Drei

Gallery for contemporary art. The venue is located a short walk from the Rhine River and the cathedr

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15/12/2022

We are excited to share some views of 'A Change in Weather (Broadcast Material 1989–2001)', Matthias Groebel‘s first comprehensive institutional solo exhibition to date!

Congratulations to Matthias Groebel as well as Kathrin Bentele and Andreas Selg who jointly curated this exhibtion of a long-hidden treasure with a brilliant presentation to be experienced through February 26, 2023, at the Kunstverein für die Rheinlande und Westfalen, Düsseldorf. Don‘t miss!

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From the press release:

A Change in Weather (Broadcast Material 1989–2001) is the first comprehensive exhibition of the work of the Cologne-based artist Matthias Groebel (b. 1958 in Aachen, DE). Over the past four decades, and largely without institutional recognition, Groebel has created a unique oeuvre featuring paintings based on images from television, along with drawings, photographs, videos, and research works. As a trained pharmacist, Groebel came to art in the early 1980s as an autodidact. It was during this period that private analog satellite television spread throughout West German households, allowing unprecedented round-the-clock access to a wide range of international television programs. Groebel’s works reflect this new media condition of open-access television, which directly paved the way for the subscription-based streaming and pay-per-view services of today.

The exhibition is accompanied by the artist‘s first comprehensive monograph 'Painted Faces. Broadcast Material 1989–2006' thanks to

Save the date:

On the weekend of February 4 and 5, 2023, the Kunstverein will host a program of events to accompany Matthias Groebel’s solo exhibition. It includes contributions by the British cultural theorist Sadie Plant, the German author and artist Hans-Christian Dany, as well as a performance-concert by the US-based experimental musical duo Jack Callahan and Jeff Witscher.

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All installation views by Cedric Mussano

All artwork images by Simon Vogel

13/12/2022

Two more weeks to see our current exhibition 'Wait, where did I leave my keys' before the winter break, and in it two incredible new paintings by John Sandroni, depicting parts of Chrystie street in New York’s lower east side as kind of psychological landscape of the city.

The exhibition is conceived by Whitney Claflin and on view at the gallery through January 28.

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John Sandroni, Chrystie Street, 2022
Oil on canvas, 152 × 127 cm

John Sandroni, Chrystie Street 2, 2022
Oil on canvas, 152 × 127 cm

08/12/2022

Some views of Tiril Hasselknippe's absolutely stunning exhibition 'Play', currently on view at NITJA, Lillestrøm, through December 23, 2022.

The exhibition is curated by and all images taken by Kunstdok/Tor S. Ulstein, Courtesy the artist and NITJA.

05/12/2022

We are pleased to announce the opening of Matthias Groebel’s solo exhibition 'A Change in Weather (Broadcast Material 1989–2001)' on Friday, December 9, 2022.

The exhibition is curated by Kathrin Bentele and Andreas Selg, and runs through February 26, 2023.

—
From the press release:

A Change in Weather (Broadcast Material 1989–2001) is the first comprehensive exhibition of the work of the Cologne-based artist Matthias Groebel (b. 1958 in Aachen, DE). Over the past four decades, and largely without institutional recognition, Groebel has created a unique oeuvre featuring paintings based on images from television, along with drawings, photographs, videos, and research works. As a trained pharmacist, Groebel came to art in the early 1980s as an autodidact. It was during this period that private analog satellite television spread throughout West German households, allowing unprecedented round-the-clock access to a wide range of international television programs. Groebel’s works reflect this new media condition of open-access television, which directly paved the way for the subscription-based streaming and pay-per-view services of today.

Save the date:

On the weekend of February 4 and 5, 2023, the Kunstverein will host a program of events to accompany Matthias Groebel’s solo exhibition. It includes contributions by the British cultural theorist Sadie Plant, the German author and artist Hans-Christian Dany, as well as a performance-concert by the US-based experimental musical duo Jack Callahan and Jeff Witscher.

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Matthias Groebel, Untitled, 1992
Acrylic on canvas
95 × 95 cm / 37 ⅜ × 37 ⅜ in
Collection of the Kunstmuseum Liechtenstein, Vaduz

29/11/2022

IMAGES ONLINE

'Wait, where did I leave my keys', conceived by Whitney Claflin and featuring work by Julie Becker, Colin Cardinal, Bill Hayden, Tam Ochiai, John Sandroni, Bernadette Van-Huy, Wolfgang Voigt, and Joanne Robertson who contributed these two incredible paintings!

