Gregor Podnar

Gregor Podnar http://gregorpodnar.com Galerija Gregor Podnar was established in June 2003 in Kranj (Slovenia) as part of the Association DUM. In August 2005 the gallery moved to Kolodvorska Street 6 in Ljubljana.
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From 1996 till 2003 Gregor Podnar had been running an international program as artistic director of Galerija Škuc in Ljubljana and since 2001 he presents artists at different art fairs. In October 2007 Gregor Podnar opened a second gallery in Lindenstr. 35, Berlin. By continuing this line of curatorial and gallery work Galerija Gregor Podnar aims at running a production center, which collaborates with different galleries and institutions in Europe and abroad. It represents internationally renowned and established artists mostly from Eastern European centres, like Ion Grigorescu, Irwin, Yuri Leiderman, Goran Trbuljak, Dan Perjovschi, and Attila Csörgő. With an emphasis on the heritage of conceptual movements, the gallery has developed step by step towards a wider context, with artists like Alexander Gutke, Tobias Putrih, Ariel Schlesinger and B. Wurtz.

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A challenging year is drawing to a close and after adapting to the exceptional circumstances presented to us, we would l...
18/12/2020

A challenging year is drawing to a close and after adapting to the exceptional circumstances presented to us, we would like to thank you for your continued support throughout 2020. We wish you a healthy and happy holiday season and look forward to sharing an exciting program with you in the New Year!

Between December 19, 2020 and January 4, 2021 we will be taking a short hiatus for our winter break.

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Image: Marzena Nowak, Untitled, 2011; cut out cuffs, variable dimensions

#gregorpodnar #christmasbreak #StayHoHoHome #seasonsgreetings

Gregor Podnar's cover photo
03/12/2020

Gregor Podnar's cover photo

Open from today:NOBUKO TSUCHIYA | ,,, andWILLIAM ENGELEN | Stefan Lutermann und ich an der Orgel, Konzertaufzeichnung au...
28/11/2020

Open from today:

NOBUKO TSUCHIYA | ,,,

and

WILLIAM ENGELEN | Stefan Lutermann und ich an der Orgel, Konzertaufzeichnung auf Film, Vorlagen der Komposition auf Papier

Nov 28, 2020 - Feb 6, 2021

Looking forward to welcomig you.

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Image 1/2: Nobuko Tsuchiya, Lake Tail, 2020 (detail), Wool, brass, silicone, acrylic plastic tube, resin, stainless steel, 65 x 59 x 17 cm
Image 2/2: William Engelen, Heute hat die Orgel wieder schön gespielt, 2018, installation view at Gregor Podnar, 2020.

#nobukotsuchiya #williamengelen #gregorpodnar #artopening #artinberlin
@anthonyreynoldsgallery Nobuko Tsuchiya's exhibition is in cillaboration with Anthony Reynolds, London and SCAI The Bathhouse, Tokyio.

WILLIAM ENGELEN | Stefan Lutermann und ich an der Orgel, Konzertaufzeichnung auf Film, Vorlagen der Komposition auf Papi...
27/11/2020

WILLIAM ENGELEN | Stefan Lutermann und ich an der Orgel, Konzertaufzeichnung auf Film, Vorlagen der Komposition auf Papier

Open from Saturday November 28th, 2020 | 11am - 6pm

Gregor Podnar is delighted to present a manifestation of William Engelen’s solo exhibition ‘Heute hat die Orgel wieder schön gespielt’ [Today, the organ has played beautifully again] (2018), originally exhibited at Kunsthalle Osnabrück. This is the first exhibition at the gallery by the Berlin-based artist who navigates the spectrum between visual and musical expressions. Engelen adopts strategies from visual art to extend the boundaries of musical compositions. Written scores, concert-like performances, filmic documentations, sound recordings and releases are the product of his amalgamations of sound and image.

His compositions are written by his visual response to an environment, ranging from museum and gallery spaces, churches and construction sites. Subsequently, a distinct factor of Engelen’s artistic practice embodies methods of acoustic interpretation through his collaborations with musicians. Engelen’s nonconformist musical scores embrace drawing techniques that structure their own melodic rationale and the performances that result are a communitarian exchange of the different variables established by the artist.

