhood memories. She started working on this 30-part series in 2015, the summer of migration, when images from the archipelago of the Aegaen Sea did not show peaceful destinations for a summer vacation anymore, but uprooted refugees on boats, hoping to find refuge in Europe. Images that remain prevalent today, revealing the inhumane conditions for refugees and an ongoing failure of European migration and refugee policies. In the context of The project ‚Notions of Shelter’ adopts the title Island Hoping: by removing one letter, Christina Dimitriadis deliberately modifies the unbiased “hopping” into a charged “hoping”, questioning the desire and need to move, as well as the limitations of individual movement to Europe, restricted not least by borders, passports and economies. Curated by Angela Rosenberg for ‚Notions of Shelter‘ \ Find available work from this and prior shows here 🔗newviewings.de \\\ #contemporaryart #conceptualart #photography #installation #isolation #identity #minimalism #islandhoping #emergingartist #womeninart #onlineexhibition #artcollectors #visualart #newviewings #galeriebarbarathumm

THE BREATH BEFORE… is an architecturally scaled instrument for the simultaneous composition of sound and space. Performance Alex Schweder / Mieko Suzuki THE BREATH BEFORE… at Silent Green Berlin, Kuppelhalle 24 – 26 June 2022 Developed as a collaboration between New York performance architect Alex Schweder and Japanese sound artist Mieko Suzuki, it materializes the artists’ site-specific response to the neoclassical mausoleum built to serve Berlin’s first crematorium. With its octagonal layout, two continuous galleries, countless niches in the walls, and – most importantly – its 17-metre-high domed ceiling, the historic space still imparts the aura of a transitional space to this day. Air, light, sound and space were conceptualized as artistic media by Schweder and Suzuki, who developed three inflatable columns sewn from lightweight fabric to direct perception of these elements. Reaching heights of almost seven metres the tops of two are fitted with spotlights, while a directional speaker is mounted atop the third. Contrasting the stillness expected within funerary walls, The Breath Before is in constant flux. Engorging and emptying with air, its columns move toward their full height only to fall like trees soon after. As they travel, light emanating from their ends lick architectural surfaces and visitors alike while linear sound waves ricochet off its dome and into ears. Presented by Aboutnow & Galerie Barbara Thumm. Supported by A L'ARME! \\\ #contemporaryart #sculpture #objectart #performance #performancearchitecture #soundart #installationart #conceptart #artexhibition #galleryart #artcollector #galeriebarbarathumm

New Viewings 42 is proud to present experimental painter VALERIA HEISENBERG, curated by Angela Rosenberg. Online now! Glimpse. Snow White’s glass coffin may come to mind upon looking at Valeria Heisenberg’s paintings, which typically unfold under what looks like mirror-smooth varnish. But every layer of paint is protected but also sealed off and encased by layers after layers of mostly transparent lacquer. Borrowing from the fetish character of automobile finishings, the artist invites the viewers’ reflections to become a part of the work. \ Valeria Heisenberg’s paintings are based on photographic snapshots of reflecting glass façades and shop windows. They represent an overabundance of visual information, with interlocked perspectives and conflicting vantage points, and thereby construct a representation of reality that it is at once familiar as well as irritatingly out of order. Large glass surfaces of airports, skyscrapers or dioramas fascinate the artist, as their reflections melt the presentation with its surroundings, extending to passers-by and ultimately the viewers in front of the works. Her paintings shake up our perceptions of interior and exterior, and not only of buildings. For Notions of Shelter, Heisenberg realizes an immersive experiment in the virtual gallery, by playing with the expanse of existing paintings and merging them into a continuous presentation. 🔗newviewings.de \ Valeria Heisenberg, *1968 in Munich, Germany, lives and works in Berlin \\\ @valeria_heisenberg @angela.rosenberg.92 #architecture #hallofmirrors #painting #contemporaryartist #contemporarypainting #notionsofshelter #oilpainting #conceptart #artcollector #artonline #curator #onlineexhibition #newviewings

