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Johann König

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Johann König

Kontaktinformationen, Karte und Wegbeschreibungen, Kontaktformulare, Öffnungszeiten, Dienstleistungen, Bewertungen, Fotos, Videos und Ankündigungen von Johann König, Kunst und Unterhaltung, Alexandrinenstraße 118/121, Berlin.

17/06/2026

KÖNIG GALERIE is pleased to present THE SHAPE OF ABSENCE by Iranian-born, US-based artist Arghavan Khosravi, on view in the Chapel of St. Agnes. Marking the artist’s second presentation with the gallery, this body of work continues Khosravi’s exploration of a theme central to her practice: the position of women at the intersection of oppression, tradition, authoritarian power, resistance, and hope.

We look forward to seeing you at the opening!

ARGHAVAN KHOSRAVI
THE SHAPE OF ABSENCE

KÖNIG GALERIE
ALEXANDRINENSTRASSE 118–121, 10969 BERLIN
17 JULY – 30 AUGUST 2026

OPENING
16 JULY 2026 | 6 – 8 PM

FEATURED ARTWORK

ARGHAVAN KHOSRAVI
BROKEN PIECES, 2025
acrylic on canvas over shaped wood panel, acrylic on wood
cutout, acrylic mirror, styrofoam
73 x 48 x 6 cm; 28 3/4 x 18 7/8 x 2 3/8 in
unique

🔗 https://www.koeniggalerie.com/blogs/exhibitions/arghavan-khosravi-the-shape-of-absence

© courtesy of the artist and KÖNIG GALERIE

14/06/2026

Having grown up in Cologne, I have always followed with great interest how the city responds to the challenge of maintaining its remarkable stock of church buildings.

One of the most convincing approaches, in my view, is the transformation of churches into burial churches and columbaria.

The former St. Bartholomäus Church in Cologne-Ehrenfeld is an outstanding example. Designed by Hans Schwippert, the building retains its architectural quality and spiritual atmosphere while accommodating a new purpose through the careful integration of burial spaces.

Projects like this show how adaptive reuse can preserve not only architecture, but also memory, dignity, and a sense of continuity.

These photographs were taken by my friend Felix Hemmers, who has documented inspiring examples of church reuse throughout Germany. I am sharing them here because adaptive reuse remains one of the most fascinating architectural and cultural challenges of our time.

I am always interested in learning about churches, monasteries, convents, or other religious buildings that are vacant or searching for a sustainable future. If you know of any such places, I would be grateful if you shared them in the comments or sent me a message.

© Images by Felix Hemmers

08/06/2026

Our recent studio visit with Rosalie Werthefrongel and Franz Stein confirmed something I have long believed: there is no substitute for meeting artists in the place where their work is actually made.

We were delighted to welcome a large group of collectors and supporters to the artists’ studio in Berlin, where a lively and insightful discussion developed around artistic process, materiality, and the evolution of a body of work.

One of the most interesting aspects of the afternoon was seeing how differently two artists can arrive at equally compelling results.

Rosalie Werthefrongel explained how her paintings often begin with carefully staged and photographed objects that are subsequently translated through drawing into painting.

Franz Stein, on the other hand, described a highly physical studio practice: canvases placed on the floor, multiple works developed simultaneously, and abstract compositions emerging through the accumulation of many layers over time.

For me, both as a gallerist and as a collector, the event demonstrated exactly why these studio visits matter. Every time I visit an artist’s studio, I come away with a deeper understanding of the work, the decisions behind it, and the direction in which the practice is evolving. That insight is invaluable and often impossible to gain from seeing finished works alone.

Collectors are not only able to understand the works they see today, but also to gain insight into where an artist’s practice is heading tomorrow. The conversations that emerge in this setting create a deeper understanding of the work and often reveal aspects that are impossible to communicate through an exhibition alone.

08/06/2026

In dieser Folge von WAS MIT KUNST spreche ich mit dem dänischen Künstler Tue Greenfort über seine langjährige Auseinandersetzung mit der Wahrnehmung, Systematisierung und kulturellen Einordnung von Natur. Anlässlich seiner Ausstellung WUNDERKAMMER in der Chapel der KÖNIG GALERIE (5. Juni – 12. Juli 2026) veröffentlichen wir dieses Gespräch erneut.

