06.07.20
LUX MAG
06.07.20
LUX MAG
06.07.20
LUX MAG
Three top gallerists on how the art world is changing
Three top gallerists on how the art world is changing
Three top gallerists on how the art world is changing
Three top gallerists on how the art world is changing
Samandar Setareh: “I think this pandemic will have a profound effect on the art world. I already see successful business models being challenged. Galleries that had detached themselves from their artists and their natural collector base and moved into a kind of travelling environment and artificial marketplace are going to find it difficult. Galleries that are are deeply rooted in relation to their collectors and their artists will be the winners of this new time which we are facing. This is an approach we’ve had from the beginning. On starting the gallery, we decided to be deeply rooted in this area and to make that a point of excellence in a sense. We have deep relations with the collectors and collections here, and we’re very close to the institutions of the regions. We have world-class museums in this area, the Ludwig museum in Cologne is very close, the NRW Collection in Düsseldorf and one of the best things is that we have is the Kunstakademie Düsseldorf, which has produced perhaps 75% of the very important German artists in the post-war period. So while Düsseldorf isn’t a financial hub compared to places like Paris, London or New York, it’s a cultural production hub.
Samandar Setareh: “I think this pandemic will have a profound effect on the art world. I already see successful business models being challenged. Galleries that had detached themselves from their artists and their natural collector base and moved into a kind of travelling environment and artificial marketplace are going to find it difficult. Galleries that are are deeply rooted in relation to their collectors and their artists will be the winners of this new time which we are facing. This is an approach we’ve had from the beginning. On starting the gallery, we decided to be deeply rooted in this area and to make that a point of excellence in a sense. We have deep relations with the collectors and collections here, and we’re very close to the institutions of the regions. We have world-class museums in this area, the Ludwig museum in Cologne is very close, the NRW Collection in Düsseldorf and one of the best things is that we have is the Kunstakademie Düsseldorf, which has produced perhaps 75% of the very important German artists in the post-war period. So while Düsseldorf isn’t a financial hub compared to places like Paris, London or New York, it’s a cultural production hub.
Samandar Setareh: “I think this pandemic will have a profound effect on the art world. I already see successful business models being challenged. Galleries that had detached themselves from their artists and their natural collector base and moved into a kind of travelling environment and artificial marketplace are going to find it difficult. Galleries that are are deeply rooted in relation to their collectors and their artists will be the winners of this new time which we are facing. This is an approach we’ve had from the beginning. On starting the gallery, we decided to be deeply rooted in this area and to make that a point of excellence in a sense. We have deep relations with the collectors and collections here, and we’re very close to the institutions of the regions. We have world-class museums in this area, the Ludwig museum in Cologne is very close, the NRW Collection in Düsseldorf and one of the best things is that we have is the Kunstakademie Düsseldorf, which has produced perhaps 75% of the very important German artists in the post-war period. So while Düsseldorf isn’t a financial hub compared to places like Paris, London or New York, it’s a cultural production hub.
Samandar Setareh: “I think this pandemic will have a profound effect on the art world. I already see successful business models being challenged. Galleries that had detached themselves from their artists and their natural collector base and moved into a kind of travelling environment and artificial marketplace are going to find it difficult. Galleries that are are deeply rooted in relation to their collectors and their artists will be the winners of this new time which we are facing. This is an approach we’ve had from the beginning. On starting the gallery, we decided to be deeply rooted in this area and to make that a point of excellence in a sense. We have deep relations with the collectors and collections here, and we’re very close to the institutions of the regions. We have world-class museums in this area, the Ludwig museum in Cologne is very close, the NRW Collection in Düsseldorf and one of the best things is that we have is the Kunstakademie Düsseldorf, which has produced perhaps 75% of the very important German artists in the post-war period. So while Düsseldorf isn’t a financial hub compared to places like Paris, London or New York, it’s a cultural production hub.
Samandar Setareh: “I think this pandemic will have a profound effect on the art world. I already see successful business models being challenged. Galleries that had detached themselves from their artists and their natural collector base and moved into a kind of travelling environment and artificial marketplace are going to find it difficult. Galleries that are are deeply rooted in relation to their collectors and their artists will be the winners of this new time which we are facing. This is an approach we’ve had from the beginning. On starting the gallery, we decided to be deeply rooted in this area and to make that a point of excellence in a sense. We have deep relations with the collectors and collections here, and we’re very close to the institutions of the regions. We have world-class museums in this area, the Ludwig museum in Cologne is very close, the NRW Collection in Düsseldorf and one of the best things is that we have is the Kunstakademie Düsseldorf, which has produced perhaps 75% of the very important German artists in the post-war period. So while Düsseldorf isn’t a financial hub compared to places like Paris, London or New York, it’s a cultural production hub.