We are exited to be presenting a solo booth by the groundbreaking and iconic Senegalese artist EL HADJI SY. As a painter, performer, curator and activist, Sy has shaped Senegalese art and culture significantly for five decades. Art | Basel June 16–19, 2022 Booth S7 Preview days: June 14–15 Public days: June 16–19 The presentation coincides with our current gallery show EL HADJI SY, „Silhouettes Critiques“ at our gallery space in Berlin Open until July 30, 2022 🔗 bthumm.de \ Work details from Untitled 2019 4 double-sided door paintings Acrylic on paper and wood each about 202 x 82 cm \\\ #africancontemporaryart #dakart #identity #painting #sculpture #contemporaryartist #performance #curator #artshow #artcollector #elhadjisy #artcontemporain #LaboratoireAgitArt #villagedesarts #galleryart #galeriebarbarathumm

We are proud to announce New Viewings 42 is online now: Notions of Shelter Curated by Angela Rosenberg Notions of Shelter presents works which reflect on spaces of fear and longing rather than of survival or existence. The first show in this cycle is The Distant Past Beyond memory by artist Anca Munteanu Rimnic. Anca Munteanu Rimnic’s poetic and humorous arrangements often include found objects upon which she establishes a narrative of her own logic. Reflecting on subliminal power structures she examines sources for individual, cultural and collective identity and focuses on questions of past and future, of origin and belonging. For Notions of Shelter the installation The Distant Past Beyond Memory shows what appears to be a knight in full armor, but on all fours, as if in total defeat. Far from an invulnerable warrior, the submissive posture arouses our sympathy, overriding patriarchal models of manhood and victory. The work however consists only of the heavy hull of a full suit of plate armor, the knight inside has gone away. The Latin title Lacta (2016) refers to nourishing and allows us to imagine the absent warrior not necessarily in the moment of surrender but on the brink of returning to strength. The work is accompanied by a soundtrack of falling drops of liquid and classical music from afar – echoing sounds from a past and lived world. The armor is surrounded by the photo series The Distant Past Beyond Memory (2013) showing the artist’s hand holding a porcelain grinding ball, a device used in ball mills to create powders. This special tool deliberately destroys structures in order to create the material basis for something new. It is a reminder that it is the past that determines the present, and not the armor, but our emotional, subconscious attachment to it that makes us who we are. Anca Munteanu Rimnic (born 1974 in Bucharest, RO) lives and works in Berlin. \ Please visit newviewings.de to enjoy the complete installation and find more infor

SILHOUETTES CRITIQUES El Hadji Sy 29 April – 30 July 2022 „El Sy’s paintings in this exhibition, and maybe some others before already, are in conversation with other images, rather than establishing an immediate relationship with a subject in reality, a spiritual being or a deity. There are no real sitters for these paintings, not even for the horse or the bird. Rather than being effigies as proxies for absent persons, they seem to me reminiscent of other images. The portraits are our plastic counterparts, not material traces of an individual or other presence, as they emphasize plasticity over fixity, offer us a radically different point of departure for understanding the status of the image. Moreover, as some of them are painted on revolving doors, their permanency is shaken. These paintings suggest to be, as with many works of El Sy in the past, to be manipulatable long after their production. There is an open-endedness to them, they are not inert, making new individual and collective identities, in new forms of spaces, of collective belonging and affiliation, but also of evasion. At the same time, there is an apparently cultivated nonchalance in the painterly execution, a testimony of a fight against oneself, against one’s education, exorcising lingering aspects of the Ecole de Dakar aesthetics and its ghosts. […] What El Sy seems to advance here and in many other instances when he shows his work, or ‘works’ with his work, is the embodied, sensory nature of image perception, bringing about an effect of fluidity in terms of a body/ world boundary. Bodies and faces appear and disappear by and through the gestural arabesques painted or laid out by cord. The intertwined flowing lines, also reminiscent of ancient Islamic art, endow the paintings with a certain type of agency, which is mirrored by the agency of the audience attempting to perceive a representation in a pleasurable frustration.“ (Philippe Pirotte) Visit our gallery site for more. \\\