Joanne Robertson’s large-scale paintings evoke a rhythm of process and improvisation that connects directly to the artist’s intertwined music practice. Her layered approach to painting creates depth and movement; the brushstrokes an extension of the artist’s hand as she moves across the canvas with fluid precision. Sometimes, bodies appear abstracted in her canvases, hidden between layers of paint, while others allude to the written word in sweeping gestures. Working on several at once, the coats of oil paint dry in phases, retaining their distinct layers of color, allowing time for work on multiple paintings. From corner to corner and canvas to canvas, areas develop organically through half chance and pleasing combinations; Robertson employs no overly determined pictorial devices. While the figure is less dominant in Robertson’s recent paintings, they are still identifiable for their figurative qualities. Spending time with these works reveals more to the viewer, between the paint, stand figures, sometimes outstretched, some retracted. An arm, a breast, a p***s, and a ni**le are fragments of bodies that signal through abstraction. Robertson’s motivation to take the viewer outside of their surroundings to places, sometimes pastoral and others tinged with menace and confusion, colors blending and edges indistinct, remains simultaneously personal, intimate, and generous. The possibility to envelope oneself within the layers of paint, thickly rendered topography, and familiar figuration offer an open door to Robertson’s creative process. (Steven Cairns)

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Joanne Robertson, Stranger Day, 2021; Oil on canvas; 180 × 150 cm / 70 ⅞ × 59 in

Joanne Robertson, Press Onto, 2021; Oil on canvas; 180 × 150 cm / 70 ⅞ × 59 in

22/11/2022

Matthias Groebel's early untitled painting from broadcast material is now part of the Collection of Contemporary Art of The Federal Republic of Germany.

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Matthias Groebel, Untitled, 1990
Acrylic on canvas
95 × 95 cm

20/11/2022

THERE‘S NO PLACE LIKE HOME.
(The Wizard of Oz)

It‘s the final day of Art Cologne today. Find us until 6pm in hall 11.2, booth N4, amidst work by Whitney Claflin, Matthias Groebel, and Julia Scher.

19/11/2022

WEEKEND ON ART COLOGNE

Visit us at hall 11.2, booth N4 where we are showing these three little beauties by Whitney Claflin alongside work by Matthias Groebel and Julia Scher.

Open today until 7pm!

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1983, 2022
Oil on canvas
23 × 30 cm / 9 × 11 ¾ in

Pansies, 2022
Oil on canvas
23 × 30 cm / 9 × 11 ¾ in

The Make-Up is an American post-punk band from Washington, D.C. formed in 1995, consisting of ex-Nation of Ulysses frontman Ian Svenonius on vocals, James Canty on guitar and organ, Steve Gamboa on drums, and Michelle Mae on bass guitar., 2022
Oil, carbon transfer, and ink on canvas
23 × 30 cm / 9 × 11 ¾ in

17/11/2022

Book Launch & Reading Tonight from 7.30pm

Whitney Claflin "Food & Spirits"
Song Cycle Publishers, New York, 2022
48 pages, b&w + a coaster
Edition of 200

D R E I
Jülicher Strasse 14
50674 Cologne

17/11/2022

Art Cologne is open today 11am - 7pm. Find us in Hall 11.2, stand N4 with works by Whitney Claflin, Matthias Groebel and Julia Scher.

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Matthias Groebel, L1096, 1996
Acrylic on canvas, four parts: 145 × 205 cm

Julia Scher, Gabriele, 2022
Marble, 40 × 76 × 30 cm

Julia Scher, Gretchen, 2022
Marble, 40 × 76 × 30 cm

Julia Scher, 1 (Greyhound Chair), 2022
Dental chair, racing belt, candle, spray paint; Various dimensions

📸 Saša Fuis

15/11/2022

Whitney Claflin‘s painting Splinter and His Student (2022) is included in TIERE, opening tonight, 6-10pm

❤️🐢🐀

01/11/2022

Bernadette Van-Huy's collage Perm (#12) (2022) is part of a series in which the artist has photographed the process of giving herself a home perm (in 12 steps), with music producer Phil Spector as monstrous and grotesque muse, his image surfacing here and there in the photos, encircled by the halo of the outrageous blond Afro wig he wore during his televised trial for murder.

