Galerie Gruppe Motto

Startseite
Deutschland
Hamburg
Galerie Gruppe Motto

Kontaktinformationen, Karte und Wegbeschreibungen, Kontaktformulare, Öffnungszeiten, Dienstleistungen, Bewertungen, Fotos, Videos und Ankündigungen von Galerie Gruppe Motto, Kunstgalerie, Speckstraße 85, Hamburg.

04/06/2026

Maren Stocklöw

eat sleep defeat repeat (2024)
Clown performance and room installation.

Video documentation: Camera by Jona Dohr

“I used to have so much to say. But I ran out of words. I ran out of energy. I ran out of hope. I ran out of illusion. There is nothing left except running. A clown (Giovanni Fusetti) once said ‚To the delusional quest for a mechanical artificial intelligence I will respond with the daily practice of embodied stupidity‘. That’s all I have to offer to you: my not-knowing, my daily shortcomings, my helplessness. I hope you appreciate my effort.“

The Clown

eat sleep defeat repeat is an attempt to cope. We watch a clown going along their daily business: waking up, trying to stay hydrated, to calm down, to do anything, really anything. The world morbidly goes on. The clown is the expert in failure and yet fails to see his own failings. Focusing on what’s wrong with them, they become distracted from the seriousness of the situation. What is stopping them in gathering their friends, their whistles, and taking to the streets?“

Documentation:
Last slide from Marens Performance during the opening of GLÜCK

04/06/2026

Talia Kurmantalia.k

GOD,save!us? (2026)
Alu-dibond on wood, pony beads, nylon cord, 3D print and
aluminum
125 x 92 cm

DIM’A (2026)
Aluminiun, Stainless Steel, Pony Beads and Nylon Cord on
Wood
125 x 92 cm

Talia’s work engages with the Jewish amulet as a charged cultural object, situated between belief, materiality, and identity.
Historically, the amulet has functioned for generations as a means of spiritual protection and continues to exist beyond the religious sphere as a psychological symbol of security in the face of anxiety and uncertainty. In recent decades, it has undergone a transformation, from a mystical object into a secular element of identity and consumption.

Through familiar symbols such as hamsas, blue eyes, red strings, and the Star of David, Talia explores the tension between personal use and commodification, between tradition and mass production, and between the desire for protection and questions of contemporary Jewish belonging and identity. Her process of making becomes an inward journey, probing belief, fear, and the cultural inheritances she carries: sometimes consciously, sometimes unconsciously.

Documentation:

04/06/2026

Franz Ehn

www.franzehn.com

Title: :(extruding feelings:)
Medium & Size: Aluminium, glass bead blasted / 20x10x4 cm

It could be the greatest luck of an industrial component to escape the linearity was made to follow. To bend, to curve inwardly, to morph between shapes, toward a form considered impossible within the logic of its own production.

Only the poles are visible: happy and sad. Between them, a hidden gradient: a quiet transition from one extreme to the other, like all feelings, a spectrum.

Documentation:

02/06/2026

Linus Berg & Tornike Gognadze

Lucky Box (2022)

Ceramics, steel, toy machine claw, coin validator size variable

In their collaborative work Tornike Gognadze and Linus Berg discuss two different understandings of the same object, the claw crane. For Gognadze these Lucky Boxes connect strongly to childhood memories and personal experiences. Linus Berg on the other hand is interested in how the objects and machines we interact with are carriers of ideologies and can shape our most intimate memories. For both, the Lucky Box, makes promises to its players, sets expectations and stages luck as something consumable like fruit in a supermarket. Similarly, the four leaf clover is a symbol and signifier for luck understood by many people while at the same time through its numerous commercial depictions in logos and brands represents a clear erosion of what it signifies.

There is a flaw in the promises of the lucky box easily felt by anyone who has once tried their luck with them. A mutual distrust poisons the relationship of person and machine. We distrust the purposefully weak and manipulated arm that we are told we are in control of and the machine distrusts us too, not letting us play before it has examined whether the coin we gave it in exchange is real. The promise to fulfill our desire remains confined to a very limited freedom of action, mostly the one of consumption.

Documentation:

02/06/2026

Karolina Szwedtarolinaszwed
Fine motor skills (Billard Japonais) (2026)
oil on canvas
200 x 50 cm

Kids playing boules and eating oranges (2026)
oil on canvas
60 x 100 cm

Documentation:

02/06/2026

Pipilotti Rist

Pickelprono (1992)
SD Pal, 4:3, Sound, 12‘00‘‘

Pipilotti Rist’s Pickelporno proposes an alternative form of eroticism: playful, poetic, and beyond pornographic conventions. A simple narrative - encounter, foreplay, s*x - is expanded through associative imagery, nature metaphors, and vivid colors. Fragmented bodies merge with each other and their surroundings, dissolving boundaries between genders and forms. Sexuality emerges as a multi-sensory, ambiguous experience rather than a fixed act.

Courtesy the artist, Hauser & Wirth, Luhring Augustine and videoart.ch

Documentation:

01/06/2026

Jonas Mayer

The winner takes it all (II) (2026)
Mixed media on paper, mounted on wood
2 x 40 x 55cm

The Winner Takes It All transfers the logic of gambling to the art market.

Two visually identical works conceal a drawing beneath a silver scratch-off surface - one a win, the other a loss.
The purchase precedes the act of revealing, turning the acquisition into a wager: what is bought is not a guaranteed value, but a promise of symbolic capital, appreciation, and meaning.

The work illustrates that artistic value arises less from the object itself than from the willingness to believe in the artwork.

Documentation:

01/06/2026

Maria José José Mariajose_jose.maria

Friends in High Places (2024)
Found object (church pedestal), inscribed brass plaque.
12.5 x 19 x 13 cm

The work consists of a found church pedestal, recontextualized through the inscription Friends in High Places. Once used to elevate devotional figures, it now directs attention to the statement itself. Installed above eye level, it prompts the act of looking up, historically linked to faith and transcendence.
Within the context of LUCK, the work suggests an ambiguous relation between chance and belief, hinting that what appears as luck may also be shaped by relationships, privilege, or unseen systems of support.

Documentation:

01/06/2026

Nick Wachs

Das Lächeln eines Schattens (The Smile of a Shadow) (20026)
colored pencil, blush and spray paint on pvc-fibre
70 x 50 cm

“One must be a good person if one looks up at the sky several
times a day,” a friend once told me. What stayed with me even more was the sky itself, an empty expanse that feels full of quiet secrets. I began to ask it questions. The answers came in colors, blue for yes, red for no. Over time, I engaged with beings that appeared in the clouds, encounters that felt like small moments of happiness.

I bring this process into painting as a space for play and
discovery. The Smile of a Shadow marks my first encounter
with one of these beings.

Documentation:

Adresse

Speckstraße 85
Hamburg
20355

Webseite

http://www.gruppemotto.net/

Benachrichtigungen

Lassen Sie sich von uns eine E-Mail senden und seien Sie der erste der Neuigkeiten und Aktionen von Galerie Gruppe Motto erfährt. Ihre E-Mail-Adresse wird nicht für andere Zwecke verwendet und Sie können sich jederzeit abmelden.