Digitalization determines our time. Different aspects of it will be discussed in the exhibition.
1. Transition / border ANALOG to DIGITAL
Ornella Fieres explores the transitions between the analog and digital space, as well as with the loss and transformation of data and energy, PHOTOGRAPHY
2. Virtual reality to the most private place
Bianca Kennedy allows VR in a very private environment: the bathtub. In her 360 ° animation, based on her drawings, the audience can leave his place as a beholder by stepping into the tub and bathing with six different people at the same time. DRAWING / INSTALLATION
3. Data in digitalization
Yvon Chabrowski discusses the dialectic between the narcissist self-adulation of the selfie generation and the reduction of the self to correllatable numeric patterns that can be identified by algorithms (face recognition programs). PERFORMANCE / INSTALLATION
4. Manipulation of reality
Signe Pierce shows what performance art can do in times of social networks. She reflects the observered user as a kind of “Big Sister is watching you“ PERFORMANCE / PHOTOGRAPHY
Sali Muller is a sensitive analyst of habits of vision and perception. She deals with a spectrum of psychosocial issues such as self-awareness, identity and interpersonal communication in the digital social environment. INSTALLATION
6. New economy
Max Muench has a totally new job description because he has 558,000 Follower on Instagram. Not to hide the potential of digitalization, we asked the Influencer to contribute the show and illustrate changes in careers, which creates new ways of work settings. PHOTOGRAPHY
In his second solo exhibition at e.artis, the current works by Michael Goller with selected works from the oeuvre of Chemnitz artists is in focus. The contense of the continue of the space. “Route” thread thrown on the point and opened a span-wise gap. Up to 16 years are the emergence of individual paintings. The exhibition with its retrospective character opens up an impression of finding a picture in the color space between red and blue. The color polarity between the color spectrum and the color gradient of the color spectrum.
On 17.08.2018 at 19 o’clock the exhibition opens in Theaterstraße 58 in Chemnitz. Michael Goller will be present. We cordially invite you to the opening of this spectacular exhibition.
Lambert Maria Wintersberger (1941-2013) is one of the most important painters in post-war Germany. The Groupe Großgörschen 35 was founded in Berlin. Wintersberger is known for his painful injury pictures in the glossy-aesthetic Pop Art style in the 60s. Later he went for a permanent style in his painting. When he moved to an old train station in Alsace in the 1980s, he was warmly welcomed to professional circles and he was involved in the development of paintings in Germany after World War II.
e.artis is entrusted to work up the entire estate of Lambert Maria Wintersberger. After the first inventory in his studio in France, we are pleased to present the first-class artist for the first time in a solo exhibition in East Germany with a selection from the estate.
André Wagner PIGMENT AND WATER
Solo-exhibition May 4th – June 30th, 2018
Opening Friday, May 4th, 2018 at 7 pm
In his second solo exhibition at e.artis contemporary, the fine arts photographer André Wagner explores in his conceptual work the question of the way color works in space and time. The photographer, who comes from graffiti art, moves in his current work between photography and painting. Although the images show spiritual scenes from India and religious people determine the motifs, it is the interest in color and color gradients that have inspired Wagner to this new series ‘Pigment And Water’. With the help of time and its course, Wagner approaches abstract painting and thus refers to its own origins and inspires the conflict between the two media.
The large paintings by Kerstin Jeckel (* 1960) are an expedition into the ornament. At e.artis contemporary, the immediate effect colors can have on the psyche of the beholder can be experienced esthetically by the nature inspired forms. The abstract paintings in Kerstin Jeckel’s first solo exhibition in Chemnitz can be described as a form of spatial sensuality. This is particularly evident in the special materiality of the paintings: her paintings can be experienced haptically. The works by the artist from Wiesbaden form an exciting transition from painting to object.
This creates a paradox in her art: from a distance the layered painting seems striking and smooth. In a second movement towards the artwork, the viewer is required to get immersed in the colors and to experience as well as discover the “depth” of the images in the literal sense of the word, through near and distant vision.
In her current exhibition at IKOB, Museum of contemporary Art, Sali Muller is described as “a sensitive analyst of habits of vision and perception”. In her acute, large-scale mirror works, Muller deals with a spectrum of psychosocial issues such as self-awareness, identity and interpersonal communication. With her installations, Muller manipulates our perception of subject and subjectivity. She breaks up the connections between space, time and identity in order to investigate what it means to maintain individuality in a society of constant repetitions. With skepticism and irony, the artist draws attention to the obsession of our media-dominated visual culture: making everything transparent.
Hannah T. Förtsch (*1987) works with pigment, fabric or iron, the young artist is conversant with the substance of her creative raw matter. And it is particularly appealing to her to bring together these different materials and techniques. In her artistic work Förtsch focuses on elementary forms and the creative process. The completed ensemble consists of innumerable little things – everything is ultimately the substance and the starting point for the next. Needle stitches evolve into a structure, colour surfaces into figures and shimmering metal threads become a net holding everything together. Nothing is more enjoyable than entering this microcosmos.