SILHOUETTES CRITIQUES El Hadji Sy 29 April – 30 July 2022 „El Sy’s paintings in this exhibition, and maybe some others before already, are in conversation with other images, rather than establishing an immediate relationship with a subject in reality, a spiritual being or a deity. There are no real sitters for these paintings, not even for the horse or the bird. Rather than being effigies as proxies for absent persons, they seem to me reminiscent of other images. The portraits are our plastic counterparts, not material traces of an individual or other presence, as they emphasize plasticity over fixity, offer us a radically different point of departure for understanding the status of the image. Moreover, as some of them are painted on revolving doors, their permanency is shaken. These paintings suggest to be, as with many works of El Sy in the past, to be manipulatable long after their production. There is an open-endedness to them, they are not inert, making new individual and collective identities, in new forms of spaces, of collective belonging and affiliation, but also of evasion. At the same time, there is an apparently cultivated nonchalance in the painterly execution, a testimony of a fight against oneself, against one’s education, exorcising lingering aspects of the Ecole de Dakar aesthetics and its ghosts. […] What El Sy seems to advance here and in many other instances when he shows his work, or ‘works’ with his work, is the embodied, sensory nature of image perception, bringing about an effect of fluidity in terms of a body/ world boundary. Bodies and faces appear and disappear by and through the gestural arabesques painted or laid out by cord. The intertwined flowing lines, also reminiscent of ancient Islamic art, endow the paintings with a certain type of agency, which is mirrored by the agency of the audience attempting to perceive a representation in a pleasurable frustration.“ (Philippe Pirotte) Visit our gallery site for more. \\\

„By now CARRIE MAE WEEMS should be considered the preeminent American photographer – nay, artist. Yet her solo show at the Guggenheim in 2014 – the first for a Black woman – hasn‘t quite granted her the broad, inclusive audience to which her work obviously speaks. In a conversation with Agnes Gund one thing becomes clear: Weems deserves more.“ Carrie Mae Weems talks to Agnes Gund about her long career photographing the manipulations of power. Blau International Art Magazine, issue April 2022 \ On Show The Evidence of Things Not Seen CARRIE MAE WEEMS April 2 – July 10, 2022 at Württembergischer Kunstverein, Germany \\\ #photography #contemporaryart #video #performance #conceptart #carriemaeweems #africanamericanartist #soloshow #womeninart #artcollector #galeriebarbarathumm

Upcoming event Fiona Banner aka The Vanity Press Pranayama Typhoon Patronato Salesiano Leone XIII, Venice 19th April – 22nd May, 2022 Fiona Banner comments: “The decoy inflatable planes exist to create an image of power, and heroic force, but they are puffed up posturing beasts. With the wind knocked out of them they speak of our vulnerability and hubris, more than our power. We are stuck in a farce. Venice seems like a resonant context for this work, which is ultimately personal, but considers that conflict and climate cannot be seen separated, it is politics, it is borders, and boundaries and territory, crossings, freight – conflict.” The binary setup of the basketball court – with the implied presence of bodies in a competitive match – becomes an unlikely theatre in Venice for the installation’s themes of spirituality, environment, ritual, and conflict. The film, music and setting all combine to create a space of contending ideas – grandiosity and bathos, brutality and nature, play and masculinity. A collaborative and performative text, The Woods Decay, The Woods Decoy and Fall (2021), will accompany the exhibition. Featuring the novelist Tom McCarthy as T (Typhoon) and Banner as F (Falcon), the two characters engage in a conversation that is at once erudite and scatological – a grotesque, playful and sardonic response to conflict. There will be daily Pranayama breathing classes at the Salesiano during the exhibition, with more details to be announced. 21st March 2022 – The exhibition Pranayama Typhoon by Fiona Banner aka The Vanity Press coincides with the 59th Venice Biennale. /// #contemtemporaryartist #video #performance #sculpture #womeninart #fionabanner #typhoon #venicebiennale #artcollector #installation #thummartist