01.07.20
ELECTRONIC BEATS
01.07.20
ELECTRONIC BEATS
01.07.20
ELECTRONIC BEATS
'Black Album / White Cube': Visual Artists Explore Collective Resistance in Music
'Black Album / White Cube': Visual Artists Explore Collective Resistance in Music
'Black Album / White Cube': Visual Artists Explore Collective Resistance in Music
'Black Album / White Cube': Visual Artists Explore Collective Resistance in Music
It’s precisely the visceral immateriality of music that escapes the scope and authority of predicative language and semiotics. Berlin-based painter Bettina Scholz translates this immateriality in her dystopic triptych, individually titled “Blade Runner 2049,” “Qualm,” and “Solaris.” Taking inspiration from Benjamin Wallfisch and Hans Zimmer’s Blade Runner 2049 film score and Helena Hauff’s gritty, acid-soaked album Qualm, Scholz’s synesthetic process forms subliminally, resulting in raucous and even gothic abstractions in her acrylic glass paintings. Referencing this synesthesia, Scholz comments, “When I hear music, I see colors in my mind.”
It’s precisely the visceral immateriality of music that escapes the scope and authority of predicative language and semiotics. Berlin-based painter Bettina Scholz translates this immateriality in her dystopic triptych, individually titled “Blade Runner 2049,” “Qualm,” and “Solaris.” Taking inspiration from Benjamin Wallfisch and Hans Zimmer’s Blade Runner 2049 film score and Helena Hauff’s gritty, acid-soaked album Qualm, Scholz’s synesthetic process forms subliminally, resulting in raucous and even gothic abstractions in her acrylic glass paintings. Referencing this synesthesia, Scholz comments, “When I hear music, I see colors in my mind.”
It’s precisely the visceral immateriality of music that escapes the scope and authority of predicative language and semiotics. Berlin-based painter Bettina Scholz translates this immateriality in her dystopic triptych, individually titled “Blade Runner 2049,” “Qualm,” and “Solaris.” Taking inspiration from Benjamin Wallfisch and Hans Zimmer’s Blade Runner 2049 film score and Helena Hauff’s gritty, acid-soaked album Qualm, Scholz’s synesthetic process forms subliminally, resulting in raucous and even gothic abstractions in her acrylic glass paintings. Referencing this synesthesia, Scholz comments, “When I hear music, I see colors in my mind.”
It’s precisely the visceral immateriality of music that escapes the scope and authority of predicative language and semiotics. Berlin-based painter Bettina Scholz translates this immateriality in her dystopic triptych, individually titled “Blade Runner 2049,” “Qualm,” and “Solaris.” Taking inspiration from Benjamin Wallfisch and Hans Zimmer’s Blade Runner 2049 film score and Helena Hauff’s gritty, acid-soaked album Qualm, Scholz’s synesthetic process forms subliminally, resulting in raucous and even gothic abstractions in her acrylic glass paintings. Referencing this synesthesia, Scholz comments, “When I hear music, I see colors in my mind.”
It’s precisely the visceral immateriality of music that escapes the scope and authority of predicative language and semiotics. Berlin-based painter Bettina Scholz translates this immateriality in her dystopic triptych, individually titled “Blade Runner 2049,” “Qualm,” and “Solaris.” Taking inspiration from Benjamin Wallfisch and Hans Zimmer’s Blade Runner 2049 film score and Helena Hauff’s gritty, acid-soaked album Qualm, Scholz’s synesthetic process forms subliminally, resulting in raucous and even gothic abstractions in her acrylic glass paintings. Referencing this synesthesia, Scholz comments, “When I hear music, I see colors in my mind.”
