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We can't wait to open this exhibition next week, on Thursday, April 28, 6-9 pm! #whitneyclaflin @spine_health #rochellef...
20/04/2022

We can't wait to open this exhibition next week, on Thursday, April 28, 6-9 pm!

#whitneyclaflin @spine_health #rochellefeinstein @rochellefeinsteinstudio #dreigallerycologne 🙏 @fabricestroun

DOORS OPEN ONE MORE WEEK! Make sure to not miss Matthias Groebel‘s inaugural solo exhibition at the gallery 'Satellites ...
12/04/2022

DOORS OPEN ONE MORE WEEK!

Make sure to not miss Matthias Groebel‘s inaugural solo exhibition at the gallery 'Satellites Cast No Shadow', on view through April 16. The exhibition is featuring paintings from the mid 1990s to early 2000s, carefully compiled by Andreas Selg.


#matthiasgroebel @matthiasgroebel #dreigallerycologne


The images show: Matthias Groebel, L0795, 1995; Acrylic on canvas; Four parts: 175 × 200 cm

Phung-Tien Phan's 'Twenty-Something' (2021) is on view at our booth D05 @artduesseldorf today and tomorrow! —Three table...
09/04/2022

Phung-Tien Phan's 'Twenty-Something' (2021) is on view at our booth D05 @artduesseldorf today and tomorrow!


Three tables with round saw blades lodged into them (again, you could almost smell the scorched wood) suggested a certain frustration with the repetitive and restricted nature of adult domestic life. There is a tongue-in-cheek goofiness to Phan’s works that lend the seeming violence of saw blades a more complex flavor. The signifiers are tripping, producing a tension between humor and aggression. The point here is not critique, but rather a self-consciously slapstick testimony to the weirdness of everyday life.

#kristianvistrupmadsen
@artforum

Sat around a table or musing in a playground one can daydream or have a nightmare. A daytime space of reflection. It can fall into predesignated hours of leisure time, or consciously cadging some hours away from the work day. Tables come in many forms as a workplace, domestic labour or a site for social reproduction of the family; socialised rituals of necessity such as eating dinner, reflecting on the day’s events (or lack thereof). One can dump one’s ontological baggage onto it, smearing it on the table, like a child playing with their food. When coming together to decide which table to furnish your flat with, there are differing possibilities, accor- ding to which tastes your background and social positioning allows you. One can aspire upwards in some Thatcherite idyll, or conversely slum it with some Vintage kleinanzeigen chic. One can choose life, to choose to reproduce your forebears, to escape from it, or even to kill everyone in a display of Oedipal rebellion.

#stevenwarwick
@schiefe_zaehne


#phungtienphan #dreigallerycologne


Phung-Tien Phan
Twenty-Something, 2021
Table, saw blade
Table: 78 cm ø 110 cm

OPENING TODAY! Art Düsseldorf Mira Mann, Simon Mielke, Phung-Tien Phan, Niklas TalebJoint presentation with Lucas Hirsch...
07/04/2022

OPENING TODAY!

Art Düsseldorf
Mira Mann, Simon Mielke, Phung-Tien Phan, Niklas Taleb
Joint presentation with Lucas Hirsch (Düsseldorf)
Areal Böhler / Booth D05
April 8 - 10, 2022
Preview: April 7, 12 - 8 pm


#miramann @mira.mann #phungtienphan @puenktjaehn #dreigallerycologne #simonmielke @simonm12254 #niklastaleb @lucas__hirsch


📸 @moritzkrauth

.We are very much looking forward to show work by Mira Mann and Phung-Tien Phan at this year's edition of Art Düsseldorf...
29/03/2022

.
We are very much looking forward to show work by Mira Mann and Phung-Tien Phan at this year's edition of Art Düsseldorf in a collaborative stand presentation with Lucas Hirsch / @lucas__hirsch (Düsseldorf).

It will be the gallery's first collaboration with Düsseldorf based artist Mira Mann, who graduated from the Kunstakademie Düsseldorf in 2021, before their inaugural solo exhibition in July.

Mann’s atmospheric and powerful installations and performances analyze the intertwinement of individual and collective identity- and memory building within socio-historical structures and power relations. Fiction and storytelling lie at the heart of their practice, not only archiving but calling attention to the fluidity of identities, alter-egos and cyborgian personas we hold.


Art Düsseldorf
Mira Mann, Phung-Tien Phan
April 8-10, 2022
Preview: April 7, noon - 8 pm
Areal Böhler / Booth D05


#miramann @mira.mann #phungtienphan @puenktjaehn #artdüsseldorf @artduesseldorf


Images: Mira Mann, You are here because of me and I am here because of you (1 & 2), 2021; Make up mirror, tin moths (samia cynthia), various objects stainless steel board, chair; 73 × 110 × 29 cm
Installation view: Kunstakademie Düsseldorf, 2021 📸 Jana Buch

Untitled (2001) is part of Matthias  Groebel's inaugural solo exhibition with the gallery 'Satellites Cast No Shadow', o...
19/03/2022

Untitled (2001) is part of Matthias Groebel's inaugural solo exhibition with the gallery 'Satellites Cast No Shadow', on view through April 16. Make sure to come by and experience Matthias' visionary work!