We are announcing this upcoming event in Venice Fiona Banner aka The Vanity Press Pranayama Typhoon Patronato Salesiano Leone XIII, Venice 19th April – 22nd May, 2022 21st March 2022 – The exhibition Pranayama Typhoon by Fiona Banner aka The Vanity Press coincides with the 59th Venice Biennale. Its title combines the word ‘pranayama’, a breathing technique that dates to ancient India, with the word ‘typhoon’ – both an overwhelming and increasingly frequent natural phenomenon and the name of a state-of-the-art fighter plane. The exhibition will be held in a basketball court within a converted church at Patronato Salesiano, a community playground in Castello, Venice, which is a short walk from the Giardini della Biennale. The focus of the exhibition is the film, Pranayama Organ (2021), which features two full-scale inflatable military decoy aircrafts, a Typhoon and a Falcon. In the crisp light of dawn, two aircrafts slowly inflate on the beach, coming to life like two long-slumbering creatures. The setting of the film then shifts to a grassy precipice, where two figures, including the artist, are dressed as fighter planes. Birdlike, human and automaton, the figures dance around each other in a darkly comical ritual of courtship and combat. The location of the film, a coastal area between a submerged petrified forest under the seabed, and an eroding cliff face, creates a fantastical, timeless setting that evokes alternative realities, climate change and shifting lands. Enhancing the mood of ritual and conflict, Banner’s soundtrack is defined by a heroic, bathetic church organ that references the iconic song ‘Wild is the Wind’. The organ’s grandiose tones fill the basketball court, underscoring the tension of the work. The film concludes with the nose of the fighter plane eclipsing the sun, an image accompanied by the lyrics, ‘For we’re creatures of the wind’. \\\ #contemporaryart #performance #video #conceptart

Impressions of the show at Württembergischer Kunstverein in Stuttgart The Evidence of Things Not Seen CARRIE MAE WEEMS April 2 – July 10, 2022 The Hampton Project Weems explores the relationships involved in the Western educational system, assimilation, and the suppression of different knowledge of cultures or knowledge, such as that of Native American communities. The work is based on the archives of Hampton Normal and Agricultural Institute in Virginia, founded on the grounds of a former plantation in 1868 by the abolitionist Samuel Chapman Armstrong. The Hampton Institute, today called Hampton University, was one of the first educational institutions for African Americans and Native Americans. In her critical examination of this school, Weems draws primarily on the photographs of Frances Benjamin Johnston. They document the learning, life and work at Hampton Institute and were created specifically for the „American Negro Exhibit“ at the 1900 Paris World Exposition organized by Thomas J. Calloway. The exhibition showed photographs and documents from a total of six American universities that were educating African Americansat that time. In addition to the Hampton Institute, these schools included Fisk University in Nashville, where Calloway got to know W.E.B. Du Bois, who fought for the rights of Black people in the United States. At the same exhibition in Paris, Du Bois presented in infographics he created abbot African Americans at the time. While, according to Shawn Michelle Smith, Johnston’s photographs „forwarded the American identity of Hampton students,“ Du Bois panels showed „that the African American could indeed be both an „American“ and a „negro“.“ Find further information on The Hampton Project in the accompanying booklet of the show at WKV. \ The Hamptons Project (2020) Thirty digital prints on muslin and canvas, various dimensions \\\ #photography #contemporaryart #video #performance #installation #conceptart #identity

Someone send us this surprise present. And we love it!!!!! Three things to celebrate: 28th of March – Two years of New Viewings! 31st of March – quiet a few years of Barbara Thumm 2022 – 25th anniversary of Galerie Barbara Thumm! Hurraaah! Whoop whoop 🙌 \\\ #newviewings #celebration #birthdaygift #anniversary #contemporaryart #conceptart #digitalart #installation #video #mediaart #curator #artonline #emergingartist #artgalleryberlin #galeriebarbarathumm

