Robert Grunenberg Berlin

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Robert Grunenberg Berlin

Robert Grunenberg Berlin New destination for contemporary art in Berlin | First exhibition “Paradise is Now” until 30th of June 2018 - a group show about palm trees in art.

31/07/2019

SUMMER BREAK

The gallery is closed from 5 August - 11 September 2019.

We wish you a wonderful summer and we look forward to seeing you at our upcoming exhibition DON'T TOUCH ME: ACTS OF FAITH curated by Precious Okoyomon & Quinn Harrelson.

OPENING 12 September 2019 | until 20 October 2019.

Image: Sigmar Polke: Polke als Palme from ...Höhere Wesen befehlen, 1968 Offset lithography mounted on paper 29,5 x 21 cm (11.6 x 8.2 in.) Edition of 80 + 10 AP © The Estate of Sigmar Polke / VG Bild-Kunst, Bonn.

20/07/2019

We are saluting Barthélémy Toguo for his show „Wouri, Donga, Sanaga“ at @galerielelongparis in Paris. The gallery will present his first series of etchings: all printed in blue, the new artworks include powerful silhouettes which are enhanced by the fluidity of watercolors. Open from 5 September – 5 October.

Image: Barthélémy Toguo, Donga, 2019, Etching. Courtesy of Galerie Lelong & Co.

17/07/2019

SAVE THE DATE for our next group show „Don’t Touch Me: Act’s of Faith“

curated by Precious Okoyomon & Quinn Harrelson.

OPENING 12 September 2019. unto 20 October 2019.

Stay tuned for further information.

13/07/2019

On the 27th of July the Watermill Center @watermillcenter celebrates the Annual Summer Benefit & Auction TABULA RASA.

The artistic „Think-Tank“ gives you the chance to purchase works from over 100 artists such as our beloved Rainer Fetting, Katherine Bernhardt, Anish Kapoor, Barthélémy Toguo or Spencer Tunick.

The Center was founded in 1992 by the avant-garde visionary and theater director Robert Wilson in the search of a new artistic base. It has since developed into a laboratory for interdisciplinary experimentation and collaborations, by giving artist the chance of exchange in their residency program.

Image: Rainer Fetting: Desmond in Chair, 2013, China ink on paper, 65 x 50 cm.

11/07/2019

Fountain of Life by Jan Zöller @janzoellerrr

25/06/2019

Soon in Berlin: Hotel MAMA with @die_roemischen_votzen @ancgn @marlene_stark @zoe.c.miller @mira_strongi @ Berlin, Germany

19/06/2019

„A book is my hope“ by Barthélémy Toguo

@barthelemy_toguo @bandjounstation

17/06/2019

Estonian artist Kris Lemsalu at her Studio in Tallinn. We look forward to her solo show in Berlin at @kwinstitutefcontemporaryart this fall curated by @maurindietrich & Cathrin Mayer #krislemsalu

15/06/2019

New in our shop: HYBRIS a silver signet ring by Stefan Knauf & Arne Soltau

Edition of 50 + 5 AP

13/06/2019

Rainer Fetting @rainerfetting best known for his oeuvre of expressive figurative paintings, as well as many bronze sculptures, has also created a diverse body of drawings and water colour works on paper.

Images: “Sebastian”, 2013, China Ink on Paper, 65 cm x 50 cm

Both works on view at the gallery until 31 July 2019.

13/06/2019

Robert Grunenberg Berlin's cover photo

13/06/2019

Robert Grunenberg Berlin

07/06/2019

In our first video interview for our exhibition dossier of Rainer Fetting‘s show @Rainer fetting we spoke with Slava Mogutin @slavamogutin

To see the full video go to our website

05/06/2019

Our new gallery website is live 🌍⚠️

Our team worked for the past month on a new platform to promote different content archetypes: news on exhibitions, artists and events, interviews with artist and art world luminaries, essays on our shows and artist, videos, and a shop with artist editions and merch.