Im Zentrum stehen Greenforts künstlerische Praxis zwischen Wissenschaft, Materialforschung und ökologischer Beobachtung sowie seine Arbeiten mit Glas, Cyanotypien und Druckgrafiken. Gemeinsam sprechen wir über Algen, Organismen und künstlerische Ökosysteme, über die Idee der Wunderkammer als Ort des Sammelns, Ordnens und Staunens – und über die Frage, wie wir Natur heute überhaupt noch sehen und verstehen können.

🔗 https://open.spotify.com/episode/2wLf11HzoVdEOKTwhrpPhD?si=3415d21ca3084781

© Portrait by Tue Greenfort
Podcast by Art Beats

05/06/2026

How does a sculpture get its price?

Standing among Jeppe Hein’s new Penguin Balloon sculptures in YOU ARE NEVER REALLY ALLONE, I found myself thinking about a question I am asked surprisingly often.

Many people assume the answer is production costs. But that is only one small part of the story.

The Penguin Balloons are a new body of work, so there is no direct auction history to rely on. Instead, collectors look at comparable works within Jeppe’s practice. Reference points include a Big Mirror Ball, which sold at Phillips New York for USD 50,000, and a Violet Mirror Balloon (medium), which sold at Ketterer Kunst Munich for EUR 23,750.

But pricing is also influenced by an artist’s career: museum collections, major exhibitions, institutional support, and long-term demand. Jeppe’s work has been included in the main exhibition of the Venice Biennale, is held in collections such as Tate, and has been exhibited internationally for more than two decades.

What I particularly like about the Penguin Balloons is that each sits on a unique stone personally collected by Jeppe in Klitmøller, his hometown on the Danish North Sea coast. While the penguins themselves are cast from the same mold, each sculpture becomes unique through its stone.

Unlike many sculptures, they can also live indoors or outdoors, making them equally suitable for sculpture gardens, parks, public spaces, and private collections.

And when seen together, they almost begin to behave like a colony, curious, playful, social, and occasionally solitary.

Perhaps that is the real challenge of pricing art.

The value rarely lies in the materials alone.

What do you think contributes most to the value of an artwork?

🔗 https://www.koeniggalerie.com/collections/you-are-not-allone-jeppe-hein-konig-galerie

Slide 1: © Image by KÖNIG GALERIE
Slide 2: © Image by Studio Jeppe Hein / Jan Strempel
Slide 3. Installation view by Roman März © courtesy of the artist and KÖNIG GALERIE

04/06/2026

Opening tonight at KÖNIG GALERIE is WUNDERKAMMER by Tue Greenfort, the artist’s ninth solo exhibition with the gallery. Presented in the Chapel of St. Agnes, the exhibition brings together new and existing works that explore how humans perceive, classify, and relate to the natural world. Spanning ceramics, glass sculptures, cyanotypes, prints, and mixed-media installations, Greenfort’s works examine ecosystems, biodiversity, and forms of coexistence between humans and nature, inviting viewers to reconsider established perspectives on flora, fauna, and ecology.

See you tonight!

TUE GREENFORT
WUNDERKAMMER

KÖNIG GALERIE
5 JUNE – 12 JULY 2026

OPENING
4 JUNE 2026 | 6 – 8 PM

🔗 https://www.koeniggalerie.com/blogs/exhibitions/tue-greenfort-wunderkammer

© Images by KÖNIG GALERIE

03/06/2026

Opening tomorrow at KÖNIG GALERIE is YOU ARE NEVER REALLY ALLONE by Jeppe Hein in the Nave of St. Agnes. Transforming his mirror balloon sculptures into reflective penguins, Hein explores the relationship between individuality and collectivity, presence and perception.

We look forward to welcoming you!