02.07.20
FAZ FEUILLETON
02.07.20
FAZ FEUILLETON
02.07.20
FAZ FEUILLETON
02.07.20
FAZ FEUILLETON
SO VIEL FOTOGRAFIE WAR NIE
SO VIEL FOTOGRAFIE
WAR NIE
SO VIEL
FOTOGRAFIE
WAR NIE
SO VIEL FOTOGRAFIE
WAR NIE
Ein riesiges Smartphone empfängt den Besucher der Ausstellung „Subjekt und Objekt“, Johannes Post hat es als Folie auf die Fensterscheibe der Kunsthalle Düsseldorf geklebt und präsentiert damit beispielhaft den meistbenutzten Fotoapparat der Gegenwart.…
Ein riesiges Smartphone empfängt den Besucher der Ausstellung „Subjekt und Objekt“, Johannes Post hat es als Folie auf die Fensterscheibe der Kunsthalle Düsseldorf geklebt und präsentiert damit beispielhaft den meistbenutzten Fotoapparat der Gegenwart.…
Ein riesiges Smartphone empfängt den Besucher der Ausstellung „Subjekt und Objekt“, Johannes Post hat es als Folie auf die Fensterscheibe der Kunsthalle Düsseldorf geklebt und präsentiert damit beispielhaft den…
Ein riesiges Smartphone empfängt den Besucher der Ausstellung „Subjekt und Objekt“, Johannes Post hat es als Folie auf die Fensterscheibe der Kunsthalle Düsseldorf geklebt und präsentiert damit beispielhaft den meistbenutzten Fotoapparat der Gegenwart.…
Ein riesiges Smartphone empfängt den Besucher der Ausstellung „Subjekt und Objekt“, Johannes Post hat es als Folie auf die Fensterscheibe der Kunsthalle Düsseldorf geklebt und präsentiert damit beispielhaft den meistbenutzten Fotoapparat der Gegenwart.…
21.06.20
Berliner Tagesspiegel
21.06.20
Berliner Tagesspiegel
21.06.20
Berliner Tagesspiegel
WOLFGANG BETKE
MEHR BERLIN
WOLFGANG
BETKE
MEHR BERLIN
WOLFGANG BETKE
MEHR BERLIN
WOLFGANG BETKE
MEHR BERLIN
Das Porträt ist gerade noch zu erkennen. Man sieht Schultern, Hals und einen Kopf in völliger Auflösung. Wie auf einem Foto mit langer Belichtungszeit, während derer sich der Porträtierte unablässig
bewegt. Tatsächlich entwickeln sich manche Bilder bei Wolfgang Betke über Jahre. Daraus resultiert eine seltsame Vielgesichtigkeit: Der Berliner Künstler macht sein Motiv zwar aus vielen Perspektiven sichtbar, fassen aber lässt es sich nicht…
Das Porträt ist gerade noch zu erkennen. Man sieht Schultern, Hals und einen Kopf in völliger Auflösung. Wie auf einem Foto mit langer Belichtungszeit, während derer sich der Porträtierte unablässig
bewegt. Tatsächlich entwickeln sich manche Bilder bei Wolfgang Betke über Jahre. Daraus resultiert eine seltsame Vielgesichtigkeit: Der Berliner Künstler macht…
Das Porträt ist gerade noch zu erkennen. Man sieht Schultern, Hals und einen Kopf in völliger Auflösung. Wie auf einem Foto mit langer Belichtungszeit, während derer sich der Porträtierte unablässig bewegt. Tatsächlich entwickeln sich manche Bilder bei Wolfgang Betke über Jahre…
Das Porträt ist gerade noch zu erkennen. Man sieht Schultern, Hals und einen Kopf in völliger Auflösung. Wie auf einem Foto mit langer Belichtungszeit, während derer sich der Porträtierte unablässig bewegt. Tatsächlich entwickeln sich manche Bilder bei Wolfgang Betke über Jahre. Daraus resultiert eine seltsame Vielgesichtigkeit: Der Berliner Künstler macht sein Motiv zwar aus vielen Perspektiven sichtbar, fassen aber lässt es sich nicht. Dieser Versuch, malend festzuhalten, was einem im selben Moment entgleitet, zeichnet sein Werk aus. Dafür rüstet sich Betke mit einer Schleifmaschine, um die Farben partiell wieder abzutragen. Die Vergeblichkeit beginnt bereits im Prozess – sie ist kein Effekt, sondern Teil der Arbeit und spürbar bis ins Material der malträtierten Oberflächen. „Darstellungen des Verschwindens“ nennt sie der Kurator Ludwig Seyfarth. Zugleich erinnert ihn Betkes Vorgehensweise an die frühe Moderne: an Franz Marc oder Ernst Ludwig Kircher, die das eigene widersprüchliche Erleben sichtbar machten, statt es mit schönen Motiven zu übermalen.