Thank you @hugohoppmann @charlierobinjones @val_kittlitz

25/05/2019

Rainer Fetting paints men in various constellations and stagings and develops a painting style, which – just like its subjects – is “in drag”, that is costumed, staged; it is a style setting a scene, playing with a precise set of gestures, poses, connotations. His paintings are full of contentual as well as formal references to subculture, art history, the social situation. While Markus Lüpertz and Georg Baselitz bulldoze their way through Germany's Nazi past and the country's subsequent division by painting heroic images, symbolic oak, ears, and eagles, and in doing so ooze pathos and machismo, Fetting develops a much more subtle, almost quotidian access to the genre of historical painting. He eroticizes the male body as much as entire cities (Berlin and New York) and the fraught history of Germany as a whole.

In his paintings of the Berlin Wall, the so-called Mauerbilder, he generates an abstract, colorful flatness, reminiscent of Mark Rothko, Ernst Ludwig Kirchner or the set designs of expressionist films. In Fetting's works, the city appears as ever-nightly and dead, characterized by its contrast between gloom and vibrant colors. Indeed, at night, the area around Moritzplatz in Kreuzberg, where Fetting, Salomé and the so-called “Moritzboys” had opened their gallery in 1977, remains pitch-black. Only a handful of the crumbling buildings in the neighborhood are inhabited, the streets are deserted come nighttime. That is, until the legendary punk-club SO36 – co-owned by Martin Kippenberger – opens its doors around the corner on Oranienstraße, in 1978.

Passages from our exhibition text for “Free B Spirit” by Oliver Koerner von Gustorf @oliverkoerner

Credits:
1) Rainer Fetting - Große Dusche, 1980
2) Rainer Fetting: Gelbe Mauer (Luckauerstraße/Sebastianstraße) 1977, Sammlung Berlinische Galerie

17/05/2019

привет! from Moscow. So happy to open Jan Zoeller’s @janzoellerrr solo exhibition SPA(sibo) at @dinamika_enterprise tonight ⛲️🇷🇺🧨 SPA(sibo) - Jan Zöller’s first solo exhibition in Russia - addresses the traditional Russian sauna: Banja, a place of physical relaxation and a place for social exchange and communication. Zöller presents a series of new paintings and an installation that have been produced during the past weeks of Zöller’s first visit to Russia making them highly situativ in its immediate reflection of his impressions and experiences of the local scene of Moscow.

Thank you to our dearest: @janzoellerrr @jonaszlr @blanar @igorshilo @yuliamoscow @nikolay_koshelev

17/05/2019

привет! from Moscow. So happy to open Jan Zoeller’s @janzoellerrr solo exhibition SPA(sibo) at @dinamika_enterprise tonight ⛲️🇷🇺🧨

SPA(sibo) - Jan Zöller’s first solo exhibition in Russia - addresses the traditional Russian sauna: Banja, a place of physical relaxation and a place for social exchange and communication. Zöller presents a series of new paintings and an installation that have been produced during the past weeks of Zöller’s first visit to Russia making them highly situativ in its immediate reflection of his impressions and experiences of the local scene of Moscow.

Thank you to our dearest: @janzoellerrr @jonaszlr @blanar @igorshilo @yuliamoscow @nikolay_koshelev

17/04/2019

We are saluting Estonian artist Kris Lemsalu for her cover story in the May issue of @monopolmagazin ✌️🌈🔮with great words by Oliver Koerner von Gustorf.

Ceramic by Kris Lemsalu, „V“, 2019

15/04/2019

„Fetting's ‚expressive‘ portraits and cityscapes manage to capture psycho-social energies which reveal themselves in every painterly decision. On one and the same canvas dry strokes, jotted down in a seemingly careless fashion, violently collide with islands, clumps of pastose paint or dark patches, reminiscent of the old masters. However, at no point does Fetting's work become overloaded with symbols, nor does it ever resort to irony. Perpetually moving along the lines of abstraction, it remains surprisingly open-ended within the confines of its composition. It remains uncertain – in the best possible sense of the word.“ Excerpt from Oliver Koerner von Gustorf essay for the exhibition.