Our current gallery exhibition is now available in 3D, presented by Artland. Please enjoy the complete show „Ink and Graphite – Twitch and Tremble“ in a virtual experience – take the walk-through-tour or explore all the beautiful work details yourself. "Drawing is the first and final medium – with nothing in between. Drawing is indistinguishable from sculpture – carving something out of nothing – marking, chopping, hacking, pushing, pulling something into view.” — Chloe Piene Ink and Graphite – Twitch and Tremble brings together four distinct, influential international drawing positions. Each of the presented artists works in a wide range of media, from performance to video as well as painting and photography but for each these artists, drawing is not only at the core of their practice, but it is also the most intimate and therefore most vulnerable oeuvre for their ideas and ruminations. Group Show Martin Dammann, Native Maqari, Chloe Piene, Uche Uzorka Co-curated with Azu Nwagbogu 19 March–23 April 2022 Find the 3D tour on bthumm.de \\\ #contemporaryart #drawing #painting #artexhibition #figurativeart #contemporaryafricanart #galleryart #curator #artonline #martindammann #galeriebarbarathumm

Ink and Graphite – Twitch and Tremble Group show Martin Dammann, Native Maqari, Chloe Piene, Uche Uzorka Co-curated with Azu Nwagbogu 19th Mar – 23rd April 2022 Opening: 18th of March, 6 – 9 pm SAVE THE DATE \ The exhibition brings together four distinct, influential international drawing positions. Each of the presented artist works in a wide range of Media, from Performance to Video as well as Painting and Photography. For each these artists, drawing is not only at the core of their practice, but it is also the very instinct of their ideas and ruminations. In co-curating this show with renowned curator Azu Nwagbogu, the gallery aims to create a dialogue with contemporary African and diasporic positions. Martin Dammann (*1965 in Friedrichshafen/Bodensee) lives in Berlin. His large format watercolours defy all clichés and take up issues and topics like identity and gender, fascism, colonialism. Native Maqari (*1980 in Zaria Nigeria) lives and works in Paris, France. He is a multidisciplinary artist whose work spans video, installation, performance, painting and drawing. Maqari’s drawing practice is rooted in his work in graffiti, with a fast-paced rhythm and spontaneous style. Chloe Piene (*1972 in the USA) lives and works in New York and Warsaw. The artist, known for her explosive charcoal drawings of nude figures, has an indefatigable interest in extreme anatomical dexterity of the body. Uche Uzorka (*1974 in Delta State, Nigeria) is a mixed media artist living and working in Lagos, Nigeria. His practice incorporates painting, collage, cutting and pasting, charcoal, and ink drawing in an examination of processes of urban street culture. Azu Nwagbogu is the Founder and Director of African Artists’ Foundation (AAF), a non-profit organisation based in Lagos, Nigeria. Nwagbogu was appointed the Interim Director/Head Curator of the Zeitz Museum of Contemporary Art in South Africa from 2018 to 2019. Nwagbogu also serves as Founder and Director of Lag

Join us for a little tour around our Booth at ARCO Art Fair in Madrid! This year Galerie Barbara Thumm is presenting works by: Carrie Mae Weems
Diango Hernández
El Hadji Sy
Fernando Bryce
María Magdalena Campos-Pons
Sarah Entwistle
Teresa Burga Open until 27 February 2022 Browse all Thumm artists on bthumm.de \\\ #elhadjisy #contemporaryart #conceptart #painting #sculpture #photography #cubanartist #peruvianartist #womeninart #artfair #arcomadrid #galleryart #artcollector #modernart #galeriebarbarathumm

Interview with Alex Schweder on his new show THE THIRD THING at Galerie Barbara Thumm New York artist Alex Schweder uses the term „performance architecture“ to describe his approach to architectural space – rather asking questions than offering answers or solving problems. Performance Art as a practice means liveliness, allowing a way to recognize your own body while in it and experience yourself in spaces that are time based. By working with inflatables Schweder creates these ever changing, eclectic spaces – bringing in light and sound, hitting the room with reflections and connecting the people in it. Video documentation courtesy Galerie Barbara Thumm produced by HELLO STUDIO W Funding provided by Pollock-Krasner-Foundation and Brian Wall Foundation Sound artist Frank Bretschneider Sound artist Geneva Skeen \ The gallery is open to visitors THE THIRD THING until 12 March 2022 Please visit our gallery website for more about this exhibition. \\\ #contemporaryart #performance #sculpture #sound #thethirdthing #installation #mediaart #alexschweder #newviewings #brianwallfoundation #conceptart #artcollectors #artexhibition #galeriebarbarathumm