From: Berliner Tagesspiegel
Das Porträt ist gerade noch zu erkennen. Man sieht Schultern, Hals und einen Kopf in völliger Auflösung. Wie auf einem Foto mit langer Belichtungszeit, während derer sich der Porträtierte unablässig bewegt. Tatsächlich entwickeln sich manche Bilder bei Wolfgang Betke über Jahre. Daraus resultiert eine seltsame Vielgesichtigkeit: Der Berliner Künstler macht sein Motiv zwar aus vielen Perspektiven sichtbar, fassen aber lässt es sich nicht. Dieser Versuch, malend festzuhalten, was einem im selben Moment entgleitet, zeichnet sein Werk aus. Dafür rüstet sich Betke mit einer Schleifmaschine, um die Farben partiell wieder abzutragen. Die Vergeblichkeit beginnt bereits im Prozess – sie ist kein Effekt, sondern Teil der Arbeit und spürbar bis ins Material der malträtierten Oberflächen. „Darstellungen des Verschwindens“ nennt sie der Kurator Ludwig Seyfarth. Zugleich erinnert ihn Betkes Vorgehensweise an die frühe Moderne: an Franz Marc oder Ernst Ludwig Kircher, die das eigene widersprüchliche Erleben sichtbar machten, statt es mit schönen Motiven zu übermalen.
From: Berliner Tagesspiegel
21.06.20
KUNSTHAL ROTTERDAM
21.06.20
KUNSTHAL ROTTERDAM
21.06.20
KUNSTHAL ROTTERDAM
Black album
white cube
Black album
white cube
Black album
white cube
Black album
white cube
Music rules! In the exhibition ‘Black Album / White Cube’ at Kunsthal Rotterdam 35 internationally renowned artists and musicians present almost 200 works of contemporary art - multimedia installations, sculptures, videos and paintings. The exhibition reveals what happens when the worlds of art and pop music meet. Modern classics …
Music rules! In the exhibition ‘Black Album / White Cube’ at Kunsthal Rotterdam 35 internationally renowned artists and musicians present almost 200 works of contemporary art - multimedia installations, sculptures, videos and paintings. The exhibition reveals what happens when the worlds of art and pop music meet. Modern classics …
Music rules! In the exhibition ‘Black Album / White Cube’ at Kunsthal Rotterdam 35 internationally renowned artists and musicians present almost 200 works of contemporary art - multimedia installations, sculptures, videos and paintings. The exhibition reveals what happens when the worlds of art and pop music meet. Modern classics …
Music rules! In the exhibition ‘Black Album / White Cube’ at Kunsthal Rotterdam 35 internationally renowned artists and musicians present almost 200 works of contemporary art - multimedia installations, sculptures, videos and paintings. The exhibition reveals what happens when the worlds of art and pop music meet. Modern classics …
Music rules! In the exhibition ‘Black Album / White Cube’ at Kunsthal Rotterdam 35 internationally renowned artists and musicians present almost 200 works of contemporary art - multimedia installations, sculptures, videos and paintings. The exhibition reveals what happens when the worlds of art and pop music meet. Modern classics …
21.06.20
ARTNET
21.06.20
ARTNET
21.06.20
ARTNET
Don’t Miss These 6 Exciting Up-and-Coming Artists With New Work You Can Check Out—Virtually—All Month
Don’t Miss These 6 Exciting Up-and-Coming Artists With New Work You Can Check Out—Virtually—All Month
Don’t Miss These 6 Exciting Up-and-Coming Artists With New Work You Can Check Out—Virtually—All Month
In raucously colorful large-format paintings, Soraya Sharghi builds her own 21st-century mythology. The artist finds inspiration both in tales of archaic matriarchal societies and by reconfiguring the ancient visual folklores of the East and the West by placing female figures at the centers of these age-old narratives. She infuses these with new life melding them with memories of childhood fairy tales, Persian miniature painting, Japanese anime, and contemporary literature.
Soraya Sharghi’s “Seven Labours” in on view online through May 23, 2020, at Setareh Gallery.
In raucously colorful large-format paintings, Soraya Sharghi builds her own 21st-century mythology. The artist finds inspiration both in tales of archaic matriarchal societies and by reconfiguring the ancient visual folklores of the East and the West by placing female figures at the centers of these age-old narratives. She infuses these with new life melding them with memories of childhood fairy tales, Persian miniature painting, Japanese anime, and contemporary literature.
Soraya Sharghi’s “Seven Labours” in on view online through May 23, 2020, at Setareh Gallery.