Installationshots by Nick Ash

31/03/2019

We are delighted to invite you to an artist talk with Stefan Knauf and
Margit J. Mayer on the occasion of Knauf's exhibition 'Oscar Columno'.

Save the Date: 5 April 2019 | 6:30 PM

Followed by a closing event to celebrate the last day of the exhibition.

Stefan Knauf's (*1990) work comprise a broad spectrum of materials and substances from the construction and furnishing sector. Hereby, his interest lies in the aesthetics of materials and their culture. Knauf’s sculptures and wall paintings form material collages, which raise questions on taste and trends. What are the longings behind the choice of specific materials for architecture or furnishing? What does the proliferation of a material say about the taste and sentimentality of the place and time in which it was used? Knauf’s technically proficient sculptures combine forms and materials that achieve a delicate equilibrium while at the same time connecting questions of art history and aesthetics.

Margit J. Mayer

The writer and editor Margit J. Mayer studied history of art and stage design in Vienna. Having contributed extensively to Vogue and GQ, she became editor-in-chief of the German edition of AD Architectural Digest in 2000 until 2011. More recently, Mayer worked as TASCHEN book’s Style Editor and was the launch-editor of Harper’s Bazaar in Berlin. Today, she writes for the renowned art monthly Weltkunst and the publications of Grisebach auctioneers. @ Robert Grunenberg Berlin

30/03/2019

A sketch on the studio wall from Estonian artist Kris Lemsalu, referencing elements of her Blanket collection. Blanket 4 was on view in our last show ‘Metamodernity’.

More of Kris Lemsalu work is on view next week at @fondationcartier in Paris, opening 3 April 2019 #krislemsalu

25/03/2019

Don’t miss @stefan_knauf’s solo show - two more weeks on view

The prestigious spaces Knauf’s work points towards are typically clad in surfaces crafted from stone, fine wood and metal. The artist arranges them as formal studies with classic proportions. Upon further exploring the show, the visitors witness a process of gradual dismantling, or rather an incremental gaze behind the facade: The premium surfaces are replaced with rough contemporary construction materials, such as drywall sheets and metal stud frames, which are transformed by the artist according to aesthetic considerations. Grooves segment the sheets’ surfaces, steel screws become structuring elements, metal rails emulate a rudimentary colonnade. These works that form this second cycle are meticulously crafted and maintain a sense of ‘noble’ formality and proportion. The supposedly pedestrian materials step out of their shadow existence as construction materials of an ordinarily invisible substructure and are themselves morphing into an ennobled surface on display. In his play of omission, exposure and upgrading, and the simultaneous building of a connection between a specific time in history and a contemporary condition, Knauf reveals the precious surface materials as construction elements of a fragile modernist fiction and uncovers a physical as much as a psychological supporting structure.“ By Till Wittwer @ Robert Grunenberg Berlin

14/03/2019

Don’t miss the opening of „Urban Requiem“ at Galerie Lelong Galerie Lelong & Co., New York New York, on Friday, March 15. A solo exhibition by Barthélémy Togue @barthelemy_toguo that „will spark a larger conversation on the language of authority, border control as a mode of policing and the flow of human bodies and capital that is inescapably tied to colonial and imperial histories“. We are grateful to have featured Barthélémy Togue's work in our very first exhibition "Paradise Is Now. Palm Trees in Art“ and his first-ever solo exhibition at a German gallery "Secret Evidence“, that was accompanied by an artist talk: Barthélémy Toguo in conversation with Hans Ulrich Obrist @hansulrichobrist
@ Galerie Lelong & Co., New York

13/03/2019

Save the Date: Today in a month on 13th of April 2019 we will be Opening: Rainer Fetting | Free B. Spirit. Please join us.

