1964 - Ulm
Birgit Brenner is a fearless excavator of the psyche, ultimately no doubt her own, but still her works have humor and irony. Living Life means there is always something wonderful and hopeful and it is worth taking risks.
Birgit Brenner, b. 1964 and lives and works in Berlin. She is a renowned Professor of Art at the Staatliche Akademie der Bildenden Künste in Stuttgart and has been represented by Eigen + Art, in Berlin and Leipzig since 1992. Her work has been shown extensively in Europe including a 2011 major exhibit at the Dortmunder Kunstverein in Germany.
She was recipient for the Prices Kunstpreis Tisa von der Schulenburg-Stiftung in 2004, Christian Karl Schmidt Förderpreis für zeitgenössische Kunst in 2003 and PS1 in New York. Other solo exhibitions include: Galerie Eigen + Art, Leipzig (2010). Haus am Lützowplatz, Berlin (2009). Galerie Eigen + Art, Berlin (2007). Selected group exhibitions include: Galerie Erlangen (2010), Kunsthalle Mannheim (2010), Temporare Kunsthalle, Berlin (2009), Beurs van Berlage, Amsterdam, The Netherlands (2009).
Brenner Birgit, Alles was war, 2010.
Cardboard, acrylic, pencil, felt-tip pen on paper, 118 x 140 cm.
Brenner Birgit, Keine Bremsspuren, 2009.
Acrylic, pencil, felt-tip pen on paper, 29 x 22 cm.
Brenner Birgit, Wie sagt man danke, 2009.
Acrylic, pencil, felt-tip pen on paper, 28 x 20cm.
Brenner Birgit , Ihr glaubt mir nicht, 2009.
Acrylic, pencil, felt-tip pen on paper, 29 x 22cm.
Brenner Birgit, Hier hat keiner Angst, 2009.
Acrylic, pencil, felt-tip pen on paper, 31 x 23cm.
Brenner Birgit, Es hatte keine Bedeutung, 2009.
Acrylic, pencil, felt-tip pen on paper, 29 x 22cm.
Brenner Birgit, Schläfst du mit mir?, 2009.
Acrylic, pencil, felt-tip pen on paper, 33 x 25cm.
Brenner Birgit, Bisher läuft alles gut, 2009.
Acrylic, pencil, felt-tip pen on paper - 30 x 26cm.
Brenner Birgit, Bin unverletzt, 2009.
Acrylic, pencil, felt-tip pen on paper, 32 x 23,5 cm.
1966 - Wölfenbuttel
Franz Burkhardt. Born 1966 in Wolfenbüttel, Germany / Lives and works in Baelen, Belgium.
Burkhardt Franz, Christopher, 2014.
Graphite and ink, press on paper, 29,5 x 17,5cm.
Burkhardt Franz, Daniela, 2017.
Graphite, ink and gouache on paper, 21 x 29,5cm.
Burkhardt Franz, Graeme II, 2014.
Graphite and ink, press on paper, 23,4 x 17,5cm.
Burkhardt Franz, Interior (o.T. Rotterdam, 2018.
Mixed Media, 250 x 240 x 240 cm.
Burkhardt Franz, Seite 17, 2017.
Graphite and ink, press on paper, 29 x 12 cm.
1941 - Madrid
Hans-Peter Feldmann (born 1941 in Düsseldorf, Germany) is a German visual artist. Feldmann's approach to art-making is one of collecting, ordering and re-presenting. Contents Early life and career In the 1960s, Feldmann studied painting at the University of Arts and Industrial Design Linz in Austria.
He began working in 1968, producing the first of the small handmade books that would become a signature part of his work. These modest books, simply entitled Bilde (Picture) or Bilder (Pictures), would include one or more reproductions from a certain type—knees of women, shoes, chairs, film stars, etc.--their subjects isolated in their ubiquity and presented without captions. In 1979 Feldmann decided to pull out of the art world and just make books and pictures for himself.