In raucously colorful large-format paintings, Soraya Sharghi builds her own 21st-century mythology. The artist finds inspiration both in tales of archaic matriarchal societies and by reconfiguring the ancient visual folklores of the East and the West by placing female figures at the centers of these age-old narratives. She infuses these with new life melding them with memories of childhood fairy tales, Persian miniature painting, Japanese anime, and contemporary literature.
Soraya Sharghi’s “Seven Labours” in on view online through May 23, 2020, at Setareh Gallery.
In raucously colorful large-format paintings, Soraya Sharghi builds her own 21st-century mythology. The artist finds inspiration both in tales of archaic matriarchal societies and by reconfiguring the ancient visual folklores of the East and the West by placing female figures at the centers of these age-old narratives. She infuses these with new life melding them with memories of childhood fairy tales, Persian miniature painting, Japanese anime, and contemporary literature.
Soraya Sharghi’s “Seven Labours” in on view online through May 23, 2020, at Setareh Gallery.
In raucously colorful large-format paintings, Soraya Sharghi builds her own 21st-century mythology. The artist finds inspiration both in tales of archaic matriarchal societies and by reconfiguring the ancient visual folklores of the East and the West by placing female figures at the centers of these age-old narratives. She infuses these with new life melding them with memories of childhood fairy tales, Persian miniature painting, Japanese anime, and contemporary literature.
Soraya Sharghi’s “Seven Labours” in on view online through May 23, 2020, at Setareh Gallery.
21.06.20
JUXTAPOZ
21.06.20
JUXTAPOZ
21.06.20
JUXTAPOZ
Seven Labours: SETAREH Presents The First European Exhibition of Soraya Sharghi
Seven Labours: SETAREH Presents The First European Exhibition of Soraya Sharghi
Seven Labours: SETAREH Presents The First European Exhibition of Soraya Sharghi
A large logo was key to reflect the importance of the brand message within the organization’s messaging and lead with citizens to remind them of the unmet primary objective. While our provincial border communities are not alone in their inability to fund good quality public education, we do share one major problem: illiteracy. Provincial statistics indicate that 6 out of 10 children aged five to 19 have suffered from some kind of cause by the time they are
As we have ourselves have been sheltered in place for a few weeks now, we are getting a chance to explore a full array of exhibitions that were set to open around the globe. We have our eye on the new body of work of Soraya Sharghi on view now (virtually) at SETAREH in Düsseldorf, Germany.
SETAREH is pleased to present the first exhibition of the artist Soraya Sharghi in Europe…
As we have ourselves have been sheltered in place for a few weeks now, we are getting a chance to explore a full array of exhibitions that were set to open around the globe. We have our eye on the new body of work of Soraya Sharghi on view now (virtually) at SETAREH in Düsseldorf, Germany.
SETAREH is pleased to present the first exhibition of the artist Soraya Sharghi in Europe…
As we have ourselves have been sheltered in place for a few weeks now, we are getting a chance to explore a full array of exhibitions that were set to open around the globe. We have our eye on the new body of work of Soraya Sharghi on view now (virtually) at SETAREH in Düsseldorf, Germany.
SETAREH is pleased to present the first exhibition of the artist Soraya Sharghi in Europe…
As we have ourselves have been sheltered in place for a few weeks now, we are getting a chance to explore a full array of exhibitions that were set to open around the globe. We have our eye on the new body of work of Soraya Sharghi on view now (virtually) at SETAREH in Düsseldorf, Germany.
SETAREH is pleased to present the first exhibition of the artist Soraya Sharghi in Europe…
21.06.20
WALL STREET INTERNATIONAL MAGAZINE
21.06.20
WALL STREET INTERNATIONAL
MAGAZINE
21.06.20
WALL STREET INTERNATIONAL
MAGAZINE
FIRST EXHIBITION OF
SORAYA SHARGI IN EUROPE
FIRST EXHIBITION OF SORAYA SHARGI IN EUROPE
FIRST EXHIBITION OF SORAYA SHARGI IN EUROPE
FIRST EXHIBITION OF
SORAYA SHARGI IN EUROPE
A large logo was key to reflect the importance of the brand message within the organization’s messaging and lead with citizens to remind them of the unmet primary objective. While our provincial border communities are not alone in their inability to fund good quality public education, we do share one major problem: illiteracy. Provincial statistics indicate that 6 out of 10 children aged five to 19 have suffered from some kind of cause by the time they are
SETAREH is pleased to present the first exhibition of the artist Soraya Sharghi in Europe.