THE THIRD THING is now available as virtual tour. Visit our gallery website for the full 3D experience. Alex Schweder THE THIRD THING Solo Show at the gallery until 12 March 2022 \ Funding provided by The Pollock-Krasner Foundation and Brian Wall Foundation. \\\ #contemporaryart #sculpture #performancearchitecture #soundart #mediaart #installation #conceptart #thethirdthing #galleryart #artcollector #curator #newviewings #artonline

THE THIRD THING. Alex Schweder’s new interactive show is happening at the gallery. Come and see his large inflatable sound sculptures, light, mirrors, fur – and milk. Sound on! Schweder’s THE THIRD THING follows two breathtaking online exhibitions at the platform NewViewings whereby the digital renderings were inspirational for these analogue realisations in the physical gallery space. The exhibition explores the galleries ongoing interest in merging the digital and the analogue realm of artistic expression. Funding provided by The Pollock-Krasner Foundation and Brian Wall Foundation. Frank Bretschneider – Our Milk sound artist Geneva Skeen – His Dilution sound artist Karina Mertin – ABOUTNOW production \ Find this show as well as available works on newviewings.de \\\ #contemporaryart #sculpture #mediaart #sound #conceptart #artcollector #therhirdthing #augmentedreality #artonline #onlineexhibition #galeriebarbarathumm #newviewings

THE THIRD THING. Alex Schweder’s new interactive show is on! Come and see his large inflatable sound sculptures, light, mirrors, fur – and milk. Schweder’s THE THIRD THING follows two breathtaking online exhibitions at the platform NewViewings whereby the digital renderings were inspirational for these analogue realisations in the physical gallery space. The exhibition explores the galleries ongoing interest in merging the digital and the analogue realm of artistic expression. Funding provided by The Pollock-Krasner Foundation and Brian Wall Foundation. Frank Bretschneider – Our Milk sound artist Geneva Skeen – His Dilution sound artist Karina Mertin – ABOUTNOW production \ Find this show as well as available works on newviewings.de \\\ #contemporaryart #sculpture #mediaart #sound #conceptart #artcollector #therhirdthing #augmentedreality #artonline #onlineexhibition #galeriebarbarathumm #newviewings

Premiering at our gallery next! New York artist Alex Schweder’s The Third Thing, will pour sensuality and sound into January’s dreary middle. Describing the experience of this inflatable installation as an effervescent cocktail of mirror, fur and milk – Schweder hints that a taste for his work is not acquired in polite society. Swelling and sagging, animated by the fill and empty of air, Schweder’s installation pursues his recent discovery that the inflatable architecture he has made for over a decade can be newly approached as sound producing instruments. Opening this possibility wider, Schweder has commissioned an eclectic group of sound artists to form an unlikely ensemble. Premiere ALEX SCHWEDER Gallery show The Third Thing January 15th – March 05, 2022 Opening January 14th, 2022 \ The Third Thing follows two breathtaking online exhibitions at the platform NewViewings whereby the digital renderings were inspirational for these analogue realisations in the physical gallery space. The exhibition explores the galleries ongoing interest in merging the digital and the analogue realm of artistic expression. The Third Thing was made possible with a prestigious grant from The Pollock-Krasner Foundation awarded to Schweder in recognition of the exceptional quality of his artistic activities. Parallel to the physical exhibition at the gallery The Third Thing will be shown online as a NewViewings project. \\\ #contemporaryart #sculpture #installation #mixedmedia #soundart #mediaart #conceptart #galleryart #artcollector #therhirdthing #curator #artshow #newviewings #galeriebarbarathumm #alexschweder

