Galerie Nagel Draxler

Galerie Nagel Draxler Galerie Nagel Draxler (formerly Galerie Christian Nagel) was founded in Cologne in 1990 and operates

Weydinger Str. 2-4
10178 Berlin
Tel.: +49 (0)30-4004 2641
Fax: +49 (0)30-4004 2642
Email: [email protected]

Brüsseler Str. 85
50672 Köln
Tel.: +49 (0)221-257 0591
Fax: +49 (0)221-257 0592
Email: [email protected]

We are happy to announce that Saskia Draxler will be delivering a lecture at the SYMPOSIUM "NEW LANDSCAPES – NFTS AND TH...
06/04/2023

We are happy to announce that Saskia Draxler will be delivering a lecture at the SYMPOSIUM "NEW LANDSCAPES – NFTS AND THE MUSEUM" AT MUSEUM FOLKWANG on April 22, 2023. Are you feeling confused about the terminology surrounding New Digital Art? Saskia will explore the buzzwords used to describe this new scene of artists and raise important questions about its place in art history in her lecture "This contract is art / this contract is not art: New Digital Art & Definitions.“ Don't miss out on this opportunity to gain insights into the conceptual approach to New Digital Art!

The title "This contract is art / this contract is not art: New Digital Art & Definitions" leans on Rhea Myers' solo show "THE EGO, AND IT'S OWNED" which is currently on view at the Berlin gallery. With the "Is Art Edition" (2023), Rhea Myers makes her iconic work of early blockchain-based art ownable as NFTs. "Is Art" is an Ethereum contract that can be instructed to nominate itself as art (or not). This art historical found object is brought together with contemporary technology to create a unique and thought-provoking experience.

Join us at the symposium to dive deeper into the world of New Digital Art and explore the possibilities of art in the digital age.

When and Where?
Saturday, April 22, 2023
10:30 am Saskia Draxler, Galerie Nagel Draxler, Berlin/Cologne
Registration is required by April 16th, so secure your spot now at [email protected].

Museum Folkwang
Museumsplatz 1
45128 Essen

Naturata/Naturans, silver, acrylic, chrome spray on silver silk on wood, 2022, ø120cmHans wachte mit schmerzendem Hinter...
02/03/2023

Naturata/Naturans, silver, acrylic, chrome spray on silver silk on wood, 2022, ø120cm

Hans wachte mit schmerzendem Hinterkopf auf. Wo war er? In einem Kühlraum? Es war kalt und summte elektrisch. Hans öffnete die Augen und sah zunächst helle Punkte vor seinen Augen, dann verschwommen die Umrisse des Raums. Es brauchte einige Zeit, bis er sich an die Helligkeit der Halogenröhren über ihm gewöhnt hatte. Er schloss die Augen immer wieder, bis keine tanzenden Flecken mehr über sein Sichtfeld jagten und bemerkte, dass eine Schwebefliege über ihm hing. Hans strecke die Hand nach ihr aus und pflücke sie vorsichtig mit Daumen und Zeigefinger aus der Luft, ohne sie richtig zu berühren. Er betrachtete das Tierchen, das sich zwischen seien Fingerkuppen befand und setzte es dann wieder über sich in den Raum. Dort blieb sie kurz wie in der Luft fixiert stehen und schwebte dann träge davon. Sein Blick folgte ihr in den Raum, dessen Boden, Decke und Wände vollständig verchromt waren. Blanke Rohre und silberne Kabel durchkreuzten alles in silbernen organischen Geflechten. Er setzte sich auf, woraufhin sein Kopf heftig zu pochen begann. Er betastete seinen Hinterkopf und fühlte eine Erhebung unter der Haut. Kein Blut, dachte er, als er seine Finger betrachtete, die im hellen Licht ein unnatürlich wachsartiges Aussehen hatten. Er rieb die Handflächen aneinander, dann jeweils über die Handrücken, bis die Haut eine rosa Färbung angenommen hatte. Zufrieden beobachtete er wie sich seine Atemwolken auf den Handflächen auflösten, bis ihn ein plötzliches Geräusch zusammenzucken ließ.

