Galerie Brigitte Schenk

Galerie Brigitte Schenk Gallery for contemporary, modern Art Following classical ballet training, Brigitte Schenk-Weitzdörfer (D) studied philosophy and politics at the University of Cologne under Ernst Vollrath, a former student of Hannah Arendt’s.

In the early 1980s, she went to New York. Working as an artist she was ‘discovered’ by Keith Haring for his exhibition at the Mudd Club in New York where he was a curator, as yet unknown in the art world. That legendary club hosted live performances, New Wave and experimental music, and literary sessions with Allen Ginsberg and William Burroughs, or ‘catwalk shows’ by young fashion designers like

In the early 1980s, she went to New York. Working as an artist she was ‘discovered’ by Keith Haring for his exhibition at the Mudd Club in New York where he was a curator, as yet unknown in the art world. That legendary club hosted live performances, New Wave and experimental music, and literary sessions with Allen Ginsberg and William Burroughs, or ‘catwalk shows’ by young fashion designers like

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29/07/2021

@pflanzfabrik @klausfritze

We are overjoyed to announce the opening of the installation " I will Return on April 12..." from 1990 by Ilya and Emili...
04/09/2020

We are overjoyed to announce the opening of the installation " I will Return on April 12..." from 1990 by Ilya and Emilia Kabakov.

The idea of using creativity and visions - often only through deficits - to lift oneself out of reality, but rather to shape reality precisely through this, fits into today's time of a paradigm shift, which, besides the misery, also opens up the possibility of redesigning reality.

The narrative installation "I will Return ‪on April 12.‬.." from 1990 deals with transcendental experiences of man between heaven and earth. The flight from the earth to heaven, as described in the accompanying text of the work stands not only for the shifting of the boundaries between reality and the imagination, but is also a variable for the communist, #Soviet Society. A #society that kept people trapped in the boundaries between lived community and dreamed individuality and in which they defined themselves either through fatalism or rebellion or through their imagination and dreams, through which they compensated for the often depressing reality. The first man to #orbit the earth on 12 April 1961 was a Russian. At this time this was the epitome of the incomprehensible: made possible in a socialist planned economy, a regressive society and was considered a prime example not only of scientific progress, but also of the dream that had become reality.
@ilyaemiliakabakov @galeriebrigitteschenk
4 September - 30 November 2020 @ Galerie Brigitte Schenk

'Summer in the City’, Accrochage, artists of the gallery. Until September 1st 2020Here: Marilyn Manson: ‚I’ve got my Arm...
31/07/2020

'Summer in the City’, Accrochage, artists of the gallery. Until September 1st 2020
Here: Marilyn Manson: ‚I’ve got my Arm around No One’, 2005, Watercolor, 76 x 56 cm.
„The fact that Marilyn Manson is considered to be just as brilliant a musician as he is a ’terrible’ one has been accompanied for about 20 years by a second art form with the same intensity: painting. It could not be more wrong to assume here that this involves a kind of decoration to the music or a half-hearted appendage to it. Even though it may be difficult to accept that an artist can master two disciplines equally brilliantly, this is the case here. Marilyn Manson pesters our sense of morals, pushing us to the pain threshold and even beyond, and keeps on finding an adequate artistic form for this which is born byhis personal fate—but which is also immersed in its sublimation, and which above all is not the result of mere calculation, as some critics would like to think.
As with all great artists, there is no order or hierarchy for form and content: because they are one, they are interdepen-dent and are as ‚frighteningly’ as authentic in their congruence. If you work together with Marilyn Manson, you begin to realize that it is always art that triumphs over the terror and the suffering in the world, and not the illustration, the comment or the cynicism. Because it is not the personal expression, but an intuitive sublimation that touches the heart and mind and which reveals a positive, promising reality, consisting of pure creativity.
We have arrived at an interesting point here: like no other artist, Marilyn Manson focuses on the questionableness of polarizing ’Good and Evil’, and he touches here not only on the permanent, complex, philosophical, even spiritual discourse, but on deeply buried layers of universal, eternal and primeval conscience. Seen from this perspective, their differentiation is’ merely’ subject to a dual reality and is changeable and not anchored to the transcendental realization that exists a priori as an internal ’divine‘ law in every person and independent of every experience- and which is therefore not changeable.“ Brigitte Schenk in „Genealogies of Pain“@marilynmanson @ Galerie Brigitte Schenk