In her large-format paintings Sharghi depicts a mythology of the 21st century. Young women are staged in the role of a new type of heroine, drawing from the visual worlds of ancient Europe and oriental tales…
SETAREH is pleased to present the first exhibition of the artist Soraya Sharghi in Europe.
In her large-format paintings Sharghi depicts a mythology of the 21st century. Young women are staged in the role of a new type of heroine, drawing from the visual worlds of ancient Europe and oriental tales…
SETAREH is pleased to present the first exhibition of the artist Soraya Sharghi in Europe.
In her large-format paintings Sharghi depicts a mythology of the 21st century. Young women are staged in the role of a new type of heroine, drawing from the visual worlds of ancient Europe and oriental tales…
SETAREH is pleased to present the first exhibition of the artist Soraya Sharghi in Europe.
In her large-format paintings Sharghi depicts a mythology of the 21st century. Young women are staged in the role of a new type of heroine, drawing from the visual worlds of ancient Europe and oriental tales…
21.06.20
JETZT!
21.06.20
JETZT!
21.06.20
JETZT!
Junge Malerei in deutschland
Junge Malerei in deutschland
Junge Malerei in deutschland
Junge Malerei in deutschland
A large logo was key to reflect the importance of the brand message within the organization’s messaging and lead with citizens to remind them of the unmet primary objective. While our provincial border communities are not alone in their inability to fund good quality public education, we do share one major problem: illiteracy. Provincial statistics indicate that 6 out of 10 children aged five to 19 have suffered from some kind of cause by the time they are
Kein künstlerisches Medium hat so viele positive wie negative Zuschreibungen erlebt wie die Malerei. Mit dem Ausstellungsprojekt Jetzt! Junge Malerei in Deutschland unternehmen das Kunstmuseum Bonn, das Museum Wiesbaden, die Kunstsammlungen Chemnitz – Museum Gunzenhauser und die Deichtorhallen Hamburg den Versuch, den aktuellen Stand des Mediums zu bestimmen. Ziel ist es, einen gültigen Querschnitt durch die junge in Deutschland produzierte Malerei zu geben und dabei all ihre Erscheinungsformen zu berücksichtigen.
Kein künstlerisches Medium hat so viele positive wie negative Zuschreibungen erlebt wie die Malerei. Mit dem Ausstellungsprojekt Jetzt! Junge Malerei in Deutschland unternehmen das Kunstmuseum Bonn, das Museum Wiesbaden, die Kunstsammlungen Chemnitz – Museum Gunzenhauser und die Deichtorhallen Hamburg den Versuch, den aktuellen Stand des Mediums zu bestimmen. Ziel ist es, einen gültigen Querschnitt durch die junge in Deutschland produzierte Malerei zu geben und dabei all ihre Erscheinungsformen zu berücksichtigen.
Kein künstlerisches Medium hat so viele positive wie negative Zuschreibungen erlebt wie die Malerei. Mit dem Ausstellungsprojekt Jetzt! Junge Malerei in Deutschland unternehmen das Kunstmuseum Bonn, das Museum Wiesbaden, die Kunstsammlungen Chemnitz – Museum Gunzenhauser und die Deichtorhallen Hamburg den Versuch, den aktuellen Stand des Mediums zu bestimmen. Ziel ist es, einen gültigen Querschnitt durch die junge in Deutschland produzierte Malerei zu geben und dabei all ihre Erscheinungsformen zu berücksichtigen.
Kein künstlerisches Medium hat so viele positive wie negative Zuschreibungen erlebt wie die Malerei. Mit dem Ausstellungsprojekt Jetzt! Junge Malerei in Deutschland unternehmen das Kunstmuseum Bonn, das Museum Wiesbaden, die Kunstsammlungen Chemnitz – Museum Gunzenhauser und die Deichtorhallen Hamburg den Versuch, den aktuellen Stand des Mediums zu bestimmen. Ziel ist es, einen gültigen Querschnitt durch die junge in Deutschland produzierte Malerei zu geben und dabei all ihre Erscheinungsformen zu berücksichtigen.
Königsallee 27 & 31
40212 Düsseldorf, Germany
Königsallee 27 & 31
40212 Düsseldorf, Germany
Königsallee 27 & 31
40212 Düsseldorf, Germany
+49-211-82827171
info(at)setareh-gallery.com
+49 (0)211 82827171
info(at)setareh-gallery.com
Opening hours
Mon–Fri: 10am–7pm, Sat: 10am - 6pm
Opening hours
Mon–Fri: 10am–7pm,
Sat: 10am - 6pm