In 1989 the curator Kasper König persuaded Feldmann to exhibit in a gallery again. Hans-Peter Feldmann is a figure in the conceptual art movement and practitioner in the artist book and multiple formats. Feldmann's approach to art-making is one of collecting, ordering and re-presenting amateur snapshots, print photographic reproductions, toys and trivial works of art. Feldmann reproduces and recontextualizes our reading of them in books, postcards, posters or multiples. Feldmann made his first series of books between 1968 and 1971. Works from the early 1970s include 70 snapshots depicting All the Clothes of a Woman and four Time Series projects including, for example, a row of 36 pictures of a ship moving along a river. Feldmann's series Photographs Taken From Hotel Room Windows While Traveling clusters 108 nondescript, unframed snapshots of buildings, streets and parking lots. (Like other Feldmann projects, this calls to mind Ed Ruscha's photographic catalogs.) 11 Left Shoes presents 11 shoes borrowed from 303 Gallery employees, in a row on the floor. Que Sera has the words of the song of that title handwritten on the wall.
Bed With Photograph simulates part of a hotel room with a slept-in bed, a side table and a framed photograph of a woman in leopard-print pants. Feldman's photographic essays might have a more intimate singularity in book form. His book Secret Picturebook (1973) is a thick, densely printed, scholarly tome with little pictures of women's torsos in sexy underwear inserted at intervals. It most pointedly embodies the artist's mischievous relationship to high culture. Another book, “1967-1993 Die Toten” reproduces images from newspapers of all of the lives lost due to the violence and terrorism that permeated contemporary German history. Creating carefully conceived installations from everyday images is what Feldmann is best known for. In 2004-5 MoMA P.S. 1 showed “100 Years,” an exhibition made up of 101 photographic portraits of people ages 8 months to 100 years. And at the International Center of Photography in 2008 he filled a room with the framed front pages of 100 newspapers — from New York, Paris, Dubai, Sydney, Seoul and elsewhere — printed on Sept. 12, 2001.
Feldmann Hans-Peter, David , 2006.
Painted Plaster, 115 x 30 x 30 cm.
1979 - Düsseldorf
Kati Heck (Düsseldorf, 1979) is an originally German painter and sculptor. She married a Belgian and lives and works in Antwerp. Content Heck came to Antwerp when she was 18 to enroll in the fashion course at the Fashion Academy. She said she thought the direction was too neat. That is why she studied painting at the Royal Academy of Fine Arts, from which she graduated in 2000. In 2011 she won the IKOB painting prize.
Heck's work consists of sculptures, installations and paintings, which are often large in size. Her work is figurative and sometimes contains references to her German background. Her grandfather served as a youth with the Waffen-SS in WWII. This past is reflected in the recurring use of German-language texts, bratwurst or lederhosen on her canvases. She often portrays her friends - including many musicians and visual artists - in surreal humorous situations or attitudes. Jan Hoet supported her in her artistry. Heck is also part of the performance group Bissy Bunder, which also includes German Tina Schott, Julia Wlodkowski, Johanna Trudzinski, Rani Bageria and Michèle Matyn. In 2009 the film 'Beyonda- A Journey Into The Darkness' was also made with Bissy Bunder.
Heck Kati, Schutzengel of Painting, 2015.
Textile, polystyrene, metal, epoxy, 2 x (110 x 130 x 130 cm).
1982 - warburg
Lena Henke German, b. 1982, Working in photography, sculpture, and installation, Lena Henke mashes-up references to art historical movements, Freudian theory, city life, the interplay between nature and culture, and sex. She grew up on a horse farm and now lives in Frankfurt and New York. Images of horses and saddles, and such urban detritus as subway grates and wire fencing have made their way into her pieces. “The street is always really inspiring for me. Big topic,” she once stated. Among her projects is Yes, I’m Pregnant (2014), a comic book and series of colorful, semi-abstract sculptures through which she narrates the tale of a sculpture’s unplanned pregnancy. Not content to stop at making art, Henke partners with Marie Karlberg to organize offbeat, pop-up exhibitions, presented at places ranging from a nail salon to Karlberg’s own bedroom.
Henke Lena, Girlfriend, 2012.
Tar, tar paper, wood, epoxy resin, pigments, 140 x 200 x 2cm.
1985 - Germany
Johannes Langkamp (1985, Germany) is a visual artist based in Rotterdam. He was educated at the Academy for Art and Industry artEZ in Enschede. His work has been exhibited throughout the Netherlands and Germany.
Langkamp Johannes, Selfie, 2012.
Videosculpture, HD digital film with sound, camcorder, wood, drill, 39 sec.
Langkamp Johannes, Beeldwandeling / Wandering Image (Nr. 01), 2016.
A series of kinetic light projections on silver gelatine paper for the analog animation film Beeldwandeling, 17,8 x 24 cm.