[…]









ja (a), steel structure, plaster, jute, lime wood, marble, 236 x 51 79 cm, 2020I kept in touch with this Alien or Entity...
02/03/2023

ja (a), steel structure, plaster, jute, lime wood, marble, 236 x 51 79 cm, 2020

I kept in touch with this Alien or Entity that made the relief through me. It melted through an aureole-portal. Now it has descended onto earth and into the full system of a body. It has realized its dualism; up and down, right and wrong, as soon as becoming matter. No-matter, which used to be its aggregate, has now become but an option; from the position of the body. It is therefore a symbol, or rather an allegorical subject – it does not know but be. But be it does in contrast, in context, painfully. Yet, or precisely because it hears, sees, feels smells, tastes its limitations, there is a hidden spark of joy in the corners of its mouth.





Ohne Bezeichnung, Silver, acrylic, oil on wood, 2022, ø120cmCirculating as I zoom in are floating mutated protozoa tissu...
01/03/2023

Ohne Bezeichnung, Silver, acrylic, oil on wood, 2022, ø120cm

Circulating as I zoom in are floating mutated protozoa tissues released into the atmosphere of a sphere that spirals as I zoom out
Bracing my departure now, are the ancient bands of forged and gilded depth. they flicker with a patina of ruin and struggle
The steam punk palet gives me a smile as I strap myself in
I am comforted by a couple of rhomboid black voids, they are portals
I recognize them now
The pairs form surrounded by a primordial ooze that ripples and flows and joins the spinning disk that ascends
I see a couple of eyes looking back, looking at me looking

*Rita McBride, Düsseldorf





Weltlandschaft (Gärende Begeisterung), oil, oxyd pigments on wood, 2022Topografien modellieren immer zwei Landschaften, ...
28/02/2023

Weltlandschaft (Gärende Begeisterung), oil, oxyd pigments on wood, 2022

Topografien modellieren immer zwei Landschaften, eine, in der man sich orientieren will oder muss. Es entsteht eine Karte, die handhabbar sein soll und gelesen werden kann, die ein Gebiet bezeichnet, die Land nimmt, den Blick einrichtet. Überdies entsteht eine virtuelle Landschaft, die nicht verweist, die allein den Oberflächeneffekten der Modellation entspringt. Topografische Linien sind nicht normativ, sind keine Beschriftungen der Weltoberfläche, sondern aufgeschriebene Einkerbungen, Verläufe, Spitzen, virtuelle Welten, die ihren Lauf nehmen, verlaufen, auseinander und ineinander, sich verdichten, sich entfernen, die liminale Räume ausbilden, die in den Grenzen selbst liegen: „Du stehst schon immer in ihr. In der Landschaft. Dort wachsen die Flechten und Kupferdraht, da heulen Hunde aus Kunstharz, gammelt ein Terabyte im Waldboden. Die Landschaft endet nicht an deinen Displays; sie ragt in dich und du in sie. Was auch immer du da tust, stell dich der Fläche. Stell dich der Geschwindigkeit, mit der die Welt zerfällt.“

* Ronald Röttel, Köln






Psyatheamo, water mixable oil, pure cobalt on canvas, on wood, 2021 3D printed and coated frame, 80x46,3cm       Frame b...
27/02/2023

Psyatheamo, water mixable oil, pure cobalt on canvas, on wood, 2021 3D printed and coated frame, 80x46,3cm









Frame by/with

DMT, oil, acrylic wood, 2022, ø120cmOf unknown origin, the word welt in English may denote weal, a swollen mark left on ...
27/02/2023

DMT, oil, acrylic wood, 2022, ø120cm

Of unknown origin, the word welt in English may denote weal, a swollen mark left on flesh by flagellation, an apparent feature, which this disc-shaped painting—entitled DMT—displays, bearing resemblance to the Kabbalistic diagram of Tree of Life, only, this would be Bug of Life.