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Image: William Engelen, Heute hat die Orgel wieder schön gespielt, 2018 (film still); HD video, 83 min.

#williamengelen #gregorpodnar #orgel #video #stefanlutermann #upcomingshow

NOBUKO TSUCHIYA | ,,, OPEN from Saturday November 28th, 2020 | 11am - 6pmIt is a pleasure to announce that Nobuko Tsuchi...
26/11/2020

NOBUKO TSUCHIYA | ,,,

OPEN from Saturday
November 28th, 2020 | 11am - 6pm

It is a pleasure to announce that Nobuko Tsuchiya is now represented by Gregor Podnar. We are delighted to be the host of Tsuchiya’s first Berlin solo exhibition. Gregor Podnar is pleased to present a collection of recent and new sculptural works with Nobuko Tsuchiya joining us in Berlin to create and adapt works especially for ,,,.

With her intuitive use of materials, Tsuchiya builds delicate elements and layers that become part of the landscape that make up the entirety of an individual sculptural work. Tsuchiya’s visual language reflects her intense understanding of the characteristics of different materials. In her work she approaches the parameters of their physical limitations to create the sensitive and challenging sculptural works. Tsuchiya precisely transforms ubiquitous objects and detritus materials into curious microcosms. Each fragment of her uninhibited and instinctive assemblages - every material surface, component and form - are in poetic dialogue with one another and the surrounding environment.

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Image: Nobuko Tsuchiya, Urchin Compass, 2019 (detail); silicone, polyester, steel, 32 x 98 x 16 cm

#nobukotsuchiya @nobukotsuchiya #gregorpodnar #,,,

Getting ready for our 2 upcoming shows:NOBUKO TSUCHIYA | ,,, and WILLIAM ENGELEN | Stefan Lutermann und ich an der Orgel...
24/11/2020

Getting ready for our 2 upcoming shows:

NOBUKO TSUCHIYA | ,,,

and

WILLIAM ENGELEN | Stefan Lutermann und ich an der Orgel, Konzertaufzeichnung auf Film, Vorlagen der Komposition auf Papier

Open from Saturday November 28th, 2020 | 11am - 6pm

#nobukotsuchiya @nobukotsuchiya #williamengelen #gregorpodnar #upcomingshow #artinberlin

Last days of “Marcius Galan. They endured” at the gallery. This work is one of our favourites from the show. What’s your...
18/11/2020

Last days of “Marcius Galan. They endured” at the gallery. This work is one of our favourites from the show. What’s yours?

Exhibition runs daily, 11am-6pm until this Saturday 21st November.

Marcius Galan, Erased Composition, 2020; eraser on Formica, frame, 22 x 31 x 3,5 cm. Photo: Marcus Schneider

@marciusgalan #marciusgalan #gregorpodnar #berlingallery #theyendured #exhibition #contemporaryart #zeitgenössischekunst #lastchance #whatsyours #favourite

It is with great sadness that the gallery announces the passing of Ivan Kožarić, on November 15, 2020, at the age of 99....
16/11/2020

It is with great sadness that the gallery announces the passing of Ivan Kožarić, on November 15, 2020, at the age of 99. Born June 10, 1921 in Petrinja, Croatia, the artist lived and worked in his home country in Zagreb until his death.

Ivan Kožarić was a pillar of the artistic community in Zagreb and further afield. His energy and charisma will be dearly missed by family, friends and colleagues alike. The gallery endeavours to celebrate the life and artistic legacy of the well respected man, the exceptional artist, our dear friend, Ivan Kožarić.

Ivan Kožarić, 1921-2020

Photo: Portrait of Ivan Kožarić, ca. 1987

#ivankozaric #gregorpodnar #shapeofspace #rememberingtheflood #rememberingkozaric

29/10/2020

Francisco Tropa on Dan Perjovschi:
This week, Francisco Tropa contributes an audio recording that reflects his contemplation upon the work of Dan Perjovschi. Find the full audio recording paired with images on our Vimeo page.

