Opening of the exhibition on Fri. 9. March 2012 at 8 p.m.
to Thu. 5.  April 2012

The artist Michaele Brüll works with nylon stockings. She mainly uses the top part of the stretchable pants to create images, objects and installations. She can always draw inspiration from an always renewable fashion of various colours, shapes and textures. The results have a versatile aesthetic. Each image, as well as compiled objects and canvases, that she covered with nylon approach a sensitive picturesque position as well as an abstract conceptual progression. In her exhibition in the Crystal Ball gallery Michaele takes on a  structuralistic approach, which maintains throughout a sequence of repeated  forms a wonderfully ironic architectural character. Stocking after stocking, a rhythmic fabric finds itself by citation in a great shape construction. The artist laces and copies them in such way using the arcs that are formed so as to create an bridge inside the gallery. This opens up a variety of interpretations and associations, which derive from the installation´s narrative form, between the corporeal and a cinematic urban ambience. The setting will be specially illuminated during the night, making it visible from the gallery´s window. The space is accessible at our opening times and features further works by the artist as well.

Until the beginning of March 2012, the gallery will be showing a wide range of works, works and multiples of its artists from their collections and the Bouique at discounted prices! Be sure to watch!
7.2.2012 to 1.3.2012

Opening of the exhibition on Fri. 14th. October at 8 p.m.
14.10. – 26.11.2011

In her work Ioana Alexe reproduces in various ways pictures, icons and objects of the art world. The mediated appearance and manner of transfer convey the intentions of the artist. In her video work “Untitled” Ioana Alexe puts back painting to its time-based context of creation. As such she reproduces one of Gerhard Richter’s famous candle series cinematically and traces in a “Performance of an Image” the burning candle for 7 hours and 39 minutes. Essentially, it is not so much the mere reset of the iconography of the imagery, but its deviation in the display of lost images, represented by recorded moments of the slowly burning and expiring candle. With the activated relation between a recollected well known image to its cover version, a “fictional” unspectacular documentary, interpretation amplifies about personal impressions using the pretended dissolution of the quotation.

In the semidarkness of the exhibition Ioana Alexe shows in connected installations a table with books. Volumes out of wood in different sizes are the basis for reproduced and hard covers. Sensitively painted dummies: Art books and anthologies operate here as doubles whose viewing expresses concealment. In a denial of the object in which also a personal language is preferred instead of a precise copying, the subject is art itself and its displaced signification. The artist works with both complex and deficit strategies of transmitting images into a new vision. With smooth adjustments Ioana Alexe shows that there are several options for interpretation that are relevant for its proposition. The impact is a wide perspective which articulates the subjective and doesn’t exclude it in its appreciation.

Exhibition opening on Friday, 24. June 2011 at 8 p.m.
Finissage and concert on Fri. 22. July 2011 from 8 p.m:
Hedi Mohr, Royal Chord and DJ Catastrophe

With a remarkable ease Annette Stemmann is working on an independant position that states universals and individualty as an equal midway in painting. In her colourful lucent pictures reigns a misterious complexity that resist to a definte descryption.

In the exhibition, next to drawings, the artist shows segmented panels. The painting base grows above the classical square, expanding over the walls. Like an organic process in the composition, itself affecting relations accure. A poetical simultaneity who plays in a compendium with the impact of its parts. Its a collection of impressions, urban scenes and time and again the human figure, drafted, finds itself next to plastic figures, left over plaything, myth and legendary creatures, icons from the sphere of everyday life. Like crossing a landscape our view changes, impressions touch, stronger images remain but solve in total.

Annette Stemmanns´ paintings are working with different phrases, concreteness and abstraction, ornament and surface, excerpt and omission. Impressions compete and examine a hierarchy of images without never execute it. Her specially own disengaged working method shows up in balanced compositions whose resistance can be seen as a imperceptible commentary, a brave countenance to actual art discourse