‚Summer in the City“; Accrochage, artists of the galleryIn the 1980s Hans Peter Adamski was one of the leading represent...
19/07/2020

‚Summer in the City“; Accrochage, artists of the gallery
In the 1980s Hans Peter Adamski was one of the leading representatives of the "Neue Wilden"; a movement that established itself not only in Germany but also in Italy and the USA and whose program was to break away from the then predominant concept art with spontaneous, emotional, irrational, dilettante and cynical gestures. The banal of being was the program as the sculpture "The Little Pedicure" from 1989 illustrates or "There is no freedom of the mind“ from 1984, a work of art baked with bread-salt dough on a flokati carpet.
This approach clearly symbolizes how the wild painters proceeded. It was not the claim to perfection that was intended, but the fight against it. This is how the "wild" attitude arose, to question almost everything, not to take anything seriously and to develop a programmatic idea from it very self-confidently. For the art world of the time, which had an almost religious reverence for its conceptual artists, this meant a great provocation.
@adamskiofficial @galeriebrigitteschenk
Windows on work; Why do you always take the detour? The eternally sick "Menelaus" and why can I put only my arms around no one? Nature's parachute or coma in paradise? Real - Done - Wanted? Or Inshallah? But then you have the responsibility! The controlled swarm or the ivory tower in the pop refuge? The suffering memories, but Prêt à-Porter toujours. And a little pedicure first. But always Untitled for a desperate pair of lovers. To which continent and its birth rate can they be assigned? Virus loop, loop, loop..
@hpadamski @curtisleslieanderson @elijahblueoffic @klaus.vom.bruch @cabotroberto @pflanzfabrik @abdulnassergharem #TarekalGhoussein @ingogun @shahram.karimi.16 #halimalkarim @marilynmanson #gerhardnaschberger @randominternational #mariazerres @ Galerie Brigitte Schenk

Congratulations to Elijah Blue. Happy birthday! Our last exhibition, ‚Step and Repeat’, dealt with the red carpet and it...
12/07/2020

Congratulations to Elijah Blue. Happy birthday! Our last exhibition, ‚Step and Repeat’, dealt with the red carpet and its advertising mechanisms. Freed from its banality by a mutation of terms has turned Hollywood into a Holy Wood. Thus ‚Ivory Soap’ and ‚Tower Records’ became ‚IvoryTower’; ‚Lucky Strike‘, ‚J &an’ and ‚Club Med’ became the ‚Lucky Gene Club’. Your family and mother and artist Cher and father Gregg Allman and your childhood were the starting point for the reflection on spoiled life. Spoiled life without the valve of creative expression can be a burden. Only the transformation and consciousness of one's own self is salvation. For art as well as for life. Thank you for allowing us to participate in this process.
@elijahblueoffic @ Galerie Brigitte Schenk

06/07/2020

Great news: This year’s new Australian Research Council (ARC) Australian Laureate Fellows will lead new world-class research endeavours to produce real-world outcomes and important fundamental knowledge in key priority areas.ARC Chief Executive Officer (CEO), Professor Sue Thomas, today welcomed the announcement by Minister for Education Dan Tehan of $44.2m for fourteen 2020 Australian Laureate Fellowships projects through the ARC Australian Laureate Fellowships scheme.
One of them is Professor Dennis Del Favero – The University of New South Wales – to harness revolutionary advances in art and technology to create a cutting-edge digital platform that provide users with life-like visual experiences so they can safely navigate a range of unpredictable and risk-laden environments, such as wildfire landscapes, in real time and at real scale.
This means we can look forward to further very innovative, evolutionary media art projects! Stay tuned for @ArtColognefair
@dennisdelFavero
@galeriebrigitteschenk