Like make-up that masks the color evidence of some violence but makes it visible in relief, or like a crosscut / crossfade of the deed and its perpetrator(s?), namely some microscopic organism, some radial figure ablaze, some wily perverse trickster, a hide of vespertine feline, to name a few as if it were a rorschach.

Some believe that dark matter—said to account for 95 per cent of the universe—becomes visible with dimethyltryptamine. And matter, not lacking any magic, is magic. But how much of it is too much? Maybe you don’t want to become so open-minded that the wind can whistle between your ears.

The syntactical nature of reality, the real secret of magic, is that the world is made of words. And the ability to see the words that the world comprises, is the same that can materialize what you wish.

Half the time you think you‘re thinking, you’re actually listening. A secret is perhaps not something untold but something which can’t be told.

Stop consuming images and start producing them.

* Dan Kwon, Frankfurt am Main





Little Stranger Inc, oil, egg tempera, gouache, earth pigments on wood, 2022, ø120cmThe coming of the Church of the Chil...
26/02/2023

Little Stranger Inc, oil, egg tempera, gouache, earth pigments on wood, 2022, ø120cm

The coming of the Church of the Child Left Alone in the Dark had signified the beginning of the end. Apocalypse was afoot. When this story begins, in most parts of the Wandering Woods you could hear the traffic of the Interstate highway 24 hours a day. It had become a natural phenomenology in that continually-reinforced constancy. So it is true that for me the memories I replay again and again are indeed corrupt. I was minor, sometimes high, though in truth very rarely as high as people like James and Phil. As you know, I never drank. I am sorry but happy to tell you that the dense kernel of the events, collisions, factoid interruptions of that midsummer‘s eve, I shall now trace out upon this tape prove terrifically present to me, but remain unrenderable. Unfortunately I may describe an eyeball. A removed, nerve appendaged objet so jellywhite and grossly visible that it contains the death of all vision, trails it one screaming out of a scarlet pool between smiling between two spheres of glistening eggwhite. „But no policeman found any altar, or signs of any slaughter.“ You see this demon blew out a boy‘s mind first, arriving through the flickering knife to occupy the one who performed that first impossible deed, scripted by yours truly. The skin went shockingly white. The blood had all been sucked away. The tongue lept out blue, muscling a toxic glossilia. To hear that hysterical argot so outrageously belched, continuing to deepen, to develop, to discover new possibilities far past the foulness of any bleakspeak, or raving yet recorded. Does the name G. G. Allen mean nothing to you, Detective Vaughn? Even as the knife fell again and again into meat and we saw bonewink for the first time, that eye rolled out, trailing its scarlet nerve to the brain. The terrors seized me and what I saw next helped in great part to land me where I am today. 

* Mark von Schlegell, Köln

 



JA III, aluminium cast, wooden frame, 97,5 x 78,5 cm, 2019 related to JA (Umbrisches Rauschen/ Umbrian Noise) .WAV file,...
26/02/2023

JA III, aluminium cast, wooden frame, 97,5 x 78,5 cm, 2019 related to JA (Umbrisches Rauschen/ Umbrian Noise) .WAV file, 19:52min loop

faux frais / viele weiße steine

( gewogen wurde
grundlegend mit lauen haenden )

ein fisch eine blume die tiefen
mimetisch nachgeahmt

obstkern laechelt
und wurde für zu leicht befunden

austernauge
austernauge

ich erinnere mich an orte, an denen ich geschlafen habe
/ korallenkopf winkt mit einem apfelbaumzweig
man wirft ihn in den schnee aber die
wuermer haben schoene kleine gesichter
/ wie heisst der hellste stern im skorpion?
antares

verschwand unter fruechten
fuer dich habe ich ein
lied geschrieben damit ich sicher
gehen kann

*Sarah Ehrlenbruch, Köln








We are happy to announce our representation of Arjan Stockhausen! To mark this special occasion, a series of posts will ...
25/02/2023

We are happy to announce our representation of Arjan Stockhausen! To mark this special occasion, a series of posts will follow in the next few days that will give you a special glimpse of his solo exhibition in Berlin.

