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Three more weeks to see Above the Surface by Brandon Lipchik @brandonlipchikstudio Come by from Wednesday to Saturday from 12-6pm. Until 5 March 2022
BRANDON LIPCHIK
Makeup Brush, 2021
Oil and acrylic paint on canvas
120 x 100 cm
Installs by Roman März
We are excited to share another video of our voices series on the work of Rainer Fetting @rainerfetting for Fetting‘s show „Blumen &“.
Art critic Oliver Koerner von Gustorf shares some insights on the oeuvre of Rainer Fetting and the exhibition „Blumen &“
Thank you to Felix von Boehm and his team from Artbeats Berlin @artbeatsberlin for the editorial video coverage.
The exhibition is on view until 9 April 2022 at Miettinen Collection.
⚠️the exhibition will reopen on Saturday 19 February 2022 from 12-6pm by appointment only.
The exhibition is co-organised by the @miettinencollection and Galerie Robert Grunenberg @robertgrunenbergberlin
In memory of Fashion Designer Thierry Mugler @manfredthierrymugler who passed away yesterday, we share this painting of Desmond Cadogan @dezmonyc by Rainer Fetting @rainerfetting Desmond, a longtime friend of Mugler, who sported his iconic looks in many runway shows, is painted here in a sharp 80ies blazer by Mugler.
💛
Visit Rainer Fetting‘s exhibition „Blumen &“ at the Miettinen Collection @miettinencollection in Berlin, on view Until 9 April 2022.
Third Image:
Rainer Fetting, Man in yellow (Mugler), 1989.
Now On View: „Rainer Fetting sees Van Gogh“ by Rainer Fetting @rainerfetting at The Vincent van GoghHuis until 1 May 2022.
There is a wide choice of paintings, sculptures, drawings and a film in which Fetting portrayed Fettings vision of Van Gogh. The painter of the 'Neue Wilde' portrayed himself as Vincent from the 1980s, but also placed Van Gogh near the Berlin Wall, in the New York Subway and in relation to his friend Paul Gauguin. In addition to loans from various museums and from the studio of Rainer Fetting. The exhibition is accompanied by catalogue with text by Norman Rosenthal..
Image:
Rainer Fetting, Rückkehr der Giganten (Van Gogh und Gauguin), 1980
© Studio Rainer Fetting
www.vangoghhuis.com
@vincentvangoghhuis
In his painting „Elizabeth Taylor’s Reflection“ Brandon Lipchik @brandonlipchikstudio has an avatar wearing the a ruby necklace and the matching earrings gaze at the mirror-smooth surface of the water. Yet this assembled, clunky figure bears no resemblance to Liz Taylor, nor to any woman for that matter, but is genderless. Lipchik reduced the recognition value to a minimum, leaving only the jewelry and the rapt gaze at the reflection.The avatar could represent anyone, a housewife; a gay, camp lower middle class child; the artist himself. Lipchik is not concerned with resemblance, not even with human likeness. The motifs of reflection as the projection of a fixed, hardened identity and of water as the expression of a permanently flowing identity that is always constructing and constituting itself anew permeate his entire work."
„Above the Surface“ is on view until 5 March 2022
Image:
Brandon Lipchik
Elizabeth Taylor’s Reflection, 2021
Oil and acrylic paint on canvas
120 x 100 cm
Open Now:
Come and visit the gallery to see „Above the Surface“ by Brandon Lipchik @brandonlipchikstudio
Show is extended an until 5 March 2022 🗓
From the exhibition text:
Lipchik’s images, rendered on the computer and then transferred by hand to canvas, revolve around the pool, the backyard, the neatly mown lawn as physical manifestations of the American dream, the garden and the suburb as mythologically charged sites of homoeroticism and death. The cubist, collaged aesthetic of the figures, who stare into mirrors, at smartphones and water surfaces, recall early 1980s computer animations, a kaleidoscopic visual language, in which myth, technology, and magic intersect. Under cosmic starry skies, in sparkling pools, a speculative story unfolds about class, sexuality, identity, and ecology. Above the Surface returns to the moment when one recognizes oneself in the water, in the mirror, in the avatar of a game, and senses its future manifestations, in Audre Lordes’ words, “nameless and formless, about to be birthed, but already felt.”
Image:
Brandon Lipchik
Fallen Angel, 2021
Oil and acrylic paint on canvas
197 x 200 cm
Installs by Roman März
The Miettinen Collection @miettinencollection in cooperation with Galerie Robert Grunenberg @robertgrunenbergberlin is proud to present Rainer Fetting: Blumen &, a solo exhibition of the renowned German painter and sculptor. Works from four decades are presented here, some of them unpublished, early drawn studies and paintings from
the time Fetting @rainerfetting was commuting between New York and Berlin the 1980s and 1990s in addition to recent paintings, works on paper, and sculptures. An illustrated book is published by Hatje Cantz
Verlag @hatjecantzverlag in conjunction with the exhibition, with text by Oliver Koerner von Gustorf @oliverkoerner and Norman Rosenthal @rosenthal.norman
Rainer Fetting (*1949) achieved international acclaim as the “Neue Wilde” in the early 1980s.
Fetting is now one of the internationally best known contemporary German artists, having created
a large oeuvre of expressive figurative paintings, as well as many bronze sculptures. Hardly any movement in post-war Germany’s history of painting has been both as fiercely celebrated and as ferociously ostracized, as the so-called „Heftige Malerei“ that emerged in West Berlin’s art scene in the late 1970s and early 1980s. Fetting‘s artworks is a highly significant precursor for the queer discourses on gender, identity, the individual, and power that not only shape the works of younger generations in our globalized art world but also current mainstream debates. Blumen & is a condensation of motives, topics, strategies, and styles which the artist has been preoccupied with for decades.
