post-title Die Neuen II | Group Exhibition | Galerie Verein Berliner Künstler | 24.02.-11.03.2018

Die Neuen II | Group Exhibition | Galerie Verein Berliner Künstler | 24.02.-11.03.2018

Die Neuen II | Group Exhibition | Galerie Verein Berliner Künstler | 24.02.-11.03.2018

Die Neuen II | Group Exhibition | Galerie Verein Berliner Künstler | 24.02.-11.03.2018

until 11.03. | #1860ARTatBerlin | Galerie Verein Berliner Künstler (VBK) shows from 24th February 2018 the exhibition DIE NEUEN II with artworks by 11 new members out of the year 2017. This Part II s the continuation of the exhibition DIE NEUEN I (03.02.-18.02.2018) with other new artists.

The exhibition year 2018 starts in the gallery VEREIN BERLINER KÜNSTLER with the presentation of eleven new members, who in 2017 were admitted to the circle of artists of the VBK. In the field of tension of media-communicative and different ways of working, they show works in two consecutive exhibitions with reference to their current position in the areas of VIDEO – PAINTING – PHOTOGRAPHY – SCULPTURE – DRAWING.

In her graphic work Angulanza processes impressions of landscape and vegetation. With the reduced average of the pencil or graphite mine, it draws directional stripe bundles or summarizes repeating shapes – e.g. Leaves or grasses – as ciphers together. She encounters the richness of detail of the motif, both with summary summation and with a small-scale representation. It is not so much on the realistic image of the subject, but on the overall impression of the sitter. There are only a few depths, little different graphite gray and the white of the paper. With her selection of motifs, she joins the graphic tradition of landscape drawings.

Viola Bendzko takes processes of change in nature as a thematic starting point for her material works. She creates translucent and opaque layers of colors, pure pigments and marble flour, partially collages elements of experimental photography, and the process … of visualizing fine structures remains recognizable in the finished image. The images are often conceived as a series, for example, as a diptych, they can mirror, amplify or reinterpret the picturesque gestures and processes of one wing in the other. What they all have in common is the immediate strength of the highly sensitive and finely graduated pictorial language, which – if one has once admitted it – lingers on for a long time. (Wolf Kühnelt from introduction text way sign – Viola Bendzko 2016,)

… The pictures are also reminiscent of movie sets. This may be the influence of Hollywood, where Feldmann et al. studied. If David Lynch, Edward Hopper, and Caspar David Friedrich made a film together, I’d imagine this film as a Feldmann series of pictures. You want to stand in front of it forever and look, you can not go in there ….
Monika Zeiner, writer, Berlin (excerpt from the text in the catalog)

The source of Larissa Nod’s dynamic and colorful art is the intuition and passion with which she brings her themes to the screen. Her abstract pictures are a sensual exploration of philosophical and lifeworld aspects. Her painting opens up an impressive color spectrum of the excessive use of color. The messages of her pictures are a plea for spirituality. Dr. Ariane Mhamood / art historian

Anita Staud prefers to work in places with history, this can be a barracks / armored hall as well as an abandoned hospital. These may be places in other countries as well as the immediate surroundings of the artist. Finds from these locations are mostly ‘used’ papers, such as old invoices or inventory lists, but formerly explosive material may also be found, such as the like. Index cards and listening reports of former GDR border troops. All of these finds are reworked with scriptural ink drawings. This creates whole cycles of works that document this place and, as it were, transport it to a free artistic level. These “signs” can also be found on Anita Staud’s free (location-independent) images, often as a result of a previous working process of the resulting work cycles on paper. (after Dr. C. Gerner)

Deconstruction is the philosophical basis of the art of Poul R. while – so his art is to be seen as a series of commentaries in which, in the clash of the various statements, a meaning can arise through the viewer’s own experience. The component works are also “traces – tracks – traces”, from which the viewer creates meaningful coherence. Art is the communication between the work and the viewer, and the trick is a membrane between the artist and the viewer, or the viewer develops the art, so to speak. Poul R.weil uses many different expressions – from traditional materials such as painting, drawing, bronze sculptures – to new media such as photography, video and the Internet. As the artist says, the idea chooses the form and the material – and the meaning of art is communication, as broad and with as many people as possible.

Vernissage: Friday 23rd February 2018, 07:00 p.m.

Exhibition period: Saturday, 24th February – Sunday, 11th March 2018

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Image caption: via Galerie Verein Berliner Künstler

Exhibition DIE NEUEN – Galerie Verein Berliner Künstler | Contemporary Art – Kunst in Berlin – ART at Berlin


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