ART COLOGNE 
at the GALLERY

ART COLOGNE 
at the GALLERY

ART COLOGNE 
at the GALLERY

ART COLOGNE at the GALLERY

ART COLOGNE 
at the GALLERY

Viewing Room

Viewing Room

Viewing Room

Viewing Room

Viewing Room

From Minimal to Expressionism

From Minimal to Expressionism

From Minimal to Expressionism

From Minimal to Expressionism

From Minimal to Expressionism

ART_COLOGNE_Logo

Jean-Michel Atlan, Bernd und Hilla Becher, Wolfgang Betke, Gregor Gleiwitz, Katharina Grosse, Peter Halley, Hans Hartung, Yang Jiechang, Imi Knoebel, Norbert Kricke, André Lanskoy, Walter Leblanc, Arthur Lescher, Georges Mathieu, Bettina Marx, François Morellet, Ernst Wilhelm Nay, A.R. Penck, Sebastian Riemer, Ed Ruscha, Laura Sachs,  Bettina Scholz, Takis, Jim Thorell and many more.

Jean-Michel Atlan, Bernd und Hilla Becher, Wolfgang Betke, Gregor Gleiwitz, Katharina Grosse, Peter Halley, Hans Hartung, Yang Jiechang, Imi Knoebel, Norbert Kricke, André Lanskoy, Walter Leblanc, Arthur Lescher, Georges Mathieu, Bettina Marx, François Morellet, Ernst Wilhelm Nay, A.R. Penck, Sebastian Riemer, Ed Ruscha, Laura Sachs,  Bettina Scholz, Takis, Jim Thorell and many more.

Jean-Michel Atlan, Bernd und Hilla Becher, Wolfgang Betke, Gregor Gleiwitz, Katharina Grosse, Peter Halley, Hans Hartung, Yang Jiechang, Imi Knoebel, Norbert Kricke, André Lanskoy, Walter Leblanc, Arthur Lescher, Georges Mathieu, Bettina Marx, François Morellet, Ernst Wilhelm Nay, A.R. Penck, Sebastian Riemer, Ed Ruscha, Laura Sachs,  Bettina Scholz, Takis, Jim Thorell and many more.

Jean-Michel Atlan, Bernd und Hilla Becher, Wolfgang Betke, Gregor Gleiwitz, Katharina Grosse, Peter Halley, Hans Hartung, Yang Jiechang, Imi Knoebel, Norbert Kricke, André Lanskoy, Walter Leblanc, Arthur Lescher, Georges Mathieu, Bettina Marx, François Morellet, Ernst Wilhelm Nay, A.R. Penck, Sebastian Riemer, Ed Ruscha, Laura Sachs,  Bettina Scholz, Takis, Jim Thorell and many more.

Jean-Michel Atlan, Bernd und Hilla Becher, Wolfgang Betke, Gregor Gleiwitz, Katharina Grosse, Peter Halley, Hans Hartung, Yang Jiechang, Imi Knoebel, Norbert Kricke, André Lanskoy, Walter Leblanc, Arthur Lescher, Georges Mathieu, Bettina Marx, François Morellet, Ernst Wilhelm Nay, A.R. Penck, Sebastian Riemer, Ed Ruscha, Laura Sachs,  Bettina Scholz, Takis, Jim Thorell and many more.

Gregor Gleiwitz

Gregor Gleiwitz

Gregor Gleiwitz

Gregor Gleiwitz

Gregor Gleiwitz

Gregor Gleiwitz’s (b. 1977, based in Berlin, Germany) large-scale paintings and his very precisely elaborated miniatures present an imagery between abstraction and almost figurative levels of meaning. Vibrant colour fields are ruptured by scratched, scraped, and painted surfaces as well as wild serpentine curves. The static effect of the soft, warm aura of the colours, defies the movement and mobility of the contours. The glazes are of varying thicknesses, and in some parts, their thinnest layers remind us of erased information and blurred memories, thus making a chronology visible. The titles of Gleiwitz's works depend on the date of their completion. Being created in intensive, continuous processes, his paintings reflect experiences of time, capturing a piece of reality.