Artist MARÍA MAGDALENA CAMPOS-PONS speaks about the concepts and the making of her recent exhibition The Rise of the Butterflies. Video documentation courtesy Galerie Barbara Thumm produced by HELLO STUDIO W \ María Magdalena Campos-Pons is one of the most renowned artists to emerge from post-revolutionary Cuba in the 1980s and one of its powerful and poetic voices. Central themes in her work are not only race, religion and class, but also individual and collective histories that emerge from mythologies, traditions and symbols of the communities of the African diaspora. In her multidisciplinary oeuvre, Campos-Pons uses painting, installation, video, photography, sculpture and performance to tell of life situations and the accompanying metamorphoses shaped by hybrid cultural influences. In her recent exhibition at Galerie Barbara Thumm, Campos-Pons once again reinvents herself and her work. The Rise of the Butterflies is dedicated to Breonna Taylor, an African-American woman whose violent death at the hands of police officers is included in the Black Lives Matter movement. The artist has been working with glass since 1963, for example in Spoken Softly with Mama (1998), Threads of Memory (2004) and Sugar Bittersweet (2010), in which she processes her personal experiences, the fundamental bond with her family and the cultural history of her native Cuba. The show is open for visitors until the end of Dec. 2021. \\\ #contemporaryart #conceptart #femaleartist #cubanartist #identity #equality #installation #painting #artshow #artcollector #curator #breonnataylor #mariamagdalenacampospons #galeriebarbarathumm

Martin Dammann is not a conceptual artist. Nevertheless, his artistic strategies are strongly influenced by conceptual considerations. Dammann is primarily concerned with exploring a field of meanings and contents, working out in different genres and media and investigating how content and meaning can attach to objects and images. For years, the lynchpin of his artistic activity has been the „Archive of Modern Conflict“ in London, for which he buys private war photographs from estates, private individuals and photo and military collectors worldwide. NewViewings #38 premiering MARTIN DAMMANN „Rheinlandbesetzung“ / „Occupation of the Rhineland“. About a photo convolute depicting French colonial soldiers during the „Occupation of the Rhineland“, 1918 to 1930. Sometime ago an album was offered to me with photos of French colonial soldiers during the occupation of the Rhineland. These photos were taken by at least 3 different photo studios in Mainz (French: „Mayence“). They must have been been collected in the 1920ies by a German. Though working with war photography for more than 20 years I have never seen such material before. 1918, in the wake of World War One and the treaty of Versailles French, American, Belgian and British forces occupied large parts of German territory between the French and Belgian frontier and the Rhine. Born out of a conflict – World War One – it created more conflict as well as contradicting interpretations. The Allied justification for the „Rheinlandbesetzung“ was to ensure the punctual payments of the huge reparation payments which the treaty of Versailles imposed on Germany. Yet there was an ongoing suspicion by many Germans that France and to some degree also Belgium would try to transform the occupied territories into independent political unities under the auspices of France, in order to prevent Germany from ever again becoming a threat. \ Martin Dammann, *1965 in Friedrichshafen/Bodensee, lives and work

Introducing ANNA K.E.s newest installation. Suspended at knee height, the eponymous sculpture „Blowing From the East Fallen Leaves Gather in the West“ (2021) by ANNA K.E. displays a never ending conglomeration of minimalist architectural models. Running across a metal plateau, the piece is assembled almost entirely out of delicately balanced magnet formations. All of its intersections are held together by magnetic force alone, a force that is invisible to the human eye yet has the capability to interfere with our phones, credit cards, and even the ions within our body’s cells. Symbolically, K.E’s use of magnets are a nod to the invisible forces at work throughout modern society, and point to a city held together with spit. Each tiny magnet acts as a unit of data, and brings to mind coding as an approach to worldbuilding. Evoking an assembly line, visual associations of semi-planned educational institutions melding with vast industrial complexes and bleeding into contemporary art museums seem to propose a city extruding into one eternal horizon. Simultaneously depicting no place and every place, the structure evokes a city sprawl without the interruption of streets, perhaps a rendition of Le Corbusier’s unrealized Ville Radieuse (Fr. the radiant city). \ In her work Georgian artist Anna K.E. explores the realms of the human body as it navigates a physically and digitally mediated landscape. Trained as a classical ballet dancer K.E. brings a distinct sense of how the body moves through space – her fluid architectural environments provide an inherent choreography, as viewers are invited to weave in and around her installations as they engage with her works. Anna K.E., * in 1986 in Tbilisi, Georgia, she lives and works in NYC \\\ #contemporaryart #sculpture #installation #conceptart #performance #abstractart #drawing #painting #thummartist #galeriebarbatathumm