»N̴e̸o̸z̵o̷e̸N̷ ̴(̴S̴e̴m̵i̶o̵t̷i̵s̶c̶h̵e̷r̵ ̶V̴o̴g̸e̵l̶)̶« is on view until March 4, 2023.

Ohne Bezeichnung, oil, Black 3.0 on wood, 2023, ø120cm

ich bin zwei aale
eine leiter
sauerteig und raum

siebtes wesen (in menschengestalt) jenseits des ganges, in jedem

haus ein kern aus angst, getrocknet:
feigen, sauerteig und räume,

möbel riefeln das licht

jenseits des ges. ganges,
wo sich alles auf eine erste veränderung der landschaft einstellt,

die zwei ohren (in mode) unter wasser gesetzt,
mittwoch, 8:50 Uhr,

die dich dir selbst zurückgebenden ohren unter wasser

in jedem kern ein haus aus licht

* Uwe Huth, Köln





Currently, »Mosaic Virus« by Anna Ridler is presented in exhibitions in two major German museums. While «Expect the Unex...
24/02/2023

Currently, »Mosaic Virus« by Anna Ridler is presented in exhibitions in two major German museums.
While «Expect the Unexpected« at the Kunstmuseum Bonn follows concepts by Dr. Barbara J. Scheuermann and Prof. Michael Reisch
of photography and how the tools of new media influence the concepts and creative practice of contemporary, »Flowers Forever« at the Kunsthalle München, curated by Dr Franziska Stöhr, focuses on the visual worlds and cultural influence of flowers over the centuries.

«Expect the Unexpected«, Kunstmuseum Bonn, until April 30, 2023.
»Flowers Forever«, Kunsthalle München, until August 27, 2023.

»Mosaic Virus« (2019) by is a series of works that bring together ideas around capitalism, value, and collapse from different points in history. the tulips are controlled by the price of bitcoin, changing over time to show how the market fluctuates and making this connection explicit. Tulipmania was a 17th-century phenomenon which saw the price of tulip bulbs rise and crash: at the peak going for the same price as an Amsterdam townhouse before falling to the price of an onion. It is often held up as an instance of one the first recorded instances of a speculative bubble, and strong parallels can be made with the ongoing speculation around cryptocurrencies.
The work was previously shown in »Breadcrumbs: Art in the Age of NFTism«, Galerie Nagel Draxler, Cologne 2021.

Images:
1.-3.: Exhibition view «Expect the Unexpected«, Kunstmuseum Bonn, Photos by David Ertl.
4.-5.: Exhibition view »Flowers Forever«, Kunsthalle München, Photos by Robert Haas.

We are happy to announce, that this exhibition with excellent works by the internationally renowned artist Franz Ackerma...
22/02/2023

We are happy to announce, that this exhibition with excellent works by the internationally renowned artist Franz Ackermann will be on view to the public for another four weeks. »Southbound« is extended until March 25, 2023 at Galerie Nagel Draxler Munich.

Ackermann uses a wide variety of techniques in his painting, including photography. The paintings with their saturated colors are inhabited with overlapping forms that merge with fragments of images taken directly from urban reality. Ackermann’s works, which to a certain extent are oriented towards pop aesthetic, open up a critical view of the processes of the living world. Fundamental to his creative process is travel and the experiences associated with it. Globalization and the issue of tourism also play an important part in his artistic explorations.

Images:
1. Exhibition view »Southbound«, Galerie Nagel Draxler, Munich.
2. »Nachbar 2«, 2021.
3. Exhibition view »Southbound«.
4. »Nachbar 1«, 2019.
5. Exhibition view »Southbound«.
6. »Geist und Glauben«, 2022.
7. »Gelbes Land«, 2022.
8. »resort«, 2022.
9. »Raute«, 2022, Exhibition view »Southbound«.