Audio recording by Pedro Tropa on 1st May 2019, Lisbon. All drawings by Dan Perjovschi, Tiles from the Tulln Project (Kunst im Garten project, Tulln, Austria), 2008

@francisco.tropa #DanPerjovschi #GregorPodnar #KunstimGartenProject #MayDay #Drawing

A constant vein of research in the Francisco Tropa‘s practice, the ‘Lantern’ series, takes up the theme of the shadow th...
26/10/2020

A constant vein of research in the Francisco Tropa‘s practice, the ‘Lantern’ series, takes up the theme of the shadow theater, the allegory of the cave and early motion-picture experiences. The latest work in the series entitled ‘Pharmacie’ (2019), was presented for the first time at Art Basel Unlimited 2019, suggests an allegory reuniting three archaic instruments for measuring time: the clepsydra water clock, the hourglass and the mechanical clock.

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Images: Francisco Tropa, Pharmacie, 2019; the installation consists of 4 projection systems: one lantern with hourglass, one with a mechanical clock, one with a falling drop of water, and one projecting the image of an agate stone. Installation view at Art Basel Unlimited, Basel, Switzerland, 2019

@francisco.tropa #franciscotropa #artunlimited2019 @artbasel #pharmacie #gregorpodnar

TSAE (Submerged Treasures of Ancient Egypt) is a fictional archaeological expedition whose title spontaneously conjures ...
25/10/2020

TSAE (Submerged Treasures of Ancient Egypt) is a fictional archaeological expedition whose title spontaneously conjures up an exhibition drawing crowds in search of sarcophagi and other mummies. The title is key to propelling the spectator’s imagination towards an exoticism, to then be taken aback encountering productions with undeniable formal beauty and magic but that defy understanding, leaving it open to interpretation.

Through these multiple references that range from Plato’s cave to American minimalism, Francisco Tropa well and truly invites us to the construction of an autonomous and fascinating world, a world of rugged beauty that unfolds like an ever-expanding architecture. Moreover it is more than likely that these various representations reflect Francisco Tropa’s perception of art in many ways: the question of truth partially suspended to the benefit of a multiplying and digressive narrative, enabling a world to emerge that is simultaneously unique, fanciful and nonetheless credible.

Text by Sandra Patron, 2015

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Images 1/3 & 3/3: Francisco Tropa, TSAE, 2014. Installation views at Pavilhão Branco, Museu de Lisboa, Lisbon, Portugal. Photos: Pedro Tropa
Image 2/3: Francisco Tropa, TSAE (Tesouros Submersos do Antigo Egito), 2008; glass, white limestone and sand, variable dimensions

#franciscotropa
@francisco.tropa #gregorpodnar #artistinfocus #TSAE #museudelisboa @museudelisboa

Archaic instruments for measuring time, medieval representations of the cosmos, bronze giants and trompe-l’œil compositi...
24/10/2020

Archaic instruments for measuring time, medieval representations of the cosmos, bronze giants and trompe-l’œil compositions: there is a distinct feeling looking at Francisco Tropa’s work of witnessing the creation of an autonomous world, the development of an original and personal mythology, where numerous representations of the world are vaguely recognised, from ancient Greece to modernist ideals. Tropa’s interest in these conventional models is philosophical as well as aesthetical. Philosophical because these systems question the overlapping of truth and fiction in our representations, and the way in which, since the dawn of time, man has distorted scientific truths for the benefit of a collective, whether political or religious, narrative. Aesthetical, because these frequently abstract representations of the world are an inexhaustible source for the artist, enabling formal whims of every kind, in an exhilarating relationship with matter and the different ways in which it can be transformed.

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Image: Francisco Tropa , Scripta, 2008, bronze, 8 pieces, variable dimensions (height between ca. 100 and 170 cm)

#franciscotropa @francisco.tropa #artistinfocus #gregorpodnar #scripta #bronze #archaicinstruments

Edition Seventeen focuses on the oeuvre of a prominent figure within the Portuguese contemporary art scene, Francisco Tr...
22/10/2020

Edition Seventeen focuses on the oeuvre of a prominent figure within the Portuguese contemporary art scene, Francisco Tropa. In his complex practice, which fuses art and technical ingenuity, Tropa’s creative vision embraces prototypes and machines, in addition to sculptures, paintings, drawings, screen prints, photography and performance.

