Light and Life
Based in the south of England, Samantha is a photographer with a long-standing love of powerful, high-impact images of the world around us.
Characterised by striking light, contrast and drama, and evoking the nature of God as revealed in creation, LIGHT& LIFE was shot in England and France.
Judith Sturm lives and works in Vienna and Berlin, and exhibits nationally and internationally. Her extraordinary body of work is inspired and grounded in her years of experience in fashion and design. Her art also challenges and provokes the overly beautiful appearance of the fashion magazines through her unique style
Our lives would have been completely different. Unity? Reconciliation?
Accrochage celebrating 25 years of the German-German Contract
The year 1990 was an extraordinary year for Germany. The almost surreal occurrence of the wall coming down had happened just the year before, and now the actual contract uniting the two Germanys was going to be revealed. Now there would be only one Germany instead of two German republics. It was something unheard of in the history of our planet: the reunification of two countries that had been divided for 40 years into two nations defined by completely different political systems – without war and with no bloodshed. This event remains (unfortunately) a unique occurrence in human history. 25 years have gone by, and how do people find this new reality? Is there really a “Unified Germany?” Did people reconcile with one another?
WORLDS IN BETWEEN
Two perspectives, two artists.
Two worlds between heaven and earth.
Viola Vivilley displays abstract paintings in mixed media and acrylic on canvas.
Isabella Devinast exhibits sculptures from the last 18 years in bronze, acrylic plaster cast and chocolate.
Viola Vivilley zeigte abstrakte Malerei in Mixed Media und Acryl auf Leinwand.
Isabella Devinast Bronze, Acrylgipsgüsse und Schokoladeskulpturen aus den letzten 18 Jahren.
Les Femmes du Maroc
Morocco. One is constantly discovering streaming and ornate points on the edge of the street. Streetfashion and traditional fashion. Colorful concealment and cloaking. The combination of fashion photography and and photo reportage presents feminine strength.
In reference to Women’s Rights and their emancipation Morocco has made several steps toward modernity in recent years. But there are still much that needs to be thought through further and changed, both in everyday life and in the legal system.
The Tattooed Flower
Kyoung Yeon Jang, born 1978 in Seoul, South Korea, has exhibited internationally.
Her current themes focus on home, temporary existence, death and Korean funeral traditions. A common thread throughout her Oeuvre is the search for the realms of the eternal.
hast du angst, dass dein herz platzt oder willst du ein auto?
Werkschau 2000 bis Übermorgen
Julja Schenider, born in 1970, “has been occupied as an author with lyrics and prose. She has written text and music for her band, in which she also sings – and she works primarily as a visual artist.
As an autodidact she concentrates very little on art theory and its implementation. She refuses the normal market mechanics and their requirements. Her art appears to be simply thrown into the world without looking for potential success.
In reference to content, once more the observer stands in front of the challenge, that the artist eludes classification. As soon as someone thinks that they have discovered that Schenider is explaining things out of everyday life, the very next picture surprises with its surrealism. Once a person gets used to that, stringent political or social commentaries follow. And one more step brings us in contact with an absolutely intimate, private picture.
New theme groups are constantly emerging, in which for example, fine indian ink drawings, sometimes twenty pictures per theme, sometimes three, sometimes only one. Grotesque entities share their opinion or are forced into a context through the caption. There are travel journals and soccer fantasies. Are these caricatures?
All comparisons to existing art history fall short, because Schenider anarchically combines, utilizes, takes and spits out what and how she wants. It is simply impossible to describe (you can only try to come close) which form and storm of content rains on the viewer when they occupy themselves with Mrs. Schneider and her art.”
Excerpt from Introduction Text from Domink Mühlhaupt/11-2011, translated by Mike and Elissa Picconatto
The Berlin based Japanese scenographer and multimedia artist Yoko Seyama (1980) specializes in spacial time-based art. Her background is architecture and performing arts. Her works combine digital elements with natural materials which she is working into mutating spaces. Light is one of her major material.