In the initial solo presentation 'Turn the Mirror Upside Down' in Paris (2022) a wall text, printed backwards in silver lettering, accompanied the series. Here, faux conceptualism (documentary aesthetic, process, seriality, graph paper) flirts with whimsical cosmic witchcraft (mirror, recipe-like text, black dressing gown), together setting the stage for an exercise in self-portraiture in which the blurring of interior and exterior worlds, and the abyss of (self) representation can play out. In addition, Van-Huy has drawn more or less subtle hair patterns on each collage; hand-made touch-ups of sorts that highlight, improve, differentiate, or singularize the photographic reproductions of a slightly uncertain/ disappointing DIY makeover, each step of which however suggesting something about the possibility of an elusive transformation.

Perm (#12) (2022) will be on view as part of our upcoming exhibition 'Wait, where did I leave my keys', conceived in collaboration with

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Bernadette van Huy, Perm (#12), 2022; [email protected] inkjet print on paper; framed: 32,6 × 24 cm / 12 ⅞" × 9 ½ in

25/10/2022

We are pleased to announce the representation of Mira Mann.

Mira Mann's practice includes time based and site specific modes of working, moving image, and cross-media settings in which Mann explores fictional spaces and storytelling as a medium for visualizing social structures, collective memory, and new narratives within the play of identities. Their discursive scenographies evolve around transcultural relations of human and non-human agents and the glitches they generate between experience and memory, reality and fiction.

Mann's first solo exhibition at the gallery centers on the eponymous three-channel video mother may recall another (2022) which recounts the story of Shim Cheong, the half-orphaned daughter of a blind man, who sacrifices herself to the sea in order to regain her father's sight. Mann links the story of the pansori tale - a genre of musical storytelling that originated in 17th-century Korea in close relation to local shamanistic ceremonies - with remembered experiences of their own mother. The video was filmed at the Museum of East Asian Art in Cologne as well as in Mokpo, Korea, their mothers hometown, which was largely shaped by the U.S.-backed military dictatorship of the 1970s and Japanese colonialism and which she left at the age of 20.

Mira Mann (*1993, Frankfurt am Main) lives and works in Düsseldorf. In 2021, the graduated from Kunstakademie Düsseldorf. In 2022, performances and works had been on view at de Appel, Amsterdam; Brückemuseum, Berlin; Kunstverein Bielefeld; Galerie Max Mayer; Kunstverein für die Rheinlande und Westfalen, both Düsseldorf. In collaboration with Anna R. Winder and Thomas Arthur Spallek, Mann co-edits the biannual newspaper Wormhole.

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Images

1 let me tell you en detail (songs of the underwater palace), 2022; Performance in collaboration with Sol-I Sol, de Appel, Amsterdam, September 29, 2022; Photo: Maarten Nauw

2 feed the spirits, 2022; Stainless steel, various objects; 115 x 140 x 125 cm; Photo: Cedric Mussano —
For further information, please visit our website or contact [email protected].

15/10/2022

Rosa Aiello's film 'The Last Man' (2022), conceived and produced in collaboration with Dylan Aiello, is on view through December 17 as part of the exhibition 'Kino' Berlin, curated by Dennis Brzek and Junia Thiede.

From the press release:

"If film is the medium, then cinema is the cultural situation in which showing and viewing moving images becomes a shared social engagement. The group exhibition Kino (German for “cinema”) translates this framework of collective spectatorship into the context of an exhibition. It hereby follows the current interest of artists in probing the temporal and narrative possibilities of time-based formats, between video and feature-length film, associative image collage and narrative epic."

The exhibition furthermore features film works by Noah Barker and Dora Budor, Ted Fendt, Marie Karlberg, Simon Lässig, Katz Tepper, Peter Wächtler, and Jiajia Zhang.

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Rosa Aiello & Dylan Aiello
The Last Man, 2022
Single-channel-HD-video, stereo sound
00:32:51
Edition of 3 plus I AP

08/10/2022

We are happy to share some views of Mira Mann's 'let me tell you en detail (songs of the underwater palace)', performed in collaboration with the composer, singer and percussionist Sol-I So (b.1990) on September 29, 2022, at de Appel in Amsterdam.

'mother may recall another', Mira Mann‘s debut solo exhibition with the gallery, is still on view through October 29.

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📸 Maarten Nauw

07/10/2022

Julia Scher‘s solo exhibition 'Maximum Security Society' is opening now at Kunsthalle Zurich!

If you have a chance, go and see this compilation of remarkable surveillant architectures from the 1990 to most recent works. The exhibition is up through January 15, 2023.

