Galerie Kai Erdmann

Galerie Kai Erdmann Galerie für zeitgenössische Kunst.

The opening with beautiful .schra.mm is a while ago but the exhibition is still on Display til 27.4.24Dont miss the exhi...
20/12/2023

The opening with beautiful .schra.mm is a while ago but the exhibition is still on Display til 27.4.24

Dont miss the exhibition „Bodies, Grids and Ecstasy“ when you’re in Düsseldorf.
The groupshow is curated by Ludwig Seyfarth.

Big hug to the team and Monika Schnetkamp to make this happen.

💊 ❤️




Hot wine punch at dry edge.🔥🍷🕯️Join us today, 5 pm, for a warm drink among the works byJonas Büßecker, Stef Heidhues, Fr...
10/12/2023

Hot wine punch at dry edge.

🔥🍷🕯️

Join us today, 5 pm, for a warm drink among the works by

Jonas Büßecker, Stef Heidhues, Fritz Lehmann

at our current exhibition.

Schweidnitzerstr 17 · 10709 Berlin

The question, asked by the band, SSD (Society System Decontrol), from Boston in 1982 in the demo, ‘How Much Art Can You Take?’ is answered in the exhibition self-evidently. Plenty.

Images here:

Exhibition view

Jonas Büßecker
S17B1
Metal, jersey, sandbags
360 x 140 x 110 cm · 2023

Fritz Lehmann
ARC III
3D printed PLA, anodized aluminum, deep-drawn polystyrene
104 x 52 x 53 cm · 2022

Stef Heidhues
Sign #3
Steel, paint, neon
120 x 37 x 87 cm · 2016





Dry edge and mulled wine this Sunday from 5pm.Feel free and get warm. Wein HotImages here from Fritz Lehmann as part of ...
08/12/2023

Dry edge and mulled wine this Sunday from 5pm.
Feel free and get warm.

Wein Hot

Images here from Fritz Lehmann as part of the exhibition.

Duration til 12.1.2024 by appointment.

Schweidnitzer Str 17, 10709 Berlin / Charlottenburg

The title of the exhibition alludes to the east coast Hardcore Straight Edge movement in the early 1980s. The release of the song, Straight Edge, by Minor Threat in 1981 can be seen as the foundation of both the term and the movement. This current saw the conscious rejection of sensual pleasure, which had, at the time, come to characterise the punk movement. Drugs of any kind and excessive sexuality were frowned upon. The aim was, amongst other things, to lift the barrier between band and public, as well as vegetarianism. Repelled by capitalist excess, the movement’s protagonists concentrated on the essential. Centre stage was the statement.

It is exactly this radicalism that we find again in the works of these artists. The prosaic interaction with form and material becomes the straight edge, Hardcore begins soberly in the mind.

Perhaps the way gehts through the yellow group of sculptures, ARC, by Fritz Lehmann (*1983 Starnberg). They appear sacral and seem to define a physical threshold between symbolic spaces. Like in a façade, the arches are laid out in rows on the deep-drawn plastic panels – or are those emojis, which stare at us, wide-eyed? Movement comes to an abrupt end before the second work. The precise relief, in milled MDF, reminds one of a wooden door with fittings, which seems unbudging, and blocks our passage.

Images here:

ARC II
3D printed PLA, anodized aluminum, deep-drawn polystyrene
216 x 103 x 47 cm · 2022

ARC III
3D printed PLA, anodized aluminum, deep-drawn polystyrene
104 x 52 x 53 cm · 2022

Klappe
3D printed PLA, anodized aluminum, milled MDF
33 x 61 cm · 2023






Todays band member:Stef Heidhues at our current exhibition „dry edge“🔻🔺🔻Duration til 12.1.2024 by appointment.Schweidnit...
02/12/2023

Todays band member:
Stef Heidhues at our current exhibition „dry edge“

🔻🔺🔻

Duration til 12.1.2024 by appointment.

Schweidnitzer Str 17, 10709 Berlin / Charlottenburg

The title of the exhibition alludes to the east coast Hardcore Straight Edge movement in the early 1980s. The release of the song, Straight Edge, by Minor Threat in 1981 can be seen as the foundation of both the term and the movement. This current saw the conscious rejection of sensual pleasure, which had, at the time, come to characterise the punk movement. Drugs of any kind and excessive sexuality were frowned upon. The aim was, amongst other things, to lift the barrier between band and public, as well as vegetarianism. Repelled by capitalist excess, the movement’s protagonists concentrated on the essential. Centre stage was the statement.