Gregor Gleiwitz’s (b. 1977, based in Berlin, Germany) large-scale paintings and his very precisely elaborated miniatures present an imagery between abstraction and almost figurative levels of meaning. Vibrant colour fields are ruptured by scratched, scraped, and painted surfaces as well as wild serpentine curves. The static effect of the soft, warm aura of the colours, defies the movement and mobility of the contours. The glazes are of varying thicknesses, and in some parts, their thinnest layers remind us of erased information and blurred memories, thus making a chronology visible. The titles of Gleiwitz's works depend on the date of their completion. Being created in intensive, continuous processes, his paintings reflect experiences of time, capturing a piece of reality.

Gregor Gleiwitz’s (b. 1977, based in Berlin, Germany) large-scale paintings and his very precisely elaborated miniatures present an imagery between abstraction and almost figurative levels of meaning. Vibrant colour fields are ruptured by scratched, scraped, and painted surfaces as well as wild serpentine curves. The static effect of the soft, warm aura of the colours, defies the movement and mobility of the contours. The glazes are of varying thicknesses, and in some parts, their thinnest layers remind us of erased information and blurred memories, thus making a chronology visible. The titles of Gleiwitz's works depend on the date of their completion. Being created in intensive, continuous processes, his paintings reflect experiences of time, capturing a piece of reality.

Gregor Gleiwitz’s (b. 1977, based in Berlin, Germany) large-scale paintings and his very precisely elaborated miniatures present an imagery between abstraction and almost figurative levels of meaning. Vibrant colour fields are ruptured by scratched, scraped, and painted surfaces as well as wild serpentine curves. The static effect of the soft, warm aura of the colours, defies the movement and mobility of the contours. The glazes are of varying thicknesses, and in some parts, their thinnest layers remind us of erased information and blurred memories, thus making a chronology visible. The titles of Gleiwitz's works depend on the date of their completion. Being created in intensive, continuous processes, his paintings reflect experiences of time, capturing a piece of reality.

Gregor Gleiwitz’s (b. 1977, based in Berlin, Germany) large-scale paintings and his very precisely elaborated miniatures present an imagery between abstraction and almost figurative levels of meaning. Vibrant colour fields are ruptured by scratched, scraped, and painted surfaces as well as wild serpentine curves. The static effect of the soft, warm aura of the colours, defies the movement and mobility of the contours.

Gregor-Gleiwitz-10.06.2020

GREGOR GLEIWITZ
10.06.2020
Oil on canvas
157.4 x 134 cm

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GREGOR GLEIWITZ
05.06.2020
Oil on canvas
17.9 x 133.9 cm

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GREGOR GLEIWITZ
05.06.2020
Oil on canvas
17.9 x 133.9 cm

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GREGOR GLEIWITZ
05.06.2020
Oil on canvas
17.9 x 133.9 cm

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GREGOR GLEIWITZ
05.06.2020
Oil on canvas
17.9 x 133.9 cm

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Katharina Grosse

Katharina Grosse

Katharina Grosse

Katharina Grosse

Katharina Grosse

"They are about expanding small experience."

"They are about expanding small experience."

"They are about expanding small experience."

"They are about expanding small experience."

"They are about expanding small experience."

Katharina Grosse (b. 1959) brings three-dimensional space into painting. She masters optical layering through colour compositions and a sharp use of light. The artist manages to give the two-dimensional painting her remarkable expression, making it appear larger.

Katharina Grosse (b. 1959) brings three-dimensional space into painting. She masters optical layering through colour compositions and a sharp use of light. The artist manages to give the two-dimensional painting her remarkable expression, making it appear larger.

Katharina Grosse (b. 1959) brings three-dimensional space into painting. She masters optical layering through colour compositions and a sharp use of light. The artist manages to give the two-dimensional painting her remarkable expression, making it appear larger.

Katharina Grosse (b. 1959) brings three-dimensional space into painting. She masters optical layering through colour compositions and a sharp use of light. The artist manages to give the two-dimensional painting her remarkable expression, making it appear larger.