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Image 1/2: Francisco Tropa, Portable Antipode, 2019; wood, metal, glass, silkscreen, variable dimensions.
Photo: Teresa Santos. Courtesy: Private collection, Switzerland

Image 2/2: Francisco Tropa, Panta Rhei, 2015; silkscreen printed canvas, twelve bronze elements, wooden platform, 74 x 100 x 5 cm. Photo: Marcus Schneider. Courtesy: Private collection, USA.

@francisco.tropa #franciscotropa #artistinfocus #gregorpodnar #portableantipode #pantarhei

16/10/2020

BRAVO!! 👏

#Repost @vadimfishkin
• • • • • •
today on Festival Borštnikovo , Maribor - Parquet Ball

Idea and choreography: Mateja Bučar
Idea in visual concept: Vadim Fishkin

Movement/dance/co-creation: Kristina Aleksova, Maja Kalafatić
Sound: Borut Savski
Light: Jaka Šimenc
Construction of the parquet ball: Matija Jakin, MOJ HOBI
Mechanisms: Zavod Zet
Producer: Tina Dobnik
Production: The DUM Association of Artists, Zavod Maska
In cooperation with the National Gallery of Slovenia
Coproduction:MGML/Indigo festival, Kino Šiška
Special thanks to: Stefan Doepner, Aleša Valič, Zavod ZET

#vadimfishkin #vadimfiškin

Marcius GalanErased Composition, 2020Eraser on formica22 x 31 x 3,5 cm (framed)Marcius Galan's exhibition "They endured"...
14/10/2020

Marcius Galan
Erased Composition, 2020
Eraser on formica
22 x 31 x 3,5 cm (framed)

Marcius Galan's exhibition "They endured" is on view until Nov 21, 2020.

#marciusgalan
@marciusgalan
#theyendured #erasers #gregorpodnar
Photo: Marcus Schneider

Ion Grigorescu on Francisco Tropa:"First impression: a fright, that one cannot enter the gallery. (Repair works? A polic...
06/10/2020

Ion Grigorescu on Francisco Tropa:

"First impression: a fright, that one cannot enter the gallery. (Repair works? A police locking?) It is with the installation, closed on three edges with high fences (The Heart and the Lungs, 2019), that is the beginning of this misunderstanding, amplified through the ambiguity of the objects - lamps in a park, leaves on spiders webs, hanging pieces of meat which are compiled of bronze moulded pieces (Meat, 2020), they are here, deciphering the entrance of the installation and become entangled, hidden in the beard, a spy (the viewer?). If we descend our view from the objects to their feet, we see thin, ridiculous triangles, we are in total doubt of our understanding. Finally, the drop falls upon me, so effortful from the tap, easy as a dancer through the glass pipes, sucked by the steel mouth of the sewer and pulsing on the surface: the horizon of the ocean (Lantern (with a drop of water), 2012)."

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Image 1/3: Francisco Tropa, Der im Bart versteckte Schnauzbart, filn stills, Gregor Podnar, Berlin, 2020. Film: Jonathan Sammon

Image 2/3 +3/3: Francisco Tropa, Das Herz und die Lunge, installation view at Gregor Podnar, Berlin, 2020. Photos: Marcus Schneider

#iongrigorescu #artistinfocus #artistpick #franciscotropa #gregorpodnar @francisco.tropa @adarkmountain

05/10/2020

Presenting Alexander Gutke at Daata Fair, an online art fair opening today!