Photos by Peter Martin, Jens Ziehe, Ulrich Gebert.

Christoph Dürr1.4.1935 - 9.2-2023RIP
14/02/2023

Christoph Dürr
1.4.1935 - 9.2-2023
RIP







We are delighted to announce the donation of a painting by South African Artist Zandile Tshabalala to the Kunstmuseum Ma...
13/02/2023

We are delighted to announce the donation of a painting by South African Artist Zandile Tshabalala to the Kunstmuseum Magdeburg through the Arndt Family Foundation. With the donation of "My mothers garden: Umcimbi I (A Gathering I)“, a major work by internationally celebrated emerging artist Tshabalala enters a European Museum’s collection.

Images: 
1. Zandile Tshabalala „My mothers garden: Umcimbi I (A Gathering I)“, 2022
2. Portrait of Zandile Tshabalala. Photo: Mlungisi Mlungwana
3. Zandile Tshabalala at the exhibition opening of "In the Search of my mother's garden“ at Kunstmuseum Magdeburg, Kloster Unserer Lieben Frauen in July 2022.

From the beginning of her career, much of Rosler's art reflects her interest in a variety of social issues. This scope o...
11/02/2023

From the beginning of her career, much of Rosler's art reflects her interest in a variety of social issues. This scope of critical art is brilliantly exhibited in her recent solo-show at MARe/Museum of Recent Art Bucharest, curated by Erwin Kessler.

“The Talking Eye” is open at until February 26, 2023.

The external pressures, expectations, and fantasies projected upon women and the exploitation of their labor is the main concern in her exhibited works "Body Beautiful, or Beauty Knows No Pain" (ca. 1966-1972), and „North American Waitress, Coffee-Shop Variety (Know Your Servant Series, No.1) (1976).

While „Brunch a la loft“ (ca. 1987) from the series "The Rewards of Money“ responds to the housing crisis, lack of shelter or the destruction of the urban environment through demolitions or investments into ensembles for the over-priviled.

The alienating, self-enclosed side of transport, the almost fictional universe of airports with their dystopian parallelism to the outside world, as well as the bustling world of subways are illustrated in the MARe exhibition through the photographs from the series "In the Place of the Public: Airport Series“(1983-present), and „Ventures Underground“ (1980-present).

Images:
1. „Cargo Cult“ from the series: “Body Beautiful, or Beauty Knows No Pain”, 1966-72.
2. Exhibition view of the series “Body Beautiful, or Beauty Knows No Pain”, 1966-72.
3. “Barefoot Kassel I, II, III“ from the series “Transitions & Digressions” (1981-present), 1982.
4. “London” from the series “Ventures Underground”, (1990-present), mid 1990s.
5., 6. Exhibition view of the series “In the Place of the Public: Airport Series”, 1983-present.
All photos by Rareș Toma.

A new scent piece by Luca Vitone is presented within „ODOR. Immaterial Sculptures“ at the Museum für Gegenwartskunst Sie...
08/02/2023

A new scent piece by Luca Vitone is presented within „ODOR. Immaterial Sculptures“ at the Museum für Gegenwartskunst Siegen ().

The exhibition focuses on the effect of odors and is on view until February 26, 2023.

In his paintings, films, installations and photography, Luca Vitone seeks to create portraits of a wide variety of locations. He examines the representation of spaces on a cultural, social, historical and emotional level. His olfactory sculptures and installations appeal to our collective memory and thus trigger associations. In his works, Luca Vitone uses different scents to capture abstract concepts such as power. They are often made in collaboration with the perfumer Maria Candida Gentile, including A tale of forked tongues which has been created for Odor. The work presents a paradox by seeking to bestow a smell on the smallpox virus which is actually odorless. A sense of impending danger is created by the apparent replication of the smell of an invisible, destructive and deadly substance that is surrounding us. The work alludes to a specific event of modern-day bacteriological warfare carried out in 1763 when the British army led by Jeffrey Amherst handed out blankets to groups of Native Americans. These blankets were infected with the smallpox virus and turned out to be a biological weapon. A large part of the Native American population, especially the elderly, women and children, died from this virus against which they had no immunity. Vitone’s work aims to make the omnipresence of a deadly virus in a space tangible via scen at.