It is exactly this radicalism that we find again in the works of these artists. The prosaic interaction with form and material becomes the straight edge, Hardcore begins soberly in the mind.

Stef Heidhues (*1975 Washington D.C.) on the other hand knows, amongst other things, how to condense. The work, Cool Crush, takes heavy-duty shelving as its primary material. Lineal and without superfluity, save for some unavoidable marks of experimental processes, materials are compactly coalesced. Her work, Sign #3, however, divides the space. A double Pythagorean theorem goes, with neon facility, into three-dimensionality, showing the way.

Thanks to for the lovely cooperation.

Images here:

Sign #3
Stahl, Lack, Neon / Steel, paint, neon
120 x 37 x 87 cm · 2016

Panel #2 Cool Crush
Steel, acrylic, pigment, glass, lacquer
60 x 100 x 3 cm · 2022





Today on display:Jonas Büßecker at our current exhibition „dry edge“Duration til 12.1.2024 by appointment.Schweidnitzer ...
29/11/2023

Today on display:
Jonas Büßecker at our current exhibition „dry edge“

Duration til 12.1.2024 by appointment.

Schweidnitzer Str 17, 10709 Berlin / Charlottenburg

The title of the exhibition alludes to the east coast Hardcore Straight Edge movement in the early 1980s. The release of the song, Straight Edge, by Minor Threat in 1981 can be seen as the foundation of both the term and the movement. This current saw the conscious rejection of sensual pleasure, which had, at the time, come to characterise the punk movement. Drugs of any kind and excessive sexuality were frowned upon. The aim was, amongst other things, to lift the barrier between band and public, as well as vegetarianism. Repelled by capitalist excess, the movement’s protagonists concentrated on the essential. Centre stage was the statement.

It is exactly this radicalism that we find again in the works of these artists. The prosaic interaction with form and material becomes the straight edge, Hardcore begins soberly in the mind.

And yet, here Jonas Büßbecker (*1990 Heidelberg) deviates slightly. His sometimes fortress-like sculptures are not free from libidinal charge. Sandbags delineate the space in his work, S17B1, and function, at the same time, as plinths for rigid units across which an amorphous, flexible jersey is stretched. A fe**shistic play of tension.

Images here:

S17B1
Metal, jersey, sandbags
360 x 140 x 110 cm · 2023

SP19B1
Metal, jersey, plastic
77 x 24 x 12 cm · 2023



**sh

Covershot ist ready.The band hopefully in progress.But all straight together at the exhibition:dry edgeVocals: Bass: Lea...
23/11/2023

Covershot ist ready.
The band hopefully in progress.

But all straight together at the exhibition:

dry edge
Vocals:
Bass:
Lead guitare:

Or otherwiese. :-)

Aftersow til 12.1.2024 by appointment.

Schweidnitzer Str 17, 10709 Berlin / Charlottenburg

The title of the exhibition alludes to the east coast Hardcore Straight Edge movement in the early 1980s. The release of the song, Straight Edge, by Minor Threat in 1981 can be seen as the foundation of both the term and the movement. This current saw the conscious rejection of sensual pleasure, which had, at the time, come to characterise the punk movement. Drugs of any kind and excessive sexuality were frowned upon. The aim was, amongst other things, to lift the barrier between band and public, as well as vegetarianism. Repelled by capitalist excess, the movement’s protagonists concentrated on the essential. Centre stage was the statement.

It is exactly this radicalism that we find again in the works of these artists. The prosaic interaction with form and material becomes the straight edge, Hardcore begins soberly in the mind. And yet, here Jonas Büßbecker (*1990 Heidelberg) deviates slightly. His sometimes fortress-like sculptures are not free from libidinal charge. Sandbags delineate the space in his work, S17B1, and function, at the same time, as plinths for rigid units across which an amorphous, flexible jersey is stretched. A fe**shistic play of tension.

The question, asked by the band, SSD (Society System Decontrol), from Boston in 1982 in the demo, ‘How Much Art Can You Take?’ is answered in the exhibition self-evidently. Plenty.





Thanks everybody who joined us last Friday around the opening fromJonas Büßecker, Stef Heidhues, Fritz Lehmanndry edgeTh...
19/11/2023

Thanks everybody who joined us last Friday around the opening from

Jonas Büßecker, Stef Heidhues, Fritz Lehmann
dry edge

Thereby some exhibition views.