On view until 9 April 2022
Image:
Rainer Fetting
Desmond Reclining
Acrylic paint on canvas
200 x 230 cm
We are opening again next week on 12th of January 2022.
Come and visit the gallery to see „Above the Surface“ by Brandon Lipchik @brandonlipchikstudio
From the exhibition text:
Lipchik’s images, rendered on the computer and then transferred by hand to canvas, revolve around the pool, the backyard, the neatly mown lawn as physical manifestations of the American dream, the garden and the suburb as mythologically charged sites of homoeroticism and death. The cubist, collaged aesthetic of the figures, who stare into mirrors, at smartphones and water surfaces, recall early 1980s computer animations, a kaleidoscopic visual language, in which myth, technology, and magic intersect. Under cosmic starry skies, in sparkling pools, a speculative story unfolds about class, sexuality, identity, and ecology. Above the Surface returns to the moment when one recognizes oneself in the water, in the mirror, in the avatar of a game, and senses its future manifestations, in Audre Lordes’ words, “nameless and formless, about to be birthed, but already felt.”
Image:
Brandon Lipchik
Hot Tub Watch, 2021
Oil and acrylic paint on canvas
175 x 223,5 cm
Photo by Roman März
At the studio with @brandonlipchikstudio and @scheeraylin 📸
come and see the exhibition„Above the Surface“ by Brandon Lipchik, on view until 29 January 2022
BRANDON LIPCHIK
Rainshower, 2021
Oil and acrylic paint on canvas
198,5 x 236 cm
Thank you for the photos @scheeraylin
NOW ON VIEW
Brandon Lipchik
Above the Surface
Until 29 January 2022
In his series Above the Surface (2021) Lipchik’s images rendered on the computer and then transferred by hand to canvas, revolve around the pool, the backyard, the neatly mown lawn as physical manifestations of the American dream, the garden and the suburb as mythologically charged sites of homoeroticism and death.
Above the Surface mirrors Lipchik’s earlier works as a kind of meta-commentary—like the reflection of a reflection, a mirror looking into the mirror, the self lost in its own image, the diamond dangling over the edge of a pool—in whose facets reality kaleidoscopically refracts. Lipchik shows his subjects from many different perspectives at the same time, the perspective of drones, surveillance or zoom cameras, selfie sticks, tools that simultaneously record the body from different angles. The spatial views, interlaced as in expressive or abstract painting, that Lipchik morphs together on the computer, the avatars he creates take on an even more crystalline and hard-edged quality. The cubist, collaged aesthetic of the figures, who stare into mirrors, at smartphones and water surfaces, recall early 1980s computer animations, such as the Paintbox characters in the Dire Straits video Money For Nothing (1985).
SOON
Brandon Lipchik
Above the Surface
Opening Reception
Friday, 26 November 2021
2-7pm
Brandon Lipchik's @brandonlipchikstudio new exhibition titled "Above the Surface" will bring together his large scale paintings and for the first time, sculptures that are site specifically installed.
Please let us know if you would like to attend the opening of the show on Friday 26 November 2021, anytime between 2:00 and 7:00 PM.
RSVP Mandatory
[email protected]
Image by Brandon Lipchik, 2021
200 x 250 cm, Acrylic and oil paint on canvas.
Three more days: Jan Zöller and the Fire Spirits by Jan Zöller @janzoellerrr will be on view until 13 November. Come by on Saturday for our closing night and get a drink and listen to the Fire Spirits
JAN ZÖLLER
I broke the window to the last show, now you can follow us, 2021
Oil paint, acrylic, oil stick, charcoal, pencil on canvas
200 x 160 cm
ON VIEW:
Rainer Fetting
4 Typen am Meer (Sylt), 2007
Oil on jute
180 x 360 cm
The Miettinen Collection @salondahlmann in cooperation with Galerie Robert Grunenberg @robertgrunenbergberlin is proud to present Rainer Fetting: Blumen &, a solo exhibition of the renowned German painter and sculptor. Works from four decades are presented here, some of them unpublished, early drawn studies and paintings from
the time Fetting @rainerfetting was commuting between New York and Berlin the 1980s and 1990s in addition to
recent paintings, works on paper, and sculptures. An illustrated book is published by Hatje Cantz
Verlag @hatjecantzverlag in conjunction with the exhibition, with text by Oliver Koerner von Gustorf @oliverkoerner and Norman
Rosenthal @rosenthal.norman
Rainer Fetting (*1949) achieved international acclaim as the “Neue Wilde” in the early 1980s.
Fetting is now one of the internationally best known contemporary German artists, having created
a large oeuvre of expressive figurative paintings, as well as many bronze sculptures. Hardly any movement in post-war Germany’s history of painting has been both as fiercely celebrated and as ferociously ostracized, as the so-called „Heftige Malerei“ that emerged in West Berlin’s art scene in the late 1970s and early 1980s.
Blumen & is a condensation of motives, topics, strategies, and styles which the artist has been
preoccupied with for decades.
On view until 9 April 2022
Marburger Strasse 3
Berlin
10789
| Mittwoch | 12:00 - 18:00 |
| Donnerstag | 12:00 - 18:00 |
| Freitag | 12:00 - 18:00 |
| Samstag | 12:00 - 18:00 |
Art Prints, Exhibition Merchandise, Art Books
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Gallery for Contemporary Art in Berlin | Currently on view until February 9: Metamodernity
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