02/07/2020

Summer in the City; Accrochage, artists of the gallery.
The Iranian artist Shahram Karimi is a painter and media artist and a gifted poet. Many of his Farsi poems run through the surface of his paintings. In "Blue Comfort" he projects the filmed sequence of a forest landscape onto exactly the same painted view. The leaves move in the wind and the small path is wetted by rain. As Shirn Neshat's longtime assistant and set designer of her films, he is well acquainted with the complexity of filming. Blue Comfort not only has something comforting, but also something very calming and gentle.
@shahram.karimi.16

Windows on work; Why do you always take the detour? The eternally sick "Menelaus" and why can I put only my arms around no one? Nature's parachute or coma in paradise? Real - Done - Wanted? Or Inshallah? But then you have the responsibility! The controlled swarm or the ivory tower in the pop refuge? Blue Comfort, but Prêt à-Porter toujours. And a little pedicure first. But always Untitled for a desperate pair of lovers. To which continent and its birth rate can they be assigned? Virus loop, loop, loop..
@hpadamski @curtisleslieanderson @elijahblueoffic @klaus.vom.bruch @cabotroberto @pflanzfabrik @abdulnassergharem #TarekalGhoussein @ingogun @shahram.karimi.16 #halimalkarim @marilynmanson #gerhardnaschberger @randominternational #mariazerres

AccrochageSummer in the City‪June 15 - September 1, 2020‬Hans-Peter-Adamski, Curtis Anderson, Elijah Blue, Klaus vom Bru...
16/06/2020

Accrochage
Summer in the City
‪June 15 - September 1, 2020‬
Hans-Peter-Adamski, Curtis Anderson, Elijah Blue, Klaus vom Bruch, Roberto Cabot, Klaus Fritze, Abdulnasser Gharem, Ingo Günther, Tarek Al Ghoussein, Shahram Karimi, Halim Al Karim, Marilyn Manson, Gerhard Naschberger, Random International, Maria Zerres

Windows on work; Why do you always take the detour? The eternally sick "Menelaus" and why can I put only my arms around no one? Nature's parachute or coma in paradise? Real - Done - Wanted? Or Inshallah? But then you have the responsibility! The controlled swarm or the ivory tower in the pop refuge? The suffering memories, but Prêt à-Porter toujours. And a little pedicure first. But always Untitled for a desperate pair of lovers. To which continent and its birth rate can they be assigned? Virus loop, loop, loop..
@hpadamski @curtisleslieanderson @elijahblueoffic @klaus.vom.bruch @cabotroberto @pflanzfabrik @abdulnassergharem #TarekalGhoussein @ingogun @shahram.karimi.16 #halimalkarim @marilynmanson #gerhardnaschberger @randominternational #mariazerres @ Galerie Brigitte Schenk

26/04/2020

Showing off a new #Pucci dress. ➡️ I have been collecting Pucci since I was 18 years old and have always remained loyal. I could do an exhibition with all the dresses. Some of them are so fragile that you can no longer wear them - and only show them. Emilio Pucci gave his self-designed patterns, which (in the past) often framed a garment at the collar and hem, names in the 1960s. Some of the old patterns have been reissued. This dress is from 2008.
@emiliopucci @laudomia.pucci @ Lindenthal, Nordrhein-Westfalen, Germany

22/04/2020

#worldearthday
What do we have, what do we do with it? Do we know?