Image: Rainer Fetting, Cop Relaxing (Sebastian), 2004, Oil on canvas, 100 cm x 130 cm.

09/03/2019

Jan Zöller @janzoellerrr and his grandfather celebrating. 💥 ⚠️

We salute Jan for being one of this years winners of the “Bundespreis für Kunststudierende” (Federal Award for Art Students). We are excited to see Jan‘s work showcased this autumn at @Bundeskunsthalle in Bonn. Along with Meyer Riegger we will present Jan‘s first solo exhibition in Berlin in autumn this year as well. 🔥🔥🔥

08/03/2019

BIG MIKE by Stefan Knauf @stefan_knauf

200 cm x 200 cm x 80 cm
Serpentine, Water, Brass, Musa ‘Gros Michel’

For more information, please contact us. @ Berlin, Germany

20/02/2019

We are open, come and see Stefan Knauf‘s new show 🔛

With Oscar Columno Stefan Knauf (*Munich, 1990) presents his first solo exhibition at Robert Grunenberg Berlin. The Berlin-based artist shows new sculptural works which are immersed in an extensive installation setting dominated by skeletal columns. Thus, Knauf examines the stylistic and formal language of modernist interiors, specifically referenced in the imposing spaces of bourgeois apartment buildings in Milan. Whereas these spaces are usually clad in marble, brass and mahogany wood, Knauf takes a literal look behind the noble materials’ facade to reveal their supporting structures which otherwise remain hidden. In this act of uncovering, the artist transforms rough and untreated construction materials, such as drywall sheets and metal stud frames according to aesthetic considerations and applies meticulous craftsmanship to reconfigure them. Thus, the ordinarily invisible and pedestrian substructure itself is morphing into an ennobled surface on display. In his game of omission, exposure and upgrading, Knauf reveals the seemingly precious surface materials as construction elements of a brittle modernist fiction. The eponymous Oscar Columno may be understood as a clue in a double-deal, here: In a function not dissimilar to said Milanese interiors, this generic, yet evocative name of a fictional architect offers a fragile scaffolding for projections of grandezza and elegance.

Installationshots by Nick Ash

14/02/2019

Robert Grunenberg Berlin's cover photo

08/02/2019

A lyric poet, Marcel Broodthaers did not commit himself to visual art until 1964, when he was forty. In just twelve years, he created a complex oeuvre that stakes out a unique position in the orbits of Minimalism, Pop Art, and Conceptualism. The use of language and writing is crucial in his work. In „Metamodernity“ his playful semiological experimentation with the signification of words and images in "Journal d’un voyage utopique” (1973) reflects on the mechanics of imagination and meaning-making and their consolidation in cultural memory. The delicate writing in an ornate frame, which is placed over what might be a sea with a bird flying along the horizon or may be read as a forlorn island. What do you see looking at this utopian voyage?

@ Berlin, Germany

06/02/2019

With Oscar Columno Stefan Knauf @stefan_knauf (*Munich, 1990) presents his first solo exhibition at Robert Grunenberg Berlin. The Berlin-based artist shows new sculptural works which are immersed in an extensive installation setting dominated by skeletal columns. Thus, Knauf examines the stylistic and formal language of modernist interiors, specifically referenced in the imposing spaces of bourgeois apartment buildings in Milan. Whereas these spaces are usually clad in marble, brass and mahogany wood, Knauf takes a literal look behind the noble materials’ facade to reveal their supporting structures which otherwise remain hidden. In this act of uncovering, the artist transforms rough and untreated construction materials, such as drywall sheets and metal stud frames according to aesthetic considerations and applies meticulous craftsmanship to reconfigure them. Thus, the ordinarily invisible and pedestrian substructure itself is morphing into an ennobled surface on display. In his game of omission, exposure and upgrading, Knauf reveals the seemingly precious surface materials as construction elements of a brittle modernist fiction. The eponymous Oscar Columno may be understood as a clue in a double-deal, here: In a function not dissimilar to said Milanese interiors, this generic, yet evocative name of a fictional architect offers a fragile scaffolding for projections of grandezza and elegance.