Duration til 12.1.2024 by appointment.

Schweidnitzer Str 17, 10709 Berlin / Charlottenburg

Feel free and come by.

The title of the exhibition alludes to the east coast Hardcore Straight Edge movement in the early 1980s. The release of the song, Straight Edge, by Minor Threat in 1981 can be seen as the foundation of both the term and the movement. This current saw the conscious rejection of sensual pleasure, which had, at the time, come to characterise the punk movement. Drugs of any kind and excessive sexuality were frowned upon. The aim was, amongst other things, to lift the barrier between band and public, as well as vegetarianism. Repelled by capitalist excess, the movement’s protagonists concentrated on the essential. Centre stage was the statement.

It is exactly this radicalism that we find again in the works of these artists. The prosaic interaction with form and material becomes the straight edge, Hardcore begins soberly in the mind. And yet, here Jonas Büßbecker (*1990 Heidelberg) deviates slightly. His sometimes fortress-like sculptures are not free from libidinal charge. Sandbags delineate the space in his work, S17B1, and function, at the same time, as plinths for rigid units across which an amorphous, flexible jersey is stretched. A fe**shistic play of tension.

The question, asked by the band, SSD (Society System Decontrol), from Boston in 1982 in the demo, ‘How Much Art Can You Take?’ is answered in the exhibition self-evidently. Plenty.





Opening tomorrow in Berlin from 4 – 9 pm.Jonas Büßecker, Stef Heidhues, Fritz Lehmann dry edgeSchweidnitzer Str 17, 1070...
16/11/2023

Opening tomorrow in Berlin from 4 – 9 pm.

Jonas Büßecker, Stef Heidhues, Fritz Lehmann
dry edge

Schweidnitzer Str 17, 10709 Berlin / Charlottenburg

Feel free and come by.

The title of the exhibition alludes to the east coast Hardcore Straight Edge movement in the early 1980s. The release of the song, Straight Edge, by Minor Threat in 1981 can be seen as the foundation of both the term and the movement. This current saw the conscious rejection of sensual pleasure, which had, at the time, come to characterise the punk movement. Drugs of any kind and excessive sexuality were frowned upon. The aim was, amongst other things, to lift the barrier between band and public, as well as vegetarianism. Repelled by capitalist excess, the movement’s protagonists concentrated on the essential. Centre stage was the statement.

It is exactly this radicalism that we find again in the works of these artists. The prosaic interaction with form and material becomes the straight edge, Hardcore begins soberly in the mind. And yet, here Jonas Büßbecker (*1990 Heidelberg) deviates slightly. His sometimes fortress-like sculptures are not free from libidinal charge. Sandbags delineate the space in his work, S17B1, and function, at the same time, as plinths for rigid units across which an amorphous, flexible jersey is stretched. A fe**shistic play of tension.

The question, asked by the band, SSD (Society System Decontrol), from Boston in 1982 in the demo, ‘How Much Art Can You Take?’ is answered in the exhibition self-evidently. Plenty.





Thanks everybody for the lovely evening yesterday.BookpresentationHans PetriMainstreamWere open today til 8 pm.Feel free...
11/11/2023

Thanks everybody for the lovely evening yesterday.

Bookpresentation

Hans Petri
Mainstream

Were open today til 8 pm.

Feel free and come by.

Schweidnitzer Str 17, 10709 Berlin

Taking Trojan Horses into the Fortresses of the Mainstream:
Hans Petri & Pop

No, Mainstream is not the title of a new album by the Pet Shop Boys. Although the term “mainstream” would fit in well in their series of one-word titles: Please, Actually, Introspective, Behaviour, Very, Bilingual, Nightlife, Release, Fundamental, Yes, Elysium, Electric, Super, Hotspot. Fourteen words that, put together at random, tell the story of the Pet Shop Boys from 1981 to the present. Fourteen words for forty years, forty years in the mainstream, but just a little bit outside of it, too. When hearing the word “mainstream,” many people still feel a negative reflex, even in the year 2022. Because of ideological conformism and a laziness of thought, many critics (yes, most of them men) still hold on to this scapegoat construct called “mainstream,” be it only to locate their preferred music, art, etc. somewhere outside of that, thereby giving it a more noble status. Interestingly, the outside is becoming increasingly bigger and as a result the mainstream ever smaller.