@alexandergutke @daata.art

#alexandergutke #daatafair #contemporaryart #onlineartfair #onlineart

Throughout his career, Ion Grigorescu has over-painted photographs, applying oil and acrylic paint, watercolour and even...
05/10/2020

Throughout his career, Ion Grigorescu has over-painted photographs, applying oil and acrylic paint, watercolour and even varnish. He disrupts the smoothness of the photographic surface, producing a hybrid that sits somewhere between painting and photography. Grigorescu’s explicit merging of mediums not only asks the viewer to consider what is the photograph but also when does the photograph stop being a photograph? Image and surface battle for the viewers consideration and we are confronted by questions of materiality as we explore the collision of mediums within Grigorescu’s artistic practice, with our focus switching between the textural brushstrokes of the paint and the vaguely legible narrative of the photographic image beneath, acknowledging the different languages that occupy the mind when viewing these distinct territories. 

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Image: Ion Grigorescu, Pioneer Girl, 1978; vintage gelatin silver print, watercolour, 60 x 49 cm, 70 x 60,5 cm (framed)

#iongrigorescu #artistinfocus #romanianart #pioneergirl #photography #painting #gregorpodnar

Within the intimate surroundings of Ion Grigorescu’s life, artistic practice and household chores often merged, giving n...
02/10/2020

Within the intimate surroundings of Ion Grigorescu’s life, artistic practice and household chores often merged, giving new meaning to the elements of simple communal existence in acts of washing, sleeping and eating, while on many occasions also referring to the heritage of Romanian culture, to which he frequently returned in his later photographic works and works on paper.

"For me, all daily chores, the washing of clothes, the preparing of meals, the shopping, the conservation work, are performances, art, gestures of survival. Certain projects are born in one home and are carried out in another, thus bringing together homes and families beyond the course of time."
Ion Grigorescu

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Image: Ion Grigorescu, Washing, 1976; vintage gelatin silver print, 56 x 64 cm

#iongrigorescu #artistinfocus #gregorpodnar #romanianart #washing #photography #vintageprint

Edition Sixteen looks into the artistic practice of one of the most influential figures in Romanian art - Ion Grigorescu...
30/09/2020

Edition Sixteen looks into the artistic practice of one of the most influential figures in Romanian art - Ion Grigorescu. The artist began working during the 1960s in the privacy of his studio with only the camera bearing witness to his actions and performances. Often using his own body as the subject of his work, Grigorescu embraces characteristics and key events which compose the essentials of the human experience, such as birth, growth, emotionality, aspirations, conflict, and mortality.

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Images: Ion Grigorescu, Mimicry / Mimică, 1975; six gelatine silver prints, produced in 2011, each 40 x 30 cm

#iongrigorescu #artistinfocus #romanianart #gregorpodnar #photography

Vadim Fishkin on Ion Grigorescu:Boxing (1977) was the first work by Ion Grigorescu which I encountered. Two naked men fi...
29/09/2020

Vadim Fishkin on Ion Grigorescu:

Boxing (1977) was the first work by Ion Grigorescu which I encountered. Two naked men fighting with one another - where in fact it is only one man boxing, fighting himself, but pictured in a different moment of time. So many questions are layered within this clear and sharp work: who is losing or winning?; is this a fight with the past or the future?; predicting, anticipating the next moment, the struggle and personal fight, capturing of time, …, all present at once.

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Image: Ion Grigorescu, Boxing, 1977; film stills, digital video transferred from 8 mm film, 2:27 min.

#vadimfishkin @vadimfishkin #artistinfocus #artistpick #iongrigorescu #gregorpodnar #boxing #8mm

Vadim Fishkin on Ion Grigorescu:Boxing (1977) was the first work by Ion Grigorescu which I encountered. Two naked men fi...
29/09/2020

Vadim Fishkin on Ion Grigorescu:

Boxing (1977) was the first work by Ion Grigorescu which I encountered. Two naked men fighting with one another - where in fact it is only one man boxing, fighting himself, but pictured in a different moment of time. So many questions are layered within this clear and sharp work: who is losing or winning?; is this a fight with the past or the future?; predicting, anticipating the next moment, the struggle and personal fight, capturing of time, …, all present at once.

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Images: Ion Grigorescu, Boxing, 1977; film stills, digital video transferred from 8 mm film, 2:27 min.

#vadimfishkin
@vadimfishkin #artistinfocus #artistpick #boxing #8mm #gregorpodnar

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