19/04/2020

A #walk in the #park. The park is the new #café. You don‘t meet for a coffee but for a #walk instead. The much vaunted walk of the philosophers (in which one should transform oneself), does all credit to its meaning. #Wandeln / #verwandeln
#Quarantine Day38. #HomesweetHome

19/04/2020

A #walk in the #park. The park is the new #café. You don‘t meet for a coffee but for a #walk instead. The much vaunted walk of the philosophers (in which one should transform oneself), does all credit to its meaning. #Wandeln / #verwandeln
#Quarantine Day38. #HomesweetHome @ Stadtpark Lindenthal

08/04/2020

In memory of the director and professor of the Academy of Media Arts, Cologne, #Thomas Schmitt and his legendary television show "Freistil oder das Geheimnis des Rattenkönigs“ (Freestyle or the secret of the rat king) Here is #A.R.Penck in an interview with #Brigitte Schenk on the subject of Ostfrau/Westfrau, 1989
@galeriebrigitteschenk
@brigme108

Halim Al KarimHistory in the Making24.1. 2020 - 16.4.2020Opening: 24 January: 7-10 pmEnglisch:Artist statement:I take a ...
11/02/2020

Halim Al Karim

History in the Making

24.1. 2020 - 16.4.2020
Opening: 24 January: 7-10 pm

Englisch:
Artist statement:
I take a great interest in how memory shapes the understanding of our being and how it is shaped by contradictions that make up the dissonance between reality and fiction. In the process of remembering, a point is reached at which reality and fiction intersect, and it is this intersection that I’d like to explore and present through my work. At a certain moment, whereupon the chemical reaction on the wet collodion plate is sparked, I begin to visualize the hidden identity of the image, as if I were exploring my subconscious.

Halim Al Karim uses photography because of its non-physical quality; it is a medium that effectively is "only" able to produce an image of light. That the transient and temporary process inherent in time and memory is captured by light, is likewise captured and used by Al Karim for his characteristic out-of-focus technique. This is most evident in his works from the series "Dust", "White Ash" "Coma in Paradise" and "Lost Memory". With the "Dust" photo series, Al Karim chances projecting his motif onto mirrors using his oversized wet plate camera, with which he produces these wet plate photographs, and which is self-made. To achieve the scale of this photograph, it was necessary for the dimensions of the bellows camera to correspond accordingly. Its dimensions: 380 x 160 cm; its bellows, ca 7 meters in length. In his new works, Al Karim deals with collective memory, which he defines as an integral component of history. History, or rather historiography, is defined as inaccurately as memory itself. Foremost, however, one's own history proves inaccurate, when observed retrospectively. The artist uses imprecise images of ancient stone tablets to illustrate the diffusion of memory and history. In a worldwide first artistic attempt, he succeeds in transferring the wet plate colloid principle onto canvas, the results of which make up part of the current exhibition.

Halim Al Karim has exhibited among others at the Center for Art and Media, ZKM Karlsruhe, Paul Klee Museum, Berne, and The Boulder Museum of Contemporary Art, Boulder, Colorado. His works are located at The Saatchi Gallery, London, Victoria and Albert Museum, London, the Salaam Foundation Abu Dhabi, The Royal Association of Fine Arts, Jordan, the Arab Museum of Contemporary Art, Doha, Qatar, L’Institut du Monde Arabe (IMA), Paris, and Mori Art Museum in Tokyo. Halim Al Karim was nominated for the 2010 Jury Prize of the Sovereign Art Prize and received the Jury Prize of the Cairo Biennial. He has, among other six Iraqi artists, represented the Iraqi Pavilion at the 54th Venice Biennale (2011).