Images:

“A tale of forked tongues”, Exhibition view, MKG Siegen.

All photos by Photo: Philipp Ottendörfer

We are very proud to announce our first solo exhibition with British artist Rhea Myers "The Ego, and It's 0wned" at Nage...
05/02/2023

We are very proud to announce our first solo exhibition with British artist Rhea Myers "The Ego, and It's 0wned" at Nagel Draxler Crypto Kiosk.

continues her deep dive into systems of property, representation, identity and secrecy using the blockchain as a plastic medium for the creation of symbolic form.

Images:
1. »The Ego, And It’s 0wned«, 2022. 4 from a series of 24.
2. Exhibition view, Crypto Kiosk 2023.
3. »Tokens Equal Text 11«, 2019.
4. »Typo Opposite Images 11«, 2023.
5. Exhibition view, Crypto Kiosk 2023.
6. »Is Art (Token)«, 2023.
7. Exhibition view, Crypto Kiosk 2023.
8. »Facecoin«, 2023.
All photos by Simon Vogel.
 

We are pleased to share some impression from our first solo exhibition with the German artist Arjan Stockhausen (), with...
03/02/2023

We are pleased to share some impression from our first solo exhibition with the German artist Arjan Stockhausen (), with which we celebrated a great opening last week.

N̴e̸o̸z̵o̷e̸N̷ ̴(̴S̴e̴m̵i̶o̵t̷i̵s̶c̶h̵e̷r̵ ̶V̴o̴g̸e̵l̶)̶, presents new paintings and a sculpture, as well as an encompassing sound installation.

The exhibition is on view in our exhibition space in Berlin until March 4, 2023.

Images:
1. »Ja(a)«, 2020 (Detail)
2. Exhibition view: »N̴e̸o̸z̵o̷e̸N̷ ̴(̴S̴e̴m̵i̶o̵t̷i̵s̶c̶h̵e̷r̵ ̶V̴o̴g̸e̵l̶)̶«, 2023
3. »Weltlandschaft (Gärende Begeisterung)«, 2022
4. »Naturata/Naturans«, 2022
5. »Da III«, 2022
6. Exhibition view: »N̴e̸o̸z̵o̷e̸N̷ ̴(̴S̴e̴m̵i̶o̵t̷i̵s̶c̶h̵e̷r̵ ̶V̴o̴g̸e̵l̶)̶«, 2023
7. Untitled, 2022
8. »Little Stranger Inc«, 20220
9. »Psyatheamo«, 2021
10. Invitationcard: »N̴e̸o̸z̵o̷e̸N̷ ̴(̴S̴e̴m̵i̶o̵t̷i̵s̶c̶h̵e̷r̵ ̶V̴o̴g̸e̵l̶)̶«, 2023

semiotischervogel

„The Pompeii Paradigm“ by Dominik Sittig is on view in our gallery space in Cologne until March 10, 2023.At the heart of...
01/02/2023

„The Pompeii Paradigm“ by Dominik Sittig is on view in our gallery space in Cologne until March 10, 2023.

At the heart of Sittig’s work lies the question of the extent to which the past is present in the present, and the implications of this for the present and for those of us who live in it.

When a young, “retro”-modernist art became more widespread in the 2000s, the problem for Sittig was how to clarify the anachronism of this return to modernism as something “typical of the times”. His gestural, impasto oil paintings pursued this in the design of their pictorial surfaces by deliberately exaggerating the impression of history in their materiality. The realistic paintings that Sittig made from 2017 onwards, based on private photographs, illustrate the relationship between past and present in a different way once again - not via the “mimesis” of a past aesthetic, but via the motif and its (art) historical implications. Sittig’s most recent works raise the question of a historiography whose paradoxical quality would be not to interpret the past but to leave its meaning open - as with an archaeological find that cannot be classified: Acrylic emulsion and quartz sand create a haptic impression on the new paintings, like that of old wall plaster or antique frescoes, while on the motif level social events such as 9/11 and personal memories (in the form of portraits) are juxtaposed.