07/10/2022

04/10/2022

Galleries Show II opens on Thursday, October 6, 5pm, at Kraft Studios x Office Baroque in Antwerp. We’d be happy to see you there!

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1) Matthias Groebel, L0397, 1997; Acrylic on canvas; 95 × 95 cm

2) Matthias Groebel
Untitled, 1994; Acrylic on canvas; 95 × 95 cm

3, 5) Matthias Groebel, Avid Signals (Broadcast Material 1989 - 2001), Galerie Bernhard, Zurich (2021)

4) Matthias Groebel
Untitled, 1991; Acrylic on canvas; 95 × 95 cm

14/09/2022

feed the spirits (2022) is part of Mira Mann‘s inaugural solo exhibition with the gallery 'mother may recall another', on view through October 29.

Looking into transcultural exchange and questioning authorship and appropriation, the artist created this enlarged replica of a cactus display by Bauhaus designer Marianne Brandt, proposed for serial production at the Ruppelwerk in Gotha around 1930, accompanied by a small plaster figural group of an Asian mother with her two children from the hand of Brandt herself.

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Views:

1-6 Mira Mann, feed the spirits, 2022; Stainless steel, various objects; 115 × 140 × 125 cm

7&8 Marianne Brandt, Small Chinese Group, Date unknown; Plaster; 13,5 × 16,5 × 9 cm; Collection of Neue Sächsische Galerie Chemnitz

03/09/2022

We are beyond thankful for the many of you who showed up yesterday to celebrate the opening of 'mother may recall another' with Mira and us!

Today, Saturday, September 3, the gallery is open 1-7pm and tomorrow 1-5pm.

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View:
Mira Mann
mother may recall another
September 2 - October 29, 2022
Drei, Cologne
📸 Cedric Mussano

29/08/2022

SOON…

mother may recall another Mira Mann September 2 - October 29, 2022  Opening Weekend in the course of Düsseldorf Cologne Open Galleries (DC Open): Friday, September 2, 13.00 – 21.00 Saturday, September 3, 13.00 – 19.00 Sunday, September 4, 13.00 – 17.00

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Mira Mann's (b. 1993, German) practice includes time based and site specific modes of working, moving image, and cross-media settings in which Mann explores fictional spaces and storytelling as a medium for visualizing social structures, collective memory, and new narratives within the play of identities. Their discursive scenographies evolve around transcultural relations of human and non-human agents and the glitches they generate between experience and memory, reality and fiction.

Mann's first solo exhibition at the gallery centers on the eponymous three-channel video mother may recall another (2022) which recounts the story of Shim Cheong, the half-orphaned daughter of a blind man, who sacrifices herself to the sea in order to regain her father's sight. Mann links the story of the pansori tale - a genre of musical storytelling that originated in 17th-century Korea in close relation to local shamanistic ceremonies - with remembered experiences of their own mother. The video was filmed at the Museum of East Asian Art in Cologne as well as in Mokpo, Korea, their mothers hometown, which was largely shaped by the U.S.-backed military dictatorship of the 1970s and Japanese colonialism and which she left at the age of 20.

Looking into transcultural exchange and questioning authorship and appropriation, the exhibition furthermore features Mann’ s enlarged replica of a cactus display by Bauhaus designer Marianne Brandt and proposed for serial production at the Ruppelwerk in Gotha around 1930, as well as a small plaster figural group of an Asian mother with her two children from the hand of Brandt herself.

—
.mann

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Image: Mira Mann, mother may recall another, 2022 (video still)

11/08/2022

Anna Virnich's Untitled #94 (2020) is currently featured in the Netflix-mini-series "Kings of Stonks" - a fantastic Dietl-esque Wirecard Persiflage with lots of love for the Rhineland, directed by Jan Bonny. Be sure to check it out!

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Anna Virnich, Untitled #94, 2020
Tulle, silk, plastic net, gauze, satin, polyester, yarn on wooden stretch frame
160 × 120 × 3,5 cm

05/08/2022

Some views of Phung-Tien Phan's & Niklas Taleb's joint exhibition 'Modernistin' Bordeaux. The show is curated by Marion Vasseur Raluy and also features work by Alexander Schöpfel. It is on view through December 31.