Deutsch
Ich interessiere mich sehr dafür, wie das Gedächtnis das Verständnis für unser Sein formt und wie es von den Widersprüchen geprägt wird, die die Dissonanz zwischen Realität und Fiktion ausmachen. Im Prozess des Erinnerns gibt es einen Punkt, an dem sich Realität und Fiktion kreuzen, und es ist dieser Schnittpunkt, den ich durch meine Werke erforschen und präsentieren möchte. In einem bestimmten Moment, in dem die chemische Reaktion auf der nassen Kollodiumplatte einsetzt, beginne ich mit der Veranschaulichung der verborgenen Identität des Bildes, so als ob ich mein Unterbewusstsein erforschen würde.
Halim Al Karim nutzt die Fotographie wegen ihrer nicht körperlichen Qualität; es ist ein Medium, das tatsächlich auch „nur“ ein Abbild des Lichtes schaffen kann. Der Umstand, dass es den der Zeit und des Gedächtnisses immanenten, vergänglichen und vorübergehenden Prozess festhält, nutzt Al Karim für seine charakteristische out-of-focus Technik. Die Arbeiten aus der Serie „Dust“, „White Ash“ „Coma in Paradise“ und „Lost Memory“ machen dies besonders deutlich. Mit den „Dust“ Fotografien ist Al Karim das Wagnis eingegangen, zum ersten Mal mit seiner überdimensionalen Nassplattenkamera sein Motiv auf Spiegel zu projizieren. Die Kamera, mit der er diese Nassplattenfotografien erzeugt, hat er ebenfalls eigenhändig gebaut. Um das großformatige Format dieser Fotografien zu erreichen, musste die Balgenkamera ebenfalls die entsprechende Dimension haben. Sie ist 380 x 160 cm groß; ihr Balgen ist ca. sieben Meter lang. Bei den neuen Arbeiten setzt sich Al Karim mit dem kollektiven Gedächtnis auseinander, das er als integralen Bestandteil von Geschichte definiert. Geschichte oder besser Geschichtsschreibung definiert sich ähnlich ungenau wie das persönliche Gedächtnis; denn vor allem stellt sich die eigene Geschichte in der Rückschau unpräzise dar. Der Künstler nutzt ungenaue Abbildungen antiker Steintafeln, um die Diffusität von Erinnerung und Geschichte zu verdeutlichen. In einem weltweit ersten künstlerischen Versuch, gelingt es ihm das Nassplatten Kollodium Prinzip auch auf Leinwand darzustellen, die Teil der aktuellen Ausstellung ist.

THE MCLUHAN PROJECT - KLAUS VOM BRUCH 6.9.2019 - 6.12.2019 The McLuhan Project consists of a 1966 radio interview with M...
28/11/2019

THE MCLUHAN PROJECT
- KLAUS VOM BRUCH
6.9.2019 - 6.12.2019

The McLuhan Project consists of a 1966 radio interview with Marshal McLuhan and the montage of contemporary pornographic film clips gleaned from the Internet. This ironic contrast modifies the existing description of a medialized world, bringing to mind the de Sadesche Tableaux,and deconstructing hidden desires as part of consumerist appropriation of the world. The parallel montage of selected clips and the running interview text prepare the provocative film for reception. With the twinkle of an eye, the erotic imagery attracts the viewer‘s gaze away from the text. Repeatedly interspersed snippets of contemporary art
works create extra confusion, rendering it impossible to discern those freshly installed and those already present in the original film set. The work reflects the breaking of the taboo that has marked the history of technical reproducibility. Inventions such as the telephone and the Internet have gained an almost uncanny level of popularity. Through virtual interactions with others and the uncontrolled observation of others, we have become members of a global tribe that has adopted all forms of totalitarian societies.

Klaus vom Bruch, The McLuhan Project, installation 2018,
based on Full HD 16 x 9 video tape, dimensions variable, stereo sound, English narration & music,
duration 32 minutes, 28 seconds looped.
Courtesy Klaus vom Bruch and Galerie Brigitte Schenk @Klaus vom Bruch

Adresse

Albertusstraße 26
Cologne
50667

Öffnungszeiten

Dienstag 11:00 - 14:00
15:00 - 18:00
Mittwoch 11:00 - 14:00
15:00 - 18:00
Donnerstag 11:00 - 14:00
15:00 - 18:00
Freitag 11:00 - 14:00
15:00 - 18:00
Samstag 11:00 - 15:00

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