[…]

Klaus Walter
2021


Texts by Dorothee Baer-Bogenschütz, Hans Petri, Klaus Walter, Rosa Windt. Köln 2023.
31 x 31 cm. 128 pages with 236 (214 colour) pic., texts in german & english









Bookpresentation this Friday & Saturday  from 4 – 9 pmHans PetriMainstreamTaking Trojan Horses into the Fortresses of th...
08/11/2023

Bookpresentation this Friday & Saturday from 4 – 9 pm

Hans Petri
Mainstream

Taking Trojan Horses into the Fortresses of the Mainstream:
Hans Petri & Pop

No, Mainstream is not the title of a new album by the Pet Shop Boys. Although the term “mainstream” would fit in well in their series of one-word titles: Please, Actually, Introspective, Behaviour, Very, Bilingual, Nightlife, Release, Fundamental, Yes, Elysium, Electric, Super, Hotspot. Fourteen words that, put together at random, tell the story of the Pet Shop Boys from 1981 to the present. Fourteen words for forty years, forty years in the mainstream, but just a little bit outside of it, too. When hearing the word “mainstream,” many people still feel a negative reflex, even in the year 2022. Because of ideological conformism and a laziness of thought, many critics (yes, most of them men) still hold on to this scapegoat construct called “mainstream,” be it only to locate their preferred music, art, etc. somewhere outside of that, thereby giving it a more noble status. Interestingly, the outside is becoming increasingly bigger and as a result the mainstream ever smaller.

[…]

Klaus Walter
2021


Texts by Dorothee Baer-Bogenschütz, Hans Petri, Klaus Walter, Rosa Windt. Köln 2023.
31 x 31 cm. 128 pages with 236 (214 colour) pic., texts in german & english








BookreleaseHans PetriMainstreamFriday 10.11. & Saturday 11.11.23 from 4 – 9 pmTaking Trojan Horses into the Fortresses o...
04/11/2023

Bookrelease

Hans Petri
Mainstream

Friday 10.11. & Saturday 11.11.23 from 4 – 9 pm

Taking Trojan Horses into the Fortresses of the Mainstream:
Hans Petri & Pop

No, Mainstream is not the title of a new album by the Pet Shop Boys. Although the term “mainstream” would fit in well in their series of one-word titles: Please, Actually, Introspective, Behaviour, Very, Bilingual, Nightlife, Release, Fundamental, Yes, Elysium, Electric, Super, Hotspot. Fourteen words that, put together at random, tell the story of the Pet Shop Boys from 1981 to the present. Fourteen words for forty years, forty years in the mainstream, but just a little bit outside of it, too. When hearing the word “mainstream,” many people still feel a negative reflex, even in the year 2022. Because of ideological conformism and a laziness of thought, many critics (yes, most of them men) still hold on to this scapegoat construct called “mainstream,” be it only to locate their preferred music, art, etc. somewhere outside of that, thereby giving it a more noble status. Interestingly, the outside is becoming increasingly bigger and as a result the mainstream ever smaller.

[…]

Klaus Walter
2021


Texts by Dorothee Baer-Bogenschütz, Hans Petri, Klaus Walter, Rosa Windt. Köln 2023.
31 x 31 cm. 128 pages with 236 (214 colour) pic., texts in german & english








Inspiring interview with Peyman Rahimi in the current issue  „Heimat“„The destructive power of light."Get yourself a cop...
12/10/2023

Inspiring interview with Peyman Rahimi in the current issue „Heimat“

„The destructive power of light."

Get yourself a copy.

💚💡💚💡💚💡💚

Peyman Rahimi currently on display at Jupiter, Hamburg til Sunday.

Images here:

1 - 6.
Interview

7.
Exhibition „Hell“
Galerie Kai Erdmann, Berlin 2022

8.
Exhibition „ira“
Galerie Kai Erdmann, Hamburg 2016

9.
Exhibition „Peyman Rahimi“
Galerie Kai Erdmann, Hamburg 2013

10.
Exhibition „Symptom“
Galerie Kai Erdmann, Hamburg 2009





We are open tonight til 9pm.Feel free and come by.MEET US ON JUPTITER IIWith works by:Andrew Gilbert, Manon Harrois, Pey...
11/10/2023

We are open tonight til 9pm.
Feel free and come by.