#matthiasgroebel #dreigallerycologne

Some views of Julia Scher's exhibition 'Planet Greyhound', currently on view at Kunsthalle Giessen, through May 1st. #ju...
13/03/2022

Some views of Julia Scher's exhibition 'Planet Greyhound', currently on view at Kunsthalle Giessen, through May 1st.

#juliascher #dreigallerycologne #kunsthallegiessen

Rochelle Feinstein's 'Plein Air I & II' (2018) first appeared in the artist’s exhibition 'Image of an Image' at the Bron...
08/03/2022

Rochelle Feinstein's 'Plein Air I & II' (2018) first appeared in the artist’s exhibition 'Image of an Image' at the Bronx Museum' in 2018. Their compositions borrow from camouflage patterns, made for specific military excursions, such as that of the infamous Operation Desert Storm that was triggered by conflicts over oil in the Persian Gulf.

For 'Fire demands its Fuel', curated by Elisa R. Linn & Lennart Wolff at our timeshare dependance in Mönchengladbach, Feinstein developed a new mode of presentation: the paintings lie stacked on a wooden pallet, folded to the packing size of their FedEx air freight delivery box. The material reality of painting and the relationship of content, form, and material is presented here as something inevitably embedded in society's prevailing fossil structures of production and distribution, which are ultimately inscribed in every work of art.

It‘s amazing to see the stack grown to seven folded paintings, now on view at Bridget Donahue Gallery, New York as part of one of the six-figure-solo-exhibition 'Rochelle Feinstein: You Again' taking place simultaneously in New York, Los Angeles, Miami, Paris, and Zurich.

We are beyond excited to be presenting Rochelle‘s work in a two-artist-exhibition with Whitney Claflin, under the versatile support of Fabrice Stroun - Opening in late April!


#rochellefeinstein @rochellefeinsteinstudio #whitneyclaflin @spine_health @fabricestroun #dreigallerycologne

We are pleased to announce the representation of Matthias Groebel. —Cologne in 1990. Over a decade of painting’s tempera...
02/03/2022

We are pleased to announce the representation of Matthias Groebel.


Cologne in 1990. Over a decade of painting’s temperamental, triumphant and facetious return has resulted in what, with reference to the work of Martin Kippenberger, has been called the “post-studio practice”. This means that paintings achieve their true value and significance only after they leave the studio and emulsify with the artist’s persona as it is performed in the “art scene”, a particular network of people and locations which (mal-)functions by the Domino-logic of if you know, you know. The problem with that, of course, is that over time you forget what exactly it is you know and how you know it. What is a painting, really, and what does it do? It was in this context, where the material reality of the painting was all but overwhelmed by the subjectivity of the artist, that Matthias Groebel stopped painting, and built a machine, which would remove from the canvas, once and for all, the human touch.

(From: Kristian Vistrup Madsen, Like Tears in Rain: Matthias Groebel’s Replicant Paintings, 2022)


Matthias Groebel lives and works in Cologne. ’Satellites Cast No Shadow’, his inaugural solo exhibition with the gallery, is still on view through April 16, 2022. Curated by Andreas Selg, the exhibition is featuring paintings from the 1990s and early 2000s. Furthermore, Groebel’s work currently can be encountered in the exhibition ’Mit Parallelität von Widersprüchen wird Komplexes Missverständlicher’, conceived by @elisa_r_linn , @soooph.r and Ariane Müller @schiefe_zaehne , Berlin (through March 4, 2022), and will be included in 'The Wig', opening on March 11, 2022, @bonnerkunstverein . A comprehensive monograph will be released mid April by @editionpatrickfrey ('Matthias Groebel: The Image-Sweep', 2022).


#matthiasgroebel @matthiasgroebel #dreigallerycologne


Image:
Matthias Groebel, Untitled, 1992
Acrylic on canvas; 95 x 95 cm
Collection of Kunstmuseum Liechtenstein, Vaduz

Don’t miss your chance to see Rosa Aiello's amazing film 'The Last Man' (2022), produced in collaboration with her broth...
28/02/2022

Don’t miss your chance to see Rosa Aiello's amazing film 'The Last Man' (2022), produced in collaboration with her brother Dylan, in the beautiful cinema of the Kölnischer Kunstverein!

The film is part of the exhibition 'Pure Fiction - Shifting Theatre: Sibyl's Mouths', conceived by the members of the collective Pure Fiction: Rosa Aiello (in collaboration with Dylan Aiello), Ellen Yeon Kim, Erika Landström, Luzie Meyer, and Mark von Schlegell.