Langkamp Johannes, Holding Capacity, 2015.
Live video feed installation, mixed media.
1985 - freiburg
Jochen Mühlenbrink is a German painter. * 2001–2007: studied fine art at the Düsseldorf Art Academy * 2007: Academy letter and master student from Markus Lüpertz
Mühlenbrink Jochen, Do It Yourself, 2016.
Oil, acrylic, enamel, damar on canvas, 220 x 170 cm.
Harald F. Müller
Harald F. Müller’s art might be compared to the way a DJ works; his mix of materials includes photography, painting and sculpture. Extensive research in archives and libraries leads to the choice of a few significant pictures that he uses unchanged. However, by decontextualizing them, he undermines the self-evidence of their subject matter; they become ambiguous. The artist enlarges the pictures he has selected to as much as four metres, printing them on conventional Cibachrome paper mounted on thin panels of aluminium. The pictures are not hung flush with the wall but on sculptural mounts so that they appear to be floating. When viewed in close-up, the halftone dots of the enlargement turn the photograph into an artwork that allows for different levels of perception, from the objective to the abstract. The same effect is achieved when Müller crops pictures of architecture so that the three-dimensional image is transformed into a two-dimensional plane (of colour). —Dominique von Burg
Müller Harald F., Telefono, 2014.
Mixed media, 144 x 136 x 15 cm.
1973 - Stade
Iris Schomaker has reached international acclaim through her often large-scale, watercolor paintings of landscapes and figures. What is actually represented in her paintings is secondary to Schomaker’s oeuvre: her work is primarily about the process of representation, about exploring painterly possibilities and the reproduction of atmospheric content. The artist finds her own original visual language in the tension between figurative representation and painterly abstraction.
Schomaker’s palette, mainly applied onto paper, is quiet, and its pastel hues diverge little from black, white, and grey tones. This lends her paintings a drawing-like aspect, which is emphasized still further by the remaining traces of the working process. The searching movements of the lines that document the process of composition appear through the glazed application of paint and fuse with them. Her paintings are just as much about the process of capturing something in a drawing and the discovery of a painterly composition, as they are about the motif itself and its atmospheric and physical qualities.
Iris Schomaker studied Fine Arts in Kiel, Germany, and Trondheim and Bergen, Norway. She has participated in various national exhibitions, including Berlinische Galerie in 2007 and 2010 and in 2013 at Frankfurter Kunstverein. In 2014 she was participant at the biennale in Posnan. Her works can be found in numerous public and private collections.
The artist lives and works in Berlin.
Schomaker Iris, Untitled (1/2), 2017.
Oil and watercolour on paper, 37,6 x 32,3 cm.
Schomaker Iris, Untitled (2/2), 2017.
Oil and watercolour on paper, 37,6 x 32,3 cm.
1954 - Oldenburg
Thomas Schütte (Oldenburg, November 16, 1954) is a German visual artist, who became known in 1992 with his work "Die Ankunft der Fremden" during documenta IX in Kassel.
Schütte studied at the art academy in Düsseldorf from 1973 to 1981 with Fritz Schwegler and Gerhard Richter. in his work he shows a surprising versatility in both the techniques used and in the design. He has made models, but also drawings, etchings and sometimes very large sculptures. After his breakthrough in 1992 with his work "Die Ankunft der Fremden" during documenta IX in Kassel, the 2005 Venice Biennale was another high point in his career. There he was awarded the prize for the best artist of the exhibition. At the end of 2007, a work by Schütte was chosen for the fourth pillar in Trafalgar Square in London. His bronze sculpture United Enemies was exhibited in New York's Central Park between March 5 and August 25, 2013.
Thomas Schütte lives and works in Düsseldorf.
