Katja Blomberg Book order

In expansive compositions in light, Susanne Rottenbacher (b. Göttingen, 1969; lives and works in Berlin) visualizes the fire of life in its timebound and fluid dimension. Plotinus called fire the "spiritual potency of beauty." Pursuing a similar vision, Rottenbacher's works orchestrate light as energy in space. To this end, the artist, who studied light and stage design in the United States and the United Kingdom, creates weightless luminous choreographies realized in colorful LED technology in combination with acrylic glass as a translucent vehicle of form. The results are installations in three dimensions that are deeply silent yet unfold in a magical ecstasy of light. In Christian sacred architecture, light has been deployed and perceived since the Middle Ages as the aesthetic equivalent of the divine mind's lucidity. The history of light art, by contrast, is much younger, going back to the years after the First World War. Having built her creative practice over the past fifteen years, Rottenbacher not only continues a century-old tradition of light art in Europe and the U.S.; her works also anticipate a future in which humanity will have room for feelings no less than for scientific knowledge.

With Christiane Löhr, a strong sculptural position is presented, which was already successful internationally in 2001 at the Venice Biennale. It is characterized by the courage to use small formats and the use of exclusively renewable material. Löhr's sculptures made of grass, seed pods and horsehair are transparent, delicate and vulnerable. As if by themselves, they form architectures that appear interesting for future building. Her0graphic work is also determined more by observation than by constructive action. Löhr's work can be read in the tradition of Landart and Arte Povera, but can also be understood as a response to large-scale sculptural installations made from industrial materials.00Exhibition: Haus am Waldsee, Berlin, Germany (18.06. - 05.09.2021).

Faraway galaxies and a faith in energies outside our current powers of comprehension and perception. In the show, three sculptors reflect on the intersections of art, science and philosophy across a century and from a Berlin point of view. By the early 1920s Naum Gabo viewed art as a means to knowledge of the physics of our planet. The Russian-Jewish artist, who had emigrated to Berlin, was permanently looking for new materials and ways to express himself. His extraordinary constructions made of diaphanous plastics were perceived to be pure science fiction. These days, Berta Fischer primarily works with acrylic glass. Essentially, her practice revolves around the choreography of light, transparency, colour and movement in space. Her installations engage the works of both Björn Dahlem and Naum Gabo in a close dialogue. Björn Dahlem deals with space and time on the basis of theories from the academic disciplines of philosophy, particle and astrophysics as well as recent insights gained in the field of quantum mechanics. Dahlem consciously operates against the backdrop of knowledge, doubt and even the possibility of the sciences failing across the board.

Since the 1990s, Bernhard Martin's visual world has consisted of images from advertising, electronic media and European art history. He skilfully uses several techniques, from the Old Masters to today's spray painting techniques. His colour is based on the iridescent materials of the late Middle Ages, but also on the colouration of the Internet.00Exhibition: Haus am Waldsee, internationale Kunst in Berlin, Germany (21.04. - 05.07.2020).

Lynn Chadwick is one oft he pioneering sculptors of British post-war modernism. The artist’s world of motifs developed from abstractions of human, animal and architectonic elements, including his now virtually iconic ‘Beasts’ in which existential questions and an uncanny sense of humour come together. Chadwick captured the spirit of the times in his sculptures: they illustrate a widely described mixture of civilizational fatigue, utopian faith in progress and existential anxiety that was characteristic for those years. This catalogue is the first comprehensive study in the German-speaking region on Lynn Chadwick, whose oeuvre is also exemplarily examined in relation to the work of two major German sculptors: Hans Uhlmann and Katja Strunz. Text: Katja Blomberg, Dr. Elisa Tamaschke , Dr. Julia Wallner, Natalie Weiland M. A., Dr. Jon Wood

Der Turm der blauen Pferde gilt als Hauptwerk des deutschen Expressionismus und als zentrales Werk des Blauen Reiters. Das Gemälde von Franz Marc wurde 1913 in Berlin in der Galerie Der Sturm zum ersten mal vorgestellt und direkt nach dem Krieg in Berlin zuletzt gesehen. Bis heute gilt das Bild als verschollen. Über den Verbleib des Gemäldes, mit dem der Künstler eine alarmierende Vorahnung des Ersten Weltkriegs formulierte, wird 80 Jahre nach seinem Verschwinden immer noch spekuliert. 20 zeitgenössische Künstlerinnen und Künstler von internationalem Rang reflektieren die Geschichte des Gemäldes mit den Mitteln der Malerei, der Zeichnung, der Bildhauerei, der Fotografie, Installation und Literatur aus heutiger Sicht. Teilnehmende Künstler Berlin: Martin Assig, Norbert Bisky, Birgit Brenner, Johanna Diehl, Marcel van Eeden, Julia Franck, Christian Jankowski, Via Lewandowsky, Rémy Markowitsch, Tobias Rehberger, Peter Rösel. München: Viktoria Binschtok, Dieter Blum, Tatjana Doll, Slavomir Elsner, Jana Gunstheimer, Almut Hilf, Thomas Kilpper, Franz Marc, Dierk Schmidt

Die japanische Künstlerin Leiko Ikemura kehrte mit einundzwanzig Jahren ihrer Heimat den Rücken. In Europa studierte sie Kunst und Literatur. Von Spanien aus kam sie über die Schweiz nach Deutschland und begann in Köln eine internationale Karriere. Eine Professur für Malerei brachte sie später nach Berlin. Nach einer Phase der kritischen Distanz, öffnet sich Ikemura in ihren poetisch-sensiblen Bildern, ihren Plastiken und Gedichten inzwischen den tieferen Eindrücken einer Existenz, die in Japan wurzelt und nirgends und überall zu Hause ist. Die Ausstellung konzentriert sich auf jüngere Werke der 2000er Jahre. Das Fremdsein zwischen den Kulturen wird dabei vielschichtig widergespiegelt.

Stefanie Hering gehört weltweit zu den innovativsten Porzellandesignern der Gegenwart und entwirft für die zeitgenössischen Ansprüche einer global gewordenen Kulinarik. 1992 gründete sie in Berlin eine kleine Manufaktur. In ihren Augen ist die Wirkung des reinen Porzellans lange Zeit verloren gegangen. Deshalb setzt Hering neu an. Sie strafft die Formen und lässt das Material für sich sprechen. Ornamente und Bemalung werden zurückhaltend und bewusst eingesetzt.