MEET US ON JUPTITER II

With works by:
Andrew Gilbert, Manon Harrois, Peyman Rahimi, Nouchka Wolf

Our little Hamburg art fair in lovely cooperation with:




Jupiter
1 OG · Mönckebergstraße 2 – 4 · 20095 Hamburg

Images here:

Manon Harrois

"And if the night doesn´t fall"
Wood, latex, live apple trees, water, plastic, Madeiran dragon blood
Dimensions variable · 2023

"instrument à visage"
Wood & latex · 27 x 26 x 9 cm · 2019

"Story 1"
Wood & latex · 27 x 26 x 2 cm · 2019





Heute Abend ab 18:30 Uhr im Vienna, HamburgLena SchrammNeue Bilder für das Bistrot ViennaUngefähr zu dem Zeitpunkt als P...
10/10/2023

Heute Abend ab 18:30 Uhr im Vienna, Hamburg

Lena Schramm
Neue Bilder für das Bistrot Vienna

Ungefähr zu dem Zeitpunkt als Prince das Ablum „When Doves Cry“ (1984) veröffentlichte hängte Werner Büttner seine Werke in das Bistrot Vienna in Hamburg wo es zum selbstverständlichen Ambiente fusionierte.
Nun hat Herr Büttner sein Werke eingesammelt und Lena Schramm wir neue Bilder für das Vienna zeigen.

Aus diesem Anlass öffnet das Bistrot an seinem Ruhetag.
Es gibt Cremant und Häppchen.

Bistrot Vienna
Fettstr. 2, 20357 Hamburg

Abbildungen hier:
LS 60311 23 19
Öl auf Leinwand · 35 x 28 cm · 2023




#1984

Andrew GilbertOn display at Jupiter II til 14.10.💂‍♂️🦇🐸Opening hours: Wednesday to Saturday 2 p.m. – 7 p.mJupiter 1st fl...
05/10/2023

Andrew Gilbert

On display at Jupiter II til 14.10.

💂‍♂️🦇🐸

Opening hours: Wednesday to Saturday 2 p.m. – 7 p.m

Jupiter 1st floor · Mönckebergstraße 2 – 4 · 20095 Hamburg

All images: Watercolor, acrylic & pen on paper unless otherwise noted

The Settlers witness the Sky transforming in to Frogs
100 x 70 cm · 2020

Frog Bat
40 x 30 cm · 2022

MacBeth transforms in to Brocoli
Oil on canvas · 70 x 50 cm · 2022

The Fate of Empires - Great Britain the Musical
40 x 30 x 30 cm · 2019

Ernst Ludwig Kirchner`s Holiday in South Africa
30 x 42 cm · 2023

Shaka Zulu´s vision of the White Messiah
64 x 48 cm · 2013

Königgraetz, 1866
48 x 64 cm · 2023

Kirchner ZucchiniTanzpaar Vision
40 x 30 cm · 2021

Jupiter Art Fair in lovely cooperation with:











On display Peyman RahimiScheintil 12.11.23💚🤍🖤In the actual issue  with a inspiring interview about Heimat.With rooms and...
03/10/2023

On display

Peyman Rahimi
Schein

til 12.11.23

💚🤍🖤

In the actual issue with a inspiring interview about Heimat.

With rooms and objects flooded with light, Peyman Rahimi creates a parallel world full of psychological, cultural and political perceptions and statements. He reflects on personal experiences, including from Iran, which he left in 1999 at the age of 22, as well as fundamental aspects of our perception. The different effects of different light sources on the emotional and mental state in everyday and religious life or in the context of oppression has shaped Rahimi since his childhood. In addition to the targeted use of incandescent lamps, neon tubes and high-pressure sodium v***r lamps, as were previously used in Germany in street lamps and at military training areas, he enhances the effect of light with mirror effects. Through the virtuoso handling of screen printing technology, he also gives the mirrors their own expressive dimension. The resulting imagery seems to want to recall and capture fleeting impressions and perceptions, which sometimes also evokes ghostly associations. He explicitly refers to the so-called “ghost photography” from the 19th century, which supposedly allowed supernatural phenomena to appear in the image through photo manipulation or coincidence and thus dealt with different levels of perception.

Rahimi combines and varies the objects he creates across different themes. He arranges his work with changing installations such as steel constructions specially made for each room, with which he builds his own “room within a room”.

