Sneak peek of His show opening october 1st 2020 at our @circleculturegallery in Hamburg.
On appointment you can experience our international program at our showrooms in Hamburg and Berlin. Please be in touch for inquiries, art collaborations, or to make an appointment for specific inquiries or a guided tour.
Sneak peek of His show opening october 1st 2020 at our @circleculturegallery in Hamburg.
Upcoming exhibition in Hamburg:
October 01 - November 12, 2020
Opening: October 01 | 4 - 10 pm
Bismarckstraße 98 | Hamburg
The opening will take place in compliance with the current hygiene rules. We will try to make your stay as comfortable as possible.
If you feel unsure about going to events with many people we are pleased to offer you private appointments.
Preview: Wednesday 30.09., 5 - 8 pm
For further information please contact:
Here are some things to know:
- You don't have to register for the opening.
- Wearing a mouth and nose mask is mandatory.
- Keep a minimum distance of 1.50 m and show consideration for other visitors.
- There will be a limited amount of visitors in the gallery at one time.
- At the entrance there will be disinfectant dispensers.
- The premises will be well ventilated.
We look forward to your visit - stay healthy!
#lennartgrau #soloshow #stille #opening
#painting #overpainting #art #contemporarypainting #acrylicart #contemporaryart #mishaps #misfortune #pocket #flyhigh #falling #acrylic #circleculture #hamburg
Graffiti writer and artist Daniel Tagno created his first gallery show with us in 2008. Daniel was a highly talented artist championing and intellectualizing the spheres of fine art and subcultural street culture. We are sad the world lost this sweet man. R.I.P. Daniel. 🖤
Summer Internship at Circle Culture Gallery Hamburg
Founded in 2003 Circle Culture Gallery is a contemporary and international art dealership with
showrooms in Hamburg and Berlin, as well as a farmhouse gallery and artist residence “La Maison
des Temps” in Kauffenheim/ Baden-Baden (Alsace). There are also ongoing exhibitions at Berlin's
prestigious Rocco Forte Hotel de Rome in Berlin.
For the Hamburg office Circle Culture is looking for interns for a period of 3-6 months, starting asap.
- Art management assistance
- Admin tasks and Database assistance
- Editing, design and layout of mailings and
contributions to our website
- Social media communication, postings & strategy
- Research and content creation
- Pitching ideas for creative promotional content
- Assisting with exhibition preparation
- Strong interest in contemporary art, culture, media and
- Web and Graphic Design skills (good knowledge of
- Well-founded understanding of social media
- Good German and English skills
- Excellent organizational and communication skills
- Ability to manage time effectively
- Positive work attitude, precision in detail, adhere to
The internship is running 3-6 MONTHS (minimum 20hrs/week) starting JULY 2020 in Hamburg.
Please send us your CV and motivation letter to [email protected].
We’re looking forward to hearing from you!
Learn more about us on www.circleculture.com
Circle Culture co-owner @johann_haehling_von_lanzenauer: Breathe, enjoy every crispy second of this journey. With no surrender, evolution will spring. With no falling, stumbling wouldn’t be. No stumbling makes walking unlearned. Foto: @malcolm.agitateur
Join us at Hotel de Rome next week!
RSVP required: [email protected]
HAPPY HOLIDAYS and all the best for 2020 from all of us at Circle Culture!
We look forward to seeing you again soon at our galleries in Berlin & Hamburg.
OSKAR RINK - Nur auf Rezept
until January 25, 2020
Gipsstraße 11 | Berlin
The gallery remains closed from Dec 24 - 27 and Dec 29 - Jan 2.
Bismarckstraße 98 | Hamburg
open by appointment
📷: (1) Oskar Rink, Ghost, 2019, oil and acrylic on canvas, 65 x 52 cm
(2) Oskar Rink, Nur auf Rezept, solo exhibition, 2019, installation view, Circle Culture, Berlin
(3) Natürlich!, group exhibition, 2019, installation view, Circle Culture, Hamburg
Circle Culture Berlin
Circle Culture Berlin
Im Rahmen der Ausstellung “Natürlich!”
Oskar Rink, Gruppensitzung, 2019. Part of the solo exhibition ‚Nur auf Rezept‘, currently on view at our gallery in Berlin.
@oskarrink‘s creative process is characterized by a constant alternation between the two- and the three-dimensional. She often begins with filigree paper constructions or small models made of wood or cardboard, following internal impulses in which everyday impressions and memories are channeled. For Rink, constructing and building are contemplative processes, which represent a first means to systematise her surroundings. The small sculptures also serve as a source for objects and forms she uses for paintings and large-scale installations.
Visit the exhibition until January 25, 2020. Winter break Dec 24 - Jan 02.
📷: (1) Gruppensitzung, 2019, oil, acrylic and oil pastel on canvas, 180 x 140 cm
(2) installation view Oskar Rink ‚Nur auf Rezept‘,solo exhibition, 2019, Circle Culture, Berlin
(3-4) Fenster zum Hof, 2017, paper, cardboard, wood, sewing thread, pins, gouache, spray paint, 53 x 31 x 16 cm
(5) snapshot taken in the solo exhibition ‚Nur auf Rezept‘
Our new EDITION SHOP is online!