Yoko Seyama has exhibited internationally and has been awarded many prizes. Gallery2 will be exhibiting selected works from the last decade until today.
From August 12 – August 20th the Exchange Exhbit between Korea and Germany called “Korean Ark” will take place in Gallery2 (Auguststraße 2, 10117 Berlin)
Kunstverein64 e. v, located in Belrin, is cooperating with the Art Organization “Artforum Rhee” from Korea an exhibit aimed at building the friendship between Korea and Germany and widening the communication between the two lands. We are excited to be able to see the exchange programs “Project X” (from Kunstverein 64 e.V.) and “Project Outbreeding” (from Artforum Rhee) become a reality in the heart of Berlin. This project es taking place under the motto of friendship, peace, and freedom.
In 2015 the three artists Kwang lee, Sebastian Ludwig, and Prof. Udo Dziersk took part in an Artist Residency Program called “Community Stag Hunt” at Artforum Rhee. They organized the exhibit “Very Painting”, through which they learned the art and culture of korea and formed friendships with Korean artists. In 2016 K64 invited 4 artists to exhibit in Germany, in the “Korean Ark” exhibit, through which they can learn German art and culture and give them the opportunity to exhibit modern Korean art in Berlin. .
We are especially thankful for the Korean artists Myung-Rae Park, Ik-Kyun Shin, Neung-Jae Rhee, and RYU Biho, who were not nervous about making the long trip from Korea to Germany to inspire us with their art works and to be a part of this cultural exchange program. At the same time we would like to express, along with the artists, our deep condolences do the victims and family of the disaster of the sinking of the MV Sewol in April of 2014 in Korea, in which more than 295 people (most of them children) lost their lives.
Vorsitzende des Kunstvereins 64 e. V
A big city is a polarizing place: for some a behemoth – dangerous, restless, crowded and noisy – for others an inspirational stronghold – full of art, culture, eccentric city folk, expats and tourists from all over the world.
Gallery2 has assembled an accrochage that brings together big city artists and artists who love the big city in order to show their views of the metropolis.
What influence does a big city have on the eye? On the senses? What is the artist´s perspective on the phenomena of the big city?
So multifaceted, like a metropolis itself, are the various media and positions of our chosen artists, who also come from all around the world.
Angela Rohde – www.angelarohde.de
Duong Thuy Duong
Julia Maier – www.juliamaiberlin.de
Michelle Breda – mdbreda.com
AudeRrose – aude-f.com
Christian Rothenhagen – www.christianrothenhagen.com
Elif Arat – elifarat.wordpress.com
Teresa Esteban Gomez – teresaescultora.com
Marina Zumi – www.flickr.com/photos/marina-zumi-art/
“The photographs that Julia Maier has reworked come from the most famous glossy magazines and deal, for the most part, with issues from around the world. Only rarely can a person see what the original once was.
Julia Maier changes the architecture of the picture, the hair and skin color, almost everything. The brunette that Johnny Depp is kissing in the original photograph is once again Venessa Paradis.
Political events are reduced to a picture – people fleeing out of a burning house, the location unknown and not relevant, because the reduction to human emotion and the expression of fear, oppression, torment, hope, chaos, and power brings the viewer back to human mortality, both current and past.
That implies that there are a flood of pictures, which are removed from their context and cry out for reinterpretation every time they are rearranged.
Newly produced historical paintings relate to contemporary themes. It is not yet determined if society will remember these themes, or if they will quickly be forgotten. The pictures are painted in acrylic using magazines as their foundation.
Hieronymus Bosch’s Töchter
Gallery2 zeigt zum 500. Todesjahr Hieronymus Boschs eine Ausstellung von vier herausragenden Künstlerinnen:
Angela Rohde, AudeRrose, Anna Andropova und Margarete Adler.