Stefan Knauf received his MFA at the Berlin University of the Arts.

05/02/2019

A rare homo erotic drawing from French artist Francis Picabia, dated 1925-27, showing two male figures in an moment of tender intimacy.

,Sans titre (deux hommes nus/ two naked men)‘ pencil on paper, 13,5 x 10 cm

On view at „Metamodernity“. Join us for our closing on Saturday February 9, 2019.

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Marburger Strasse 3
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Öffnungszeiten

Mittwoch	12:00 - 18:00
Donnerstag	12:00 - 18:00
Freitag	12:00 - 18:00
Samstag	12:00 - 18:00

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Videos

In our first video interview for our exhibition dossier of Rainer Fetting‘s show @Rainer fetting we spoke with Slava Mogutin @slavamogutin To see the full video go to our website

We are happy to share a snippet of the Artist Talk with @barthelemytoguo and @hansulrichobrist last week. Special thanks to @galerielelongparis and Felix Böhm / @artbeatsberlin for the video.

Thanks to everyone who joined us for the artist talk with Barthélémy Toguo and Hans Ulrich Obrist this Saturday. - #Repost @christophamend ・・・ the artist #barthélémytoguo in conversation with curator #hansulrichobrist about his work and the influence of #marcelduchamp #robertgrunenbergberlin gallery ps: brillant translation by #stefanieunternährer @sunternaehrer

Clip from 'The Thirsty Gardner' (2005) by Barthélémy Toguo. Whole video on view at our gallery until 30 November 2018 as part of ‚Secret Evidence‘ . With this video Barthélémy Toguo wanted to hold watering money up to ridicule, that is to say that watering money does not make it grow. According to Toguo "the dollar bill represents the world economy and capitalism in general. This video also points out the fact that if we are missing money (all around the world), why don't we create more bills? How does the economy run? When and why do we stop issuing bills? The watering can is nourishing the money. Is the flowing water washing away the sins attached to the money? It is also a paradox to see an African gardener watering a dollar bill. It is also a joke". (C) @bandjounstation and @galerielelongparis

Clip from 'The Thirsty Gardner' (2005) by Barthélémy Toguo. Whole video on view at our gallery until 30 November 2018. . With this video Barthélémy Toguo wanted to hold watering money up to ridicule, that is to say that watering money does not make it grow. According to Toguo "the dollar bill represents the world economy and capitalism in general. This video also points out the fact that if we are missing money (all around the world), why don't we create more bills? How does the economy run? When and why do we stop issuing bills? The watering can is nourishing the money. Is the flowing water washing away the sins attached to the money? It is also a paradox to see an African gardener watering a dollar bill. It is also a joke". Courtesy @bandjounstation and @galerielelongparis

Stefan Knauf working on the wax model for the bronze casting of his latest work „Piazza del Cuore Sviato I-V“, which can be seen in our current show "Losing My Virginity". Head over to Fyta Magazine to learn more about Stefan’s passion for plants and his research into transcience and the absurdity of existence >>> https://fyta.de/verstehen/sk1/ @connectwithplants @stefan_knauf

🔥TODAY FROM 6 PM: LOSING MY VIRGINITY with @stefan_knauf @paullevack1000 @janzoellerrr @die_roemischen_votzen @sonja_yakovleva 🔥

Last Day of ‚Paradise is Now‘ Join us for the Finissage today 6 - 9 pm to get your own cane palm tree seed. Stefan Knauf’s work studies the worldwide spread of the golden cane palm and the question of its natural survival. @salondahlmann Thanks Fyta Mag for your visit!

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