The closing event is on Sunday, March 6, 2022, 11 am – 6 pm, with performances from 2 pm!


#rosaaiello #kölnischerkunstverein


Rosa Aiello & Dylan Aiello
The Last Man, 2022
Single channel HD video, stereo sound
00:32:51

.KÖLLE ALAAF!It’s Carnival time in Cologne! The gallery is closed now and will re-open on "Aschermittwoch", Wednesday, M...
23/02/2022

.
KÖLLE ALAAF!

It’s Carnival time in Cologne! The gallery is closed now and will re-open on "Aschermittwoch", Wednesday, March 2. Matthias Groebel‘s inaugural exhibition 'Satellites Cast No Shadow' is up through April 16.

#karneval #carnival #fastelovend #session2022 #juliascher #dreigallerycologne

Image:
Julia Scher, Brandon and Jodi, 1996-97
C-Print on Fujiflex
36 × 30 cm / 48,2 × 54,2 × 3,5 cm (framed)

Chang Qu wrote a sharp feature on Phung-Tien Phan‘s latest film works for Spike Magazine’s Monthly Picks in collaboratio...
19/02/2022

Chang Qu wrote a sharp feature on Phung-Tien Phan‘s latest film works for Spike Magazine’s Monthly Picks in collaboration with Liste Basel!

LINK IN BIO


#phungtienphan
@puenktjaehn @quchangbuduan
@spike_art_magazine
@liste_art_fair_basel

.Julia Scher will be opening a solo exhibition entitled 'Planet Greyhound' @kunsthallegiessen on Friday, February 18, 5–...
16/02/2022

.
Julia Scher will be opening a solo exhibition entitled 'Planet Greyhound' @kunsthallegiessen on Friday, February 18, 5–7 pm. The exhibition runs through May 1, 2022.

Featuring all new sculptural, video and installation works, the artist transforms the exhibition space into a temporary bus station for humanoid and extraterrestrial life forms. ⁠

The title ‘Planet Greyhound’ comes from a planet that has been acquired for the exhibition and christened as such through 2027 – it is thereby promoted to an object of targeted surveillance and at the same time to a cosmic place of longing for marginalized life forms. In Scher’s work, thoughts about the motivation and implementation of existing security and surveillance mechanisms merge with reflections on groups that are mostly powerless in the face of such control.⁠

The namesake ‘greyhound’ refers to Greyhound Lines, the USA’s largest long-distance bus company. Last winter their decommissioned buses were often converted into mobile stations for marginalised groups to keep warm. At the same time, dogs are a recurring motif in the artist's works, usually symbolizing domestication; controlled training for the benefit of the human need for security.⁠

(From the exhibition text)


Julia Scher
Planet Greyhound
Kunsthalle Gießen
February 18 - May 1, 2022
Opening February 18, 5-7pm


#juliascher #dreigallerycologne


Image:
Greyhound Dog, 2022
Marble, 43 x 76 x 24 cm

.IMAGES ONLINEMatthias Groebel'Satellites Cast No Shadow'Curated by Andreas SelgFebruary 10 - April 16, 2022LINK IN BIO#...
15/02/2022

.
IMAGES ONLINE

Matthias Groebel
'Satellites Cast No Shadow'
Curated by Andreas Selg
February 10 - April 16, 2022

LINK IN BIO

#matthiasgroebel #dreigallerycologne


Images

1,3,5,7,8
Installation view

2
Untitled, 2001
Acrylic on canvas
95 x 95 cm

4
L0795, 1995
Acrylic on canvas
Four parts, 175 x 200 cm

6
Untitled, 1995
Acrylic on canvas
95 x 95 cm

OPENING NOW!Matthias Groebel'Satellites Cast No Shadow'Curated by Andreas SelgFebruary 10 - April 16, 2022—Cologne in 19...
10/02/2022

OPENING NOW!

Matthias Groebel
'Satellites Cast No Shadow'
Curated by Andreas Selg
February 10 - April 16, 2022


Cologne in 1990. Over a decade of painting’s temperamental, triumphant and facetious return has resulted in what, with reference to the work of Martin Kippenberger, has been called the “post-studio practice”. This means that paintings achieve their true value and significance only after they leave the studio and emulsify with the artist’s persona as it is performed in the “art scene”, a particular network of people and locations which (mal-)functions by the Domino-logic of if you know, you know. The problem with that, of course, is that over time you forget what exactly it is you know and how you know it. What is a painting, really, and what does it do? It was in this context, where the material reality of the painting was all but overwhelmed by the subjectivity of the artist, that Matthias Groebel stopped painting, and built a machine, which would remove from the canvas, once and for all, the human touch.

(Excerpt of the exhibition essay by Kristian Vistrup Madsen)


#matthiasgroebel
#dreigallerycologne

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