„Man könnte Hieronymus Bosch als den ersten Surrealisten bezeichnen, er schuf herausragende, zugleich albtraumhafte und paradiesische Bilder in einem Zeitalter, dem LSD noch kein Begriff war, das aber in den religiösen Vorstellungen von Himmel und Hölle ebensolche Auswirkungen zu haben schien. Zudem gab es ja da auch noch diesen Schwarzschimmel im Getreide, der nachweislich denselben Stoff enthält.. also vielleicht doch?
Deliriöse Wesen, erschaffen, um zu Tode zu erschrecken, Dämonen, die Gliedmaßen abschneiden, ekstatische Tänze von Rosé und Lichtblau, verschmolzen in Pflanzen und Fabelwesen, Mischgeschöpfe aller Couleur, Kopffüßler, Baummenschen, überdimensionierte Musikinstrumente, lebende Häuser, deren Eingangstüren menschlich sind, es scheint keine Grenzen zu geben.
Die religiös zentrierten Werke Boschs, die er als Zeitgenosse einer Welt kurz vor dem Höhepunkt der Hexenverfolgung schuf, zeigen Wahnsinn und Hoffnung, Verwirrung und eine in diesem Zusammenhang geradezu absurde Klarheit über die Zustände der Seelen seiner Mitmenschen und vermutlich auch seiner eigenen. Dennoch läßt sich nicht leugnen, daß man ein Schmunzeln wahrnehmen möchte, wenn man sich die bildgewaltigen Werke genauer betrachtet. Eine Groteske.
Gallery 2 freut sich, Ihnen vier Künstlerinnen vorstellen zu dürfen, die wahrhaft die zeitgenössischen Töchter Hiernonymnus Bosch’s sein könnten.
Angela Rohde zeigt in ihren minutiösen, beinahe manisch penibel ausgearbeiteten Collagen die paradiesische Seite, nicht ohne ein gewisses Unbehagen an der einen oder anderen Stelle zu erzeugen, und dennoch verzaubern die Arbeiten durch Farbrausch und Grazie, Abstrusität und Schönheit zugleich. Ein Fest der Sinne, das die Augen zum Leuchten bringt.
Aude Rrose offenbart in ihren Photographien Untiefen, die unser Unbewußtes ansprechen: die Pflanzenbilder scheinen alle Radioaktivität abzubilden. Die Gräser und Blumen wirken, als strahlten sie bis auf unsere Haut, als spürte man förmlich das Uran und den Bismut, das sie zu beinhalten scheinen, wie sie sich in unsere Zellen brennen. Die inszenierten Schwarzweißphotos hingegen verwirren mit einer Bildsprache der Renaissance, aber geisterhaften Erscheinungen dazwischen, die den Betrachter beunruhigt zurücklassen.
Anna Andropova’s Schablithographien ziehen den Zuschauer tief hinein in das eigene Unterbewußte, in Albträume, verborgene Wahrnehmungen, Ungewißheiten. Wir sehen Vögel und einzelne Augen, die beobachten, verdrehte Proportionen, surreale Erscheinungen, Pflanzen wie aus anderen Welten. Es ist das Unaussprechliche, das sich hier Bahn bricht, und sich mit meisterhafter Technik auf exklusiven Drucken ins Gedächtnis brennt.
Margarete Adlers lebendige, realistische Skulpturen aus Keramik und verschiedenen Kunststoffen sind von einer geradezu maligner Lust am Morbiden geprägt. Sie zeigen gebrochene Seelen, die sich zusammengeflickt gerade noch so am Leben halten, maliziöse Betrachterinnen (echter) toter Katzen und Mischwesen, deren verwirrende Unschuld gepaart mit mondäner Animalität derartige Irritationen verursachen, daß man sie schlicht nicht mehr von seinem inneren Auge wischen kann.
Die Arbeiten von Angela Rohde, Aude Rrose, Anna Andropova und Margarete Adler bringen zum Ausdruck, was die Ängste und Hoffnungen, die Absurditäten und Grotesken der Jetztzeit sind. In vier völlig unterschiedlichen Medien und mit jeweils radikal anderer Bildsprache.“
Isabella Devinast, 2016
For Emilie – eine europäische Geschichte
Throughout my childhood my grandmother told me stories about a land, that had a name which sounded like a fairy tale, a land in which she was happy and longed to return to, even though she knew that this was impossible: Bessarabia.