Dominik Sittig was born in 1975 in Nuremberg, Germany. Today, the artist lives and works in Berlin.

Images:
1. "Geschichte ≠ Geschichte, Geschichte = Geschichte (Was spielt das für eine Rolle?)", 2022

2. Exhibition view „The Pompeii Paradigm“

3. "New York, Madrid, London (Eine Symbolreise des Schreckens)", 2022

4. "unburied/reburied (Die vermarktete Restauration)", 2022

5. "Muss der Untergang wirklich stattfinden? (Formalismus. Moderne Kunst, heute)", 2022 and "2001 ≠ 2001, 2022 ≠ 2022 (Tote, Liebende)", 2022

6. "Und wenn es keine Nachwelt gibt …?", 2022

7. "Bagdad (Meisterwerke des 21. Jahrhunderts, Galerie Ben Kaufmann 2008)“, 2022

8. Saskia Draxler, Dominik Sittig and Christian Nagel on the opening.

Exhibition photos: Simon Vogel

FINAL DAYS OF THE EXHIBITIONS»Terraforming« by Sarah Friend () and »Erzähl der Zeit« by Kalin Lindena () in Berlin.Join ...
18/01/2023

FINAL DAYS OF THE EXHIBITIONS
»Terraforming« by Sarah Friend () and »Erzähl der Zeit« by Kalin Lindena () in Berlin.

Join us for a guided tour by Sarah Friend, Saturday, January 21, 4pm at Nagel Draxler Crypto Kiosk.

The gallery is open from Wednesday to Friday from 11 – 6pm and on Saturday from 12 – 6 pm.

Images:
1. Sarah Friend: »Defense Mechanism #2«, 2022.
2. Sarah Friend: »Gate«, 2022.
3. Kalin Lindena: »Deine 20«, 2022.
4. Kalin Lindena: »Tulpen und Narzissen«, 2022.
All photos by Simon Vogel.

Christine WangHarry, 2018Acrylic on canvas
16/01/2023

Christine Wang
Harry, 2018
Acrylic on canvas






One of the best art historians of our timeHans Belting, 1935 - 2023His lecture titled „The History of the History of Mod...
14/01/2023

One of the best art historians of our time
Hans Belting, 1935 - 2023

His lecture titled „The History of the History of Modern Art" at the LMU Munich in 1983 was my introduction to a deeper understanding of modern and contemporary art. As an expert in medieval and renaissance art, he was also the first who showed a slide of a work by Martin Kippenberger („Frisches Fantasieverbot“) in an art history department in 1987. CN

We are delighted to present you our second presentation .sg in Singapore. We are looking forward to welcome you at BOOTH...
13/01/2023

We are delighted to present you our second presentation .sg in Singapore.

We are looking forward to welcome you at BOOTH 1E03 with works by:

MARTIN KIPPENBERGER / ALBERT OEHLEN

STEFAN MÜLLER

BLINKY PALERMO



Images:

1. Installation view Booth Galerie Nagel Draxler
2. Stefan Müller: »Das Frühstück im Grünen«, Detail, 2022
3. Installation view with works by Martin Kippenberger/ Albert Oehlen
4. Blinky Palermo, Signed Peter Heisterkamp: »Mann und Frau«, 1963 and Stefan Müller: »Frühstück im Grünen«, 2022

We are delighted to present you one of our presentations .sg in Singapore. REFRAME is a sector for galleries at .sg pres...
12/01/2023

We are delighted to present you one of our presentations .sg in Singapore.

REFRAME is a sector for galleries at .sg presenting art that is engaged with, made or presented using digital technology, which includes digital painting, animation, immersive installations, augmented or virtual reality, and non-fungible tokens (NFTs).