Fascinated, the viewer looks at molecular or crystalline structures, in such detail as if through a microscope. They are infused with an order that increases their focus. At times, Hannah T. Förtsch integrates threads or transparent sections into her delicately painted surfaces, thereby expanding her subtle miniatures into three-dimensional space. And at other times, her human figures are enveloped by a swarm of digital-looking structures.
For his new series “The Big Wave”, André Wagner (* 1980) left his soul home India and yet, he did not. His fundamental theme is reflected in his new series originating in Japan: The search for meaning. Topics such as pilgrimage, spirituality and cultures between tradition and modernity that drive the German artist. André Wagner’s photographs make the magic of the moment visible. Whether Kyoto or Delhi, wind-drawn trees in New Zealand or bamboo forests in Japan, his camera captures what can not be comprehended, makes sense of man, and makes the eternal essence of things visible.
Although he had lived in Leipzig for some years, Michael Goller (*1974) has always been independent from the Leipziger Schule. He is working reclusively on the abstraction, right in the tradition of renowned artists from Saxony as Karl Schmidt-Rottluff, Gerhard Altenbourg or Carlfriedrich Claus. Michael Goller is a discovery.
On our white walls, the energy of color is focused with a luminosity, which cheers the heart. It is as if spring was caught in the green paint, summer captured in the yellow tint, frost in the white and sky in the blue hues… The first thing to be perceived is the monochrome color of each painting opening us up like a warm ray of sunshine on the eyelid in the early morning.
The paintings by Michael Goller are solar cells catching the light with layers of material – up to 15 layers which are no longer visible can be found in the paintings, from silver pencil drawings to primers to fully executed layered paintings. Meticulously, Goller mixes the colors to produce the luminosity of the light with ordinary oil paint in order to compose a monochrome colorscape perceived as if one squints childlike in the bright sun and marvelous color patterns delight our brains.
What is love? “A messy feeling” according to Richard David Precht.
To put it in a temporary order, Sabine Dehnel curated this group exhibition. With a very keen sense she invited eight exciting artists that actively perform on the international art market and have quite different positions on the subject.
By now, everyone loves everything in advertising and social networks. Love as expectation and hope, as manipulative instrument and unconditional dedication, but also love as a peace maker and inner challenge. While the exhibition’s title evokes the association of emotional movies, the exhibition itself offers the synopsis of the different positions that are not blind to the downside of the desire for affection and also take up more general forms of love, e.g. patriotism.
On display are works by Frieda & Götz Bellmann, Anna Lehmann-Brauns, Sabine Dehnel, Annetta Kapon, Marianna Krueger, Petra Mattheis, Marc Peschke and Claudia Schmitz.
The oeuvre of Nicole Wendel (*1975) ranges from drawings to installations, objects and performances. With the drawing, mostly graphite on paper, constituting the starting medium of her art. In her work, she facilitates metaphorically explosive moments and figures and is particularly concerned with questions about relationships, life, death and the transformation of her characters. She addresses evanescence and the appearance of time.
Wendel’s pictorial elements often come from personal memories- sometimes even from socially freely accessible media such as magazines and TV. She separates the fragments from their original context and creates new connections between them. For the viewer, this creates narrative integrations, that costomize new opportunities of communication transfers between body and space.
“Artist Nicole Wendel’s feet are also blackened, or at least getting dirty, as she walks on her graphite drawings in the studio or during performances on blackboards covered with white chalk—all part of her working process. An associative horizon opens up, insofar as the exhibition title—Schwarze Füße (Black Feet)—offers a double connotation: on one hand, the foot as part of the body of the artist, who is actively in movement during the drawing– performance—and thus the physical activity of walking, trespassing; and—on the other hand, a reference to the historical meaning offered above: an act of territorial possession, encroaching borders—a form of transgression, concretely and figuratively.”
THE DRAWING HUB Berlin
(extract from exhibition catalog)
Petra Mattheis (*1967) elaborates the privacy of women provocatively funny and with ruthless candor and questions today’s ways of dealing with the body in our society. She depicts a taboo of our time, with activist passion and critically discusses culture-historical developments. Precisely because she dares to develop this point of view from a woman’s perspective, she evokes an irritating moment in the viewer, that is caused by the allegories of her sculptures and objects.
e.artis contemporaray solo show by Hans-Jörg Holubitschka is full of large-format landscapes.
Landscapes are Holubitschka’s personal vehicles searching to find a way from the world’s subjective reflection back into the world. Responding to a photo-realistically painted reference of a place, the artist destroys his creation with intense colors in order to arrange a harmonious illusion, which remains unforgettable for every viewer in its thoroughness, balance and brightness and will never be boring.
Informel is definitely the most interesting art movement in post-war Germany and associated with abstract expressionism in the US. Emil Schumacher, K.O. Götz, K.R.H. Sonderborg, Fred Thieler and Fritz Winter are well known and the most renowned artists of this period. Today, there is a greater demand than ever for informel artworks due to their poetic expression as well as their moving terpsichorean lines, colors and gestures.