Long after I was an adult she explained during my visits, chapter by chapter, a story that no longer sounded like a fairy tale. It was the story of her expulsion following the Hitler-Stalin Pact of 1940, the forced resettling during World War II in occupied Poland, and the flight from the approach of the war front. She told me about the cruelty of the flight as she fled alone with three children, and about resettling as a farm wife in the area of the former GDR. Only years after her death did it become clear to me what she was explaining, and I was terribly frustrated that I had not written along as she shared. Over time, the wish to describe her history became so powerful that I began to research intensively. The more facts I brought together, the clearer it became to me, that I had to embed the history of my grandmother in a comprehensive context. My grandmother shared the fate of millions of other people in Europe and everywhere on Earth – and unfortunately not only during World War II. Fleeing, being driven away, and mass movements of people are recognizably a meaningful part of the history of mankind. In recent times they have also been accompanied by unimaginable misery and suffering. In modern times they have also often been initiated by the hubris of nationalism.
For this reason, the pictorial history of this exhibit is not only an assembly of facts with historical pictures and texts, but instead it shows the route of the German settlers of the 19th century in contemporary pictures. Detailed is the way taken to leave Germany, mostly for economic reasons; the route through half of Europe towards Bessarabia; and the way of their expulsion and flight back towards Germany. It is a journey through landscapes, some of which continue to be multiethnic, and in which Germans also lived and experienced similar fates as my grandmother.
In addition to my desire to narrate this story, I also want to express my respect and esteem for the steadfastness of my grandmother. In spite of the monstrosities that my grandmother had to bear, she was not a broken person. She was nothing less than a place of refuge, security, and hope. There was absolutely no resentment or despondency from her experience. My grandmother had something which carried her through her entire life: her deep faith in God.
Thomas Probst, born in 1967, has photographed since his Uncle gave him a camera when he was 14 years old. He studied architecture and worked in this career. He has recently dedicated himself full time to Photography.
Away from the Sprays
For 15 years Marina Zumi has been known as “Zumi” in the Street Art Movement. The Argentinian artist, based in San Paulo, is constantly traveling. She is known for her graceful murals which provide oases of serenity in the crowded and noisy cities she visits.
Her production inside the studio, “away from the sprays“, takes her work in another direction. In the atelier, in touch with more meditative moments, she approaches her work to synthetically extrude the art subject. “The void is not an uncomfortable place,” she says. Her goal is to communicate that we are just energy in the universe.
Zumi creates and performs a specific study of art that is based in her study of quantum theory and uniquely integrates her research of the Cosmos, her knowledge of Buddhist philosophy, and representations of nature. These unique artworks are sewn with gold, silver, and black threads, distinctively integrating hand embroidery textile art and contemporary art.
By sewing her artworks, she unwraps the flux of energy, symbolizing connections between all beings – represented by a re-occurring motive of „seven lines“: one central intention, and the parallel resonances, three positive and three negative.
These fluxes of energy also create a new environment. When Zumi develops her site specific installations it is an invitation to feel the Flux, as part of a profound inner journey, that takes us beyond our physical limits. For this occasion the installation reflects the search for inner light, by those who are journeying through the vast universe.
2015 – 2017
Duong Thuy Duong came into our gallery rooms in 2015 to introduce us to her works. As we examined her works it became apparent to us that every time Thuy took the brush in her hand, she survived another day.
An Atelier visit revealed that the light, which plays a dominant role in her paintings, had nearly burned out. Step by step, the light in her works was being extinguished.
It is completely different in her new paintings. There is a rush of colors – new colors! – shown in previously undreamed of intensity in her new Oeuvre since 2017
– Gallery2 Team, 2017