* 2013 Thomas Schütte, a solo exhibition in Fondation Beyeler
* 2013 Prima Materia a group exhibition in Palazzo Grassi, François Pinault Foundation
* 2013 Glass Stress: White Light / White Heat a group exhibition in Palazzo Cavalli-Franchetti, Venice, part of the Venice Biennale
* 2012 Thomas Schütte: New Works a solo exhibition in the Frith Street Gallery
* 2012 Thomas Schütte: Faces & Figures a solo exhibition in the Serpentine Gallery, London
* 2012 Houses a solo exhibition in the NMNM, Monaco
* 2012 Frauen a solo exhibition in the Castello di Rivolli, Turin
* 2010 a solo exhibition in the Art and Exhibition Hall [source?], Bonn
* 2010 Hindsight, a solo exhibition at the Museo de Arte Renia Sofia, Madrid
* 2009 a solo exhibition in the Haus der Kunst, Munich
* 2007 - 2009 Fourth Plinth Commission, a solo exhibition at the National Gallery, London
* 2006 A solo exhibition in Museum De Pont, Tilburg
* 2005 Golden Lion Award, 51st Venice Biennale
* 2005 Political Works, a solo exhibition in the Museu de Arte Contemporanea, Museo Serralves, Porto
* 2000 Cabinet Overholland, a solo exhibition in the Stedelijk Museum, Amsterdam
* 1999 Gloria in Memoria, a solo exhibition at the DIA Center for the Arts II, New York
* 1999 In Media Res, a solo exhibition at the DIA Center for the Arts III, New York
Schütte Thomas, Architekturmodelle, 2006.
27 etchings, 27 x (76 x 56 cm).
1959 - Meppen
Andreas Slominski attended the Hochschule für Bildende Künste, Hamburg, from 1983 to 1986. Since 1984, when he was struck by the sculptural quality of a vole trap, he has been known for complex variations on the animal trap as sculpture, as well as a variety of conceptual projects that probe ideas about art and its reception.
In 1991, he purportedly concealed a severed human hand in a wall of the Kabinett für Aktuelle Kunst in Bremerhaven, leaving only an empty white gallery. For a 1993 show at the Museum für Moderne Kunst, Frankfurt, the artist displayed a bicycle laden with bulging plastic bags against a gallery wall, as though a passerby had left it there. For his 1995 show at the Museum Haus Esters, Krefeld, he had a golfer hit a ball into the museum from a nearby building.
At his extensive 1998 solo exhibition at the Kunsthalle Zürich, Slominski executed Self-portrait with Sombrero, in which he drilled two holes high on a gallery wall and photographed himself wearing an altered sombrero (to fit the cramped space) by sticking his hand through one hole and his face in front of the other. In a solo show at the Fondazione Prada, Milan, he presented Please Call Me (2003), in which a hidden cell phone could be called and discovered by viewers. In 2006, Slominski made a radical shift in his aesthetic and process when he introduced the conventions of paint and classical relief into his body of work.
However, his playful spirit was revealed by the replacement of fine marble with cheap polystyrene and of traditional historical or religious themes with saccharine, kitschy motifs and color schemes derived from Christmas holiday cards and tropical “Miranda Oranges.”
Slominski Andreas, Riding a Saddle Roof, 2012.
Metal windowframe, 115 x 88 x 38 cm.
1966 - Heppenheim
Thomas Zipp (born in Heppenheim, 1966) is one of the leading German artists of his generation. His works take the form of paintings, sculptures, prints, drawings and installations.
His process is characterized by an intense engagement with various fields of knowledge, ranging from history, science and religion, to politics, art history and philosophy. Thomas Zipp explores themes relating to good and evil, truth and falsehood, god and the devil, standards and deviations, the body and the mind. Obsession and ecstasy, borderline experience, blessedness and sexuality are among other ideas he expresses. In doing so, he uncovers hidden connections or contradictions and integrates them in his artworks with a playful sense of humor. His shows bring together individual works linked by an overarching concept and their display in the venue completely engulfs and alters the exhibition space.
Thomas Zipp currently lives and works in Berlin. He graduated from the Staedelschule, Frankfurt and the Slade School of Art, London. His work has been exhibited widely at institutions including Tate Modern London, Haus der Kunst Munich, PS1 Center for Contemporary Art New York and Museum of Contemporary Art Chicago. Most recently, he had exhibitions at: at Palazzo Rossini, Kai 10, Arthena Foundation, Venice Biennale Collateral events, Comprative Investigation about the Disposition of the Wigth of a Cercle Venice, 2013, Kunstraum Innsbruck, Austria, 2011, The World´s most complete Congress of RITATIN Treatments, Kunsthalle Fridericianum, Kassel, 2010, (WHITE REFORMATION CO-OP) MENS SANA IN CORPORE SANO, Sammlung Goetz, Munich, 2009, MENS AGITAT MOLEM (Luther & The Family of Pills).
Zipp Thomas, A.B.: Injections, 2011.
Acrylic and oil on canvas/mixed media, acrylic and oil on canvas (diptychon) - 240 x 200 cm / 60 x 50 cm.