You can now order a wide selection of editioned artworks directly through the shop. Worldwide shipping. 🎄🎁
Check it out on www.circleculture.com.
Exhibition opening of "Natürlich!" at our gallery in Hamburg this week.
Thank you, gallerytalk.net!
Onlinemagazin für zeitgenössische Kunst
„It´s the perfect marriage of the cornerstones of my art – capturing speed and energy, design, craftsmanship, precision and a strive for excellence.“ In the year of Bentley´s 100-year anniversary, Katrin Fridriks has collaborated with the luxury car manufacturer for the production of a one-off Continental GT.
As a tribute to Bentley's racing heritage and its craftsmanship, Fridriks covered the car with her artwork „Speed of Light-Commander“, imbuing it with a sense of speed and motion, even at rest. This artwork was chosen to perfectly merge, with its ebbs and flows, the beautiful lines of the car. With the company's prime focus being on speed, fine precision, and overall excellence, Fridriks' renowned revolutionary practice of capturing energy through her work is the perfect pairing.
Utilizing a limited color palette between black and white, the artist's intervention allows the bold lines of the car to come through her energetic liquid shapes. Starting with harmonious flowing marks in the front and accelerating towards splattering paint on the back, she is offering a different and unique appearance of the car depending on the variety of viewing points.
Katrin Fridriks' uniquely painted One Off Continental GT has been exhibited at the company's showroom Jack Barclay Bentley in London Mayfair during Frieze London.
photos: © Katrin Fridriks
Aaron Rose, Document (blue), 2019, Giclee print, 92,4 x 61 cm, edition of 5
Part of the current exhibition AARON ROSE & NATALIE KRIM, on view in Berlin until October 24.
"Natalie Krim’s small intimate drawings and collages are soft and sweet, but there’s something incredibly private going on as well. We feel as though we’re being let into someone’s secret world, a place where forbidden desires are allowed to run wild, yet packaged in the sweetness of a teenage girl’s fantasy. The works trick you into believing that they’re about sex, but if one looks closer it becomes quite obvious that their surface sexuality is only a means of the artist leading us to distraction. Natalie Krim’s works are in fact deeply psychological and one could even say political." – Aaron Rose
Join us next week for the opening of the exhibition:
AARON ROSE & NATALIE KRIM
September 12 | 7 - 9 pm
with drinks & music selection by Gianna Thiess (eatandtreat.de)
These works by Aaron Rose will be on view from next week at our gallery in Berlin along with works by Natalie Krim. Join us for the opening on Thursday, September 12 from 7 pm with drinks🍸and music selection 🎶 by Gianna Thiess (eatandtreat.de).
Aluminium objects, bronze sculptures and abstract paintings mark a new direction in the creative process of Stefan Strumbel, who made a name for himself by exaggerating traditional and cult artifacts such as cuckoo clocks, anchors and crucifixes and reincorporating elements of Street Art and Pop Art. In his current work, which centers on bubble wrap, he has developed his leitmotif towards a more universal language.
This ubiquitous material symbolises the human desire to protect and safeguard things in transit or storage, be that values, content, convictions or emotions. Things that are carefully and conscientiously wrapped are automatically invested with an aura of preciousness and importance – as well as fragility.
Strumbel envelops everyday objects and cultural artifacts that are redolent of the idea of ‘Heimat’ in the protective plastic material. Among these objects are canvases, crucifixes, Madonna statues and his own cuckoo clocks which have long since acquired cult status. The diligently tied and taped packages, which provide no more than an inkling of their content, are cast in aluminium or bronze. In the process, the content loses its object character – Strumbel speaks of ‘non-objective works’ – and the packaging itself becomes a work of art.
The artist transforms the everyday material, which usually buffers objects of value against knocks and bumps, into something timeless and valuable. The object deemed worthy of such careful protection – space, the body, an idea, an emotion or a thought – finds its formal match in the indestructability of the material. Usually untitled, the works take on the character of guessing games and have enormous tactile appeal. Pondering the question what the protective wrapping might conceal almost inevitably leads us to consider our own values and valuables which we want to safeguard in these fast-paced globalised times. (Excerpts of text about Stefan Strumbel by Sebastian Steinhäußer, Museum Art.Plus.)
#LuziaSimons undertook two research expeditions in the Amazonas. The series “Humboldt has never been there” consists of different perspectives of the rainforest photographed in a vintage polaroid film, whose aesthetics resemble the blurred contours reminiscent of old historical document material. The photos are dye-transfered directly to aluminum plates, using nacreous pigments.
All artworks © Luzia Simons, VG Bild-Kunst Bonn.