Peymann Rahimi, born in Tehran in 1977, studied at the Städelschule with Christa Naher from 1999 to 2005, lives and works in Frankfurt.

Photos by lovely



On display at Jupiter til 14.10.Nouchka Wolf’s dystopian fantasies in sculpture, video, and on canvas (the latter render...
30/09/2023

On display at Jupiter til 14.10.

Nouchka Wolf’s dystopian fantasies in sculpture, video, and on canvas (the latter rendered figural and precise on egg tempera base with organic binder) often refer to the beyond, and the various paths by which we arrive there. Female power has been a stark undercurrent of her oeuvre in recent years: superheroines cast bones on a heap; she-dogs eat forbidden chocolate until they die; old white men, hopelessly forgotten, stare at a powerful and imposing v***a; meteorites fly justly into huts, and a boy, dazed, spurts new life into the universe.

The text in her works, limerick-like and wonderfully sardonic, guides the viewer. We are led from the societally engaging to the deeply personal, to an impasse, and then back again. Access to her philosophical and artistic thought is not always simple. But those, who make it past the stern but fit reaper to the trough, are nourished and rewarded. The true philanthropists don’t get in anyway.

Opening hours: Wednesday to Saturday 2 p.m. – 7 p.m

Jupiter 1 OG · Mönckebergstraße 2 – 4 · 20095 Hamburg

Images here:

Tantrist

Ambassador

Member

Boxer

Detective

All works: Egg tempera, hemoglobin and rabbit glue on canvas,
60 x 49 cm, 2023






Opening this Friday from 7 pmMEET US ON JUPTITER IIWith works by:Andrew Gilbert, Manon Harrois, Peyman Rahimi, Nouchka W...
26/09/2023

Opening this Friday from 7 pm

MEET US ON JUPTITER II

With works by:
Andrew Gilbert, Manon Harrois, Peyman Rahimi, Nouchka Wolf

A little Hamburg art fair in lovely cooperation with:




Jupiter
1 OG · Mönckebergstraße 2 – 4 · 20095 Hamburg

Images here:
Peyman Rahimi
Out of the series: Wesen
Stone print on handmade paper, 63 x 51 cm, 2010

Nouchka Wolf
Detective
Egg tempera, hemoglobin and rabbit glue on canvas, 60 x 49 cm, 2023

Manon Harrois
Story 1
Wood and latex, 27 x 26 x 2 cm, 2019

Andrew Gilbert
MacBeth transforms in to Brocoli
Oil on canvas, 70 x 50 cm, 2023





Groupexhibition opening this Friday from 6 – 10 pm at Hilbertraum, BerlinCarola ErnstARCHETYPUSCurated by Claudio Wicher...
20/09/2023

Groupexhibition opening this Friday from 6 – 10 pm at Hilbertraum, Berlin

Carola Ernst
ARCHETYPUS

Curated by Claudio Wichert
Duration: 22.9. – 31.9.2023


Reuterstr. 31, 12047 Berlin

Opening times:
Opening Fridays 6 - 10 pm
OTHER Fridays 4 - 7 PM
Saturdays & Sundays 2 - 7 PM

The exhibition shows a variety of different works, and each one of them is an Archetypus (Urform, Urbild, Original) itself. Each one evokes a certain Archetypus. In the analytic psychology, the Archetypus is part of the collective unconscious and its basic structures of imagination and action. Archaic, primal images (Archetypi) which evolve within the human mind, archaic Symbolisms, which accompany human development since ancient times to define his existence. After C.G.Jung, they are the basis for imagination, rooted deeply in the unconscious of humans.

Images here:
Defunktionsmonument
Metal, varnish, wood, emulsion paint & acrylic
125 x 45 x 45 cm · 2019
Exhibitionview "[ˈdoːzɪs]“
Galerie Kai Erdmann, Hamburg 2019




Groupexhibition opening this Friday in Nottingham, EnglandAndrew GilbertReimagining the VictoriansCurated by Dr. Isobel ...
19/09/2023

Groupexhibition opening this Friday in Nottingham, England

Andrew Gilbert
Reimagining the Victorians

Curated by Dr. Isobel Elstob

Opening Friday 22nd September, 7 – 9pm
Lakeside Arts Centre Nottingham, Djanogly Gallery
Exhibition until January 7th , 2024

Images here:

"Major General Andrew Gilbert calls a Drone Strike on his Leek Phone (tm), Magersfontein, 11th December 1899, Southern Africa“
300 x 150 x 60 cm, 2020





Thanks everybody for the lovey opening! Hannah CookeCreaturesWere open today and tomorrow from 11am – 4 pm.Feel free and...
16/09/2023

Thanks everybody for the lovey opening!