JEPPE HEIN
YOU ARE NEVER REALLY ALLONE

KÖNIG GALERIE
5 JUNE – 23 AUGUST 2026

OPENING
4 JUNE 2026 | 6 – 8 PM

🔗 https://www.koeniggalerie.com/blogs/exhibitions/jeppe-hein-you-are-never-really-allone

© Images by KÖNIG GALERIE

29/05/2026

These are the last days to visit EEUWEN at KÖNIG TELEGRAPHENAMT, a solo exhibition by Joana Schneider. Working between painting and sculpture, Schneider creates textile works from reclaimed marine materials such as fishing nets and ocean waste, shaping organic forms that bloom, dissolve, and reappear like shifting landscapes suspended between dream and matter.

Inspired by De Slufter, the dune reserve on Texel in the Netherlands where land and sea merged after a 19th-century dam breach, works including WADDENEINLAND translate ecological transformation into delicate yet resilient compositions.

Don't miss the final days to come by!

JOANA SCHNEIDER
EEUWEN

KÖNIG TELEGRAPHENAMT
MONBIJOUSTRASSE 13, 10117 BERLIN
13 MARCH – 30 MAY 2026

🔗 https://www.koeniggalerie.com/blogs/exhibitions/joana-schneider-eeuwen

Installation views by Roman März © courtesy of the artist and KÖNIG GALERIE

25/05/2026

In dieser Folge von WAS MIT KUNST spreche ich mit dem Wirtschaftswissenschaftler und Ökonomen Hergen Wöbken über das gesamte Ökosystem der Kunst und die wirtschaftliche Situation in der Branche. Hergen Wöbken, der bis kurz vor dem Abitur selbst ein Kunststudium anstrebte, studierte schließlich an der anthroposophisch inspirierten Universität Witten/Herdecke Wirtschaft und verbindet seither unternehmerische Perspektiven mit dem Kunstfeld. 2003 gründete er das Institut für Strategieentwicklung, das heute von Berlin aus als netzwerkorientierte Plattform Beratung, Studien, Coachings und Mediationen anbietet.

Ausgangspunkt unseres Gesprächs ist die Veröffentlichung der mittlerweile dritten Galerienstudie, die als Leuchtturmprojekt für den Kunstmarkt gilt. Wir thematisieren den gesamten Kreislauf der Kunst – von den ersten, prägenden Museumsbesuchen in der Kindheit, über Projekträume und Galerien, bis hin zum Einzug eines Werkes ins Museum. Wöbken blickt dabei auf die komplexen Verflechtungen des Standorts Berlin, untersucht das Zusammenspiel von Kunsthochschulen wie der UdK, Projekträumen und dem Markt und plädiert für eine gestalterische, unternehmerische Perspektive im Kulturbetrieb. Zudem gibt er spannende Einblicke in die Anfänge der Berliner Kunstszene nach der Wende und spricht über die Herausforderungen von familiärer Nachfolge und großen Fußstapfen im Kunstsystem.

🔗 https://tr.ee/RIf8sNCM07

© Portrait by Jeanne Degraa
Podcast by Art Beats

22/05/2026

These are the last days to experience LUNACY by Emily Weiner at KÖNIG GALERIE. Presented in the Nave of St. Agnes, the exhibition explores mythology, symbolism, Buddhist ideas, and physics through visual puzzles, shifting forms, cosmic perspectives, and recurring motifs that suggest reality emerges through resonance and interpretation.

Come by before it's over!

EMILY WEINER
LUNACY

KÖNIG GALERIE
ALEXANDRINENSTRASSE 118–121, 10969 BERLIN
17 APRIL – 24 MAY 2026

🔗 https://www.koeniggalerie.com/blogs/exhibitions/emily-weiner-lunacy

Installation views by Roman März © courtesy of the artist and KÖNIG GALERIE

Adresse

Alexandrinenstraße 118/121
Berlin
10969

Öffnungszeiten

Dienstag	11:00 - 18:00
Mittwoch	11:00 - 18:00
Donnerstag	11:00 - 18:00
Freitag	11:00 - 18:00
Samstag	11:00 - 18:00
Sonntag	11:00 - 18:00

Webseite

https://www.koeniggalerie.com/

Benachrichtigungen

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