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During the 2021-22 fall-winter menswear season, Virgil Abloh (1980 – 2021) conceived a scenography that almost completely reproduced the interior of the Mies Van der Rohe pavilion (also known as the Barcelona pavilion). Cold and authoritative, this green marble environment became a pretext for the artists to question our modernist heritage and contemporary relationships to it.

The two artists look sideways, to the edges of the unexpected. Taleb’s photographs only reveal details, the images appearing almost independently of the photographer. Phan’s sculptures are the assemblage of standardised objects that sometimes barely seem modified, simply posed, put on pause. The displacement of objective and the play of scale are enough to provoke a displacement of the gaze, and thus of thought.

—

—
Views:

1 Phung-Tien Phan, 1957, 2022
Lamp, straw hat
Various dimensions
& Phung-Tien Phan, 1961/62, 2022
Lamp, straw hat
Various dimensions

2 Phung-Tien Phan, 1957, 2022 (detail)

3 Phung-Tien Phan, 1961/62, 2022 (detail)

4 & 7 Phung-Tien Phan, Site Specific B, 2022
Plastic Sheets, Paper, Tesa 210 × 300 cm

5 Phung-Tien Phan, Site Specific A, 2022
Plastic Sheets, Paper, Tesa 210 × 295 × 70 cm

5 & 6 Niklas Taleb, Dialog (1), 2021
Archival Pigment Print on matte Inkjet Papier, tape
126 × 84 cm

📸 Niklas Taleb

28/07/2022

The gallery is closed now for summer! ☀️

Stay cool and we look forward to be back on September 2nd for 'mother may recall another', Mira Mann‘s inaugural solo exhibition with the gallery, opening in the course of the Düsseldorf Cologne Open Galleries Weekend.

24/07/2022

Last week to catch 'The Wig' , including two amazing "Broadcast-Paintings" from the 1990s by Matthias Groebel. The exhibtion is on view through July 31.

Conceived by Gianmaria Andreetta, Richard Sides and Angharad Williams, the exhibition also features photographs by Megan Plunkett from her "CSI-series" and a painting by Williams herself, known from 'The Wig's' inaugural exhibition at our temporary gallery space in Mönchengladbach in 2021.

As a concept The Wig draws on Michel de Certeau’s notion of “La Perruque” introduced by the philosopher in his book The Practice of Everyday Life. Published in 1984 but still relevant today, de Certeau’s writings looked at the issues surrounding the value we attach to objects in contrast to the value we assign to those who make them. To practice “La Perruque” or The Wig, broadly refers to anything done under the guise of work. Extrapolating on the notion of The Wig, the works selected for this exhibition signify a particular kind of surplus, and the accumulated materials leads us to a divergent understanding of what can be extracted from specific environments.

--
feat.

x Swatch

& ,

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Matthias Groebel, Untitled, 1993; Acrylic on canvas; 95 × 95 cm / 37 ⅜ × 37 ⅜ in

Megan Plunkett, The Wig (Arthur Office 02), 2021; Digital print on glossy paper, gatorboard; 17,8 × 25,4 cm / 7 x 10 in

Angharad Williams, A dedication: broomstick, 2021
; Acrylic and oil on canvas; 70 × 100 cm / 27 ½ × 39 ⅜ in

📸 Mareike Tocha

17/07/2022

Last day to catch 'How (Not) to Fit In – Metaphors of Adolescence' and the two new sculptures by Phung-Tien Phan included.

"The exhibition brings together artistic contributions that open up intersectional perspectives on adolescence, as well as on adolescence as a metaphor, for social dynamics.
In addition, common media narratives are questioned and experiences of discrimination and their overcoming are addressed. In the exhibition, the artistic examination of liberation from restrictive life plans, overcoming predefined paths and rejecting stereotypical role models does not lead to an egocentric self-reflection. Rather, it focuses on social structures and the personal confrontation with them. Through the diversity of artistic references, experiences can be experienced that also lie beyond traditional narratives, creating a multi-faceted, critical and differentiated panorama of growing up, puberty and adolescence."

--
feat.

Baga

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Phung-Tien Phan, Single Tower, 2022; Speaker, wood, rocks, silk cloth, straw hat, adhesive tape, headphones; 130 × 42 × 42 cm

Phung-Tien Phan, Single Twin (Louis Vuitton), 2022;
Speaker, rocks, silk cloth, Louis Vuitton "Cerise" pochette, adhesive tape, headphones; 112 × 44 × 39 cm

Adresse

Jülicher Straße 14
Cologne
50674

Webseite

http://www.drei.cologne/

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