Hannah Cooke
Creatures

Were open today and tomorrow from 11am – 4 pm.
Feel free and come by

The artist Hannah Cooke, born in Munich in 1986, deals in her work with the structures and expectations of our society. How can norms be broken? On which structures of power are our systems built? For this, she makes use of various formats and media, like performance, installation, photography, and video art. Hannah Cooke lives and works in Karlsruhe, Baden-Württemberg.

In her controversially debated videos, ‘Ada vs. Abramović’ and ‘Ada vs. Emin’, Cooke incorporates in facsimile works from Marina Abramović (The Artist is Present, MoMA, New York 2010) and Tracey Emin (My Bed, Tate Gallery, London 1998) wherein she nurses her daughter Ada with a steady gaze. Composed and resolute, she asserts that as a mother she is and will remain an artist. Abramović and Emin commented repeatedly on the incompatibility of these circumstances.

In the exhibition ‘How to face Picasso’, which runs until the 15th of October (Kunstmuseum Heidenheim), the artist corrects the institutions hanging of their Picasso collection and reinterprets Picasso‘s oeuvre through her work. In the red, embroidered flags, she thematises Picasso’s history as well as the urgency of a new perspective towards the relations of power. New works of this group will be shown in Berlin in an exhibition where they encounter suspended fishing hooks, burning hands, and muzzles, which, as fragile mobiles in space, represent the various identities of otherkins. A tufted cat lies on the floor, proudly defying work; hyenas, DNA helices and pills orbit a larger-than-life v***a, in which one becomes part of one‘s own birth. The title ‘Creatures’ unites all these different beings in a universe of possibilities.





On display Peyman RahimiScheintil 12.11.23💚🤍🖤In the actual issue  with a inspiring interview about Heimat.Mit Licht durc...
10/09/2023

On display

Peyman Rahimi
Schein

til 12.11.23

💚🤍🖤

In the actual issue with a inspiring interview about Heimat.

Mit Licht durchfluteten Räumen und Objekten lässt Peyman Rahimi eine Parallelwelt voller psychologischer, kultureller und politischer Wahrnehmungen und Aussagen entstehen. Er reflektiert persönliche Erlebnisse unter anderem aus dem Iran, den er 1999 im Alter von 22 Jahren verließ, sowie grundsätzliche Aspekte unserer Wahrnehmung. Die unterschiedliche Wirkung verschiedener Lichtquellen auf die emotionale und mentale Verfasstheit im alltäglichen und religiösen Leben oder im Kontext der Unterdrückung hat Rahimi seit seiner Kindheit geprägt. Neben der gezielten Verwendung von Glühlampen, Neonröhren und Natriumdampf-Hochdrucklampen, wie sie früher auch in Deutschland in Straßenlaternen und auf Militärübungsplätzen Verwendung fanden, verstärkt er die Wirkung des Lichts mit Spiegeleffekten. Durch die virtuose Handhabung von Siebdrucktechnik gibt er den Spiegeln darüber hinaus eine eigene Ausdrucksdimension. Die entstandenen Bildwelten scheinen flüchtige Eindrücke und Wahrnehmungen zurückrufen und festhalten zu wollen, was teilweise auch geisterhafte Assoziationen hervorruft. Er bezieht sich ausdrücklich auf die sogenannte »Geisterfotografie« aus dem 19. Jahrhundert, die durch Fotomanipulationen oder Zufälle angeblich übernatürliche Phänomene im Bild erscheinen ließen und sich so mit unterschiedlichen Wahrnehmungsebenen beschäftigt.

Rahimi kombiniert und variiert die von ihm geschaffenen Objekte themenübergreifend. Er arrangiert seine Arbeiten mit wechselnden Installationen wie speziell auf den jeweiligen Raum angefertigten Stahlkonstruktionen, mit denen er einen eigenen »Raum im Raum« baut.

Peymann Rahimi, geboren 1977 in Teheran, studierte von 1999 bis 2005 an der Städelschule bei Christa Näher, lebt und arbeitet in Frankfurt.

Photos by lovely



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