Günther Uecker is best known for his undulating reliefs using hammered nails, the signature medium he began to explore in the late 1950s. Active while Piero Manzoni and Lucio Fontana were similarly turning to nontraditional materials and techniques, Uecker joined the avant-garde Group Zero in 1961 with Heinz Mack and Otto Piene. Influenced by studies of light, optics, oscillation, and electricity, Uecker has created series of “light nails” and light boxes, kinetic nails (including revolving sacks of nails), and kinetic installations and machines using sand and water. He also used nails to scratch motifs into wet paint and to turn furniture and objects into bristling sculptures.
The 9-piece portfolio „Friedensgebote“ deals with the peace commandments of the world religions and their common message. In sheet 4, he deals with the principle of religious commandments in the form of a combination of embossing and silkscreen printing, which make the written and unwritten word of God equally visible. Whether embossed or painted with fingers - Uecker equally points to the written essence of any religion or religious doctrine. In sheet 5, he uses the embossing print to refer to the prayer rug used in Islam, which serves Muslims as a ritual mat during daily prayer.
photos: (1) Günter Uecker, Ohne Titel, fünftes Blatt aus der 9-teiligen Mappe der Friedensgebote, 2016
(2) Günter Uecker, Ohne Titel, viertes Blatt aus der 9-teiligen Mappe der Friedensgebote, 2016
“In my work, I reproduce the convoluted process of thinking. Combining notions of confusion and clarity, my practice interrogates the logical incoherence of sense and sensitivity. Emerging from a vague vision, each artwork is constantly growing on multiple dimensions, time and space being of no measure. Part of my process is the imbrication of scattered thoughts as they convene in their cross-connectedness. First they seem randomly placed, but they are all concatenated, following a rhizome structure, where
the answer is to be found in the structure itself.
Inspired by Russian constructivism and contemporary architecture, my three-dimensional works are based on aspects of engineering and constructing. Preferably using simple material such as paper, cardboard and thin wooden sticks, I reconstruct manifested dream worlds. The process of building playfully and subversively contemplates the eternal search for a home, a sense of identity. By suggesting that aporia emboldens aspirations, my work reveals the dualism between confusion and clarity, connection and separation, image and self. In a permanent state of oscillation between self and circumstances, constant restlessness drives us to explore the limits of our own making of the world.“ – Oskar Rink
photo: Oskar Rink, Daddy, 2016, paper, cardboard, wood, aluminum, acrylic and spray paint
380 x 270 x 115 cm
currently on view at
opening today 12 pm until Open End
Kevin Earl Taylor paints moments of encounter, often pairing animals in contemplative moments. The subjects face off with an air of mystery as they seem to be sorting out their place in the natural world and relationships to each other. These vignettes are subtle, yet suggest commentaries on our disappearing planet.
The artist’s fascination with animals, environment and human relations has led him to turn animals into humans in an anthropomorphic figure. The collective consciousness that makes us aware of other beings on the planet is incorporated in his paintings to tell a story of life and death.
„The objects I produce are interrogations. They exist as curious inquiries into the ostensible dichotomy between the human animal and mutating partitions of nature. Using painting as a language, I propose mysterious, abstract narratives which are simultaneously given ground by familiar, objective imagery. Amalgamating scientific, genetic and anthropological source material, I survey and ultimately depict hybrid landscapes where diverse aspects of human physiology mesh with the origins of species. Through the merger of these methods, my exploration into the creative process develops.”
(1) The Fountain, 2019, oil and acrylic on canvas, 135 x 149 cm
(2) Pedigree, 2019, oil on canvas, 155 x 197 cm
(3) Apex (solo exhibition), installation view,2018, Circle Culture Berlin
(4) Archive, 2018, oil and acrylic on canvas, 130 x 168 cm
(5) Kevin Earl Taylor, photo: Winni Wintermeyer
According to an idea of the Finnish architect and thinker Juhani Pallasmaa, our hands and the gestures they perform are not only the result of our thinking. Because our hands are linked to our sense of touch, they participate in building our perception of the world as much as our thoughts do. They store experience of their own over time, and one that is detached from the experience accumulated, both consciously and unconsciously, by the mind. Depending on what we touch and use: materials, tools, temperature, texture, our hands memorise things that can then be expressed almost automatically. By relinquishing control, forgetting to conceive our gestures, we can fashion things without having first imagined them.
This abandonment of forethought to spontaneity is what Adrian Falkner has worked on. In contrast to his approach as a Graffiti writer, where the painting process has been highly controlled, precise and meticulous, Adrian Falkner is striving to attain a form of freedom by experimenting with thought-free – but not uncontrolled – gestures in his works. The idea of breaking loose from the chains of habit guiding his hand movement fascinated him to the extent of becoming the core focus of his paintings, that utilize pace and chance as active artistic devices.
Lennart Grau, tales of a vagabond, 2019, acrylic and oil on canvas, 150 x 110 cm
Part of the exhibition „Nullmethode“, that is currently on view at our gallery in Berlin.
As a recurrent point of reference, Lennart Grau‘s work is questioning our society’s desires. While earlier works revealed the pursuit of prosperity, dominance and acknowledgment, his new works address the shift away from abundance and focus on the notion of striving towards freedom, informality, self-fulfillment and closeness to nature.
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