The fair is open until January 15, 2023.

REFRAME BOOTH RE04 with works by:

KEVIN ABOSCH

SARAH FRIEND

HELL GETTE

ANNA RIDLER

KENNY SCHACHTER

CHRISITNE WANG

PETER ZIMMERMANN



Images:

1. Kenny Schachter: »Mulch«, 1998/2022 and Christine Wang: »Astrology«, 2020

2. Installation view with works by Hell Gette, Sarah Friend, Peter Zimmermann

3. Sarah Friend: »Grid (After Agnes Martin)«, 2022

4. Installation view with works by Anna Ridler, Hell Gette, Sarah Friend, Peter Zimmermann
5. Hell Gette: » #🏔 ( )«, 2022

6.+7. Anna Ridler: »Circadian Bloom«, 2021

8. Installation view Booth Galerie Nagel Draxler

9. Kevin Abosch: »Forest Rumours«, 2022


Installation photos by Don Wong.


This week is the last chance to experience the landmark institutional exhibition »DYOR – Do Your Own Research« at , tell...
11/01/2023

This week is the last chance to experience the landmark institutional exhibition »DYOR – Do Your Own Research« at , telling the short remarkable history of New Digital Art!

We recommend to join the exhibition tour with curator Dr. Nina Roehrs on the last day of the exhibition, Sunday January 15, 5pm.

With works by Kevin Abosch (), Sarah Friend (), Rhea Myers (), Anna Ridler (), Kenny Schachter () and many more great artists.

Images:
1. + 2.: Anna Ridler: »Bloemenveiling«, 2019
3. Exhibition view with works by Rhea Myers and Kevin Abosch
4. Rhea Myers: »Certificate of Inauthenticity (Balloon Dog)«, 2020 and »Secret Artwork«, 2018
5. Kenny Schachter: »NFTism«, 2022
6. Sarah Friend: »Lifeforms«, 2022
7. Sarah Friend: : »Click Mine Physical Token«, 2018 and »Lifeforms«, 2022
8. + 9.: Kevin Abosch: »Crypto is a Scam«, 2022
10: Exhibition view Kunsthalle Zürich.
All photos by Julien Gremaud.

Congratulations to Andrea Fraser on her first  exhibition with Marian Goodman Gallery New York, which will be on view fr...
11/01/2023

Congratulations to Andrea Fraser on her first exhibition with Marian Goodman Gallery New York, which will be on view from 12 January through 25 February 2023.
The exhibition presents a small survey of Fraser’s work from the late 1980s, 1990s and early 2000s, as well as the New York premiere of a new video installation.





image:
Andrea Fraser, Kunst muss hängen, Performance at Galerie , Cologne 2001
Photo: Simon Vogel

Happy 2023 🍀
01/01/2023

Happy 2023 🍀

Pelé
29/12/2022

Pelé

29/12/2022

‚Adorno saß im Café Laum und traute seinen Augen kaum, denn auf der Straße sah er was, das ungeniert Pomfritten aß - es ...
28/12/2022

‚Adorno saß im Café Laum und traute seinen Augen kaum, denn auf der Straße sah er was, das ungeniert Pomfritten aß - es war Kollege Habermas‘

Café Laumer in Frankfurt had been an institution for decades when I studied at the philosphy department of Johann Wolfgang Goethe University in the late 80s and early 90s, then at Dantestrasse 4, with the great Alfred Schmidt and Brigitte Scheer f.i.. I also had the privilege to attend the lectures of Jürgen Habermas.

In the 1950s and 1960s the café served as a meeting place for important representatives of the Frankfurt School; Theodor W. Adorno was a regular guest, and Herbert Marcuse, Max Horkheimer were also visitors. During this time, the Laumer was also known as "Café Marx."

In the 1970s and 80s it was frequented by Daniel Cohn Bendit, Joschka Fischer (who regularily met to play soccer in the nearby Grüneburg Park), and also by my friend Carl Hegemann.







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