Katharina Grosse (b. 1959) brings three-dimensional space into painting. She masters optical layering through colour compositions and a sharp use of light. The artist manages to give the two-dimensional painting her remarkable expression, making it appear larger.

Katharina-Grosse

KATHARINA GROSSE
Untitled (2006/3072 M)
2006
Acrylic on paper
179.5 x 120 cm

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KATHARINA GROSSE
Untitled (2006/3072 M)
2006
Acrylic on paper
179.5 x 120 cm

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KATHARINA GROSSE
Untitled (2006/3072 M)
2006
Acrylic on paper
179.5 x 120 cm

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KATHARINA GROSSE
Untitled (2006/3072 M)
2006
Acrylic on paper
179.5 x 120 cm

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KATHARINA GROSSE
Untitled (2006/3072 M)
2006
Acrylic on paper
179.5 x 120 cm

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Takis

Takis

Takis

Takis

Takis

"Everything is mind and motion"

"Everything is mind and motion"

"Everything is mind and motion"

"Everything is mind and motion"

"Everything is mind
and motion"

The impressive development that started with an autodidact interest on making sculptures, brought the Greek artist Vassilakis Takis to be one of the most important artists of Kinetic Art and Op Art of the 20th century. His dynamic sculptures combine movement, tones and sounds in one.

The impressive development that started with an autodidact interest on making sculptures, brought the Greek artist Vassilakis Takis to be one of the most important artists of Kinetic Art and Op Art of the 20th century. His dynamic sculptures combine movement, tones and sounds in one.

The impressive development that started with an autodidact interest on making sculptures, brought the Greek artist Vassilakis Takis to be one of the most important artists of Kinetic Art and Op Art of the 20th century. His dynamic sculptures combine movement, tones and sounds in one.

The impressive development that started with an autodidact interest on making sculptures, brought the Greek artist Vassilakis Takis to be one of the most important artists of Kinetic Art and Op Art of the 20th century. His dynamic sculptures combine movement, tones and sounds in one.

The impressive development that started with an autodidact interest on making sculptures, brought the Greek artist Vassilakis Takis to be one of the most important artists of Kinetic Art and Op Art of the 20th century. His dynamic sculptures combine movement, tones and sounds in one.

Takis

VASSILAKIS TAKIS
Signal
1969
Iron and found objects
h = 113 cm


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VASSILAKIS TAKIS
Signal
1969
Iron and found objects
h = 113 cm


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VASSILAKIS TAKIS
Signal
1969
Iron and found objects
h = 113 cm


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VASSILAKIS TAKIS
Signal
1969
Iron and found objects
h = 113 cm


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VASSILAKIS TAKIS
Signal
1969
Iron and found objects
h = 113 cm


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Bettina Marx

Bettina Marx

Bettina Marx

Bettina Marx

Bettina Marx

"I let the image go two steps further before I intervene again."

"I let the image go two steps further before I intervene again."

"I let the image go two steps further before I intervene again."

"I let the image go two steps further
before I intervene again."

"I let the image go two steps further before I intervene again."

The real space becomes part of the pictorial space in Bettina Marx’s paintings. In her ink drawings the artist captures real places and experienced situations. She transfers silhouettes, surfaces and textures like set pieces into paintings, reminiscent of natural structures. Painted walls and sheets of paper transform the exhibition space and create seemingly organic environments.

The real space becomes part of the pictorial space in Bettina Marx’s paintings. In her ink drawings the artist captures real places and experienced situations. She transfers silhouettes, surfaces and textures like set pieces into paintings, reminiscent of natural structures. Painted walls and sheets of paper transform the exhibition space and create seemingly organic environments.

The real space becomes part of the pictorial space in Bettina Marx’s paintings. In her ink drawings the artist captures real places and experienced situations. She transfers silhouettes, surfaces and textures like set pieces into paintings, reminiscent of natural structures. Painted walls and sheets of paper transform the exhibition space and create seemingly organic environments.

The real space becomes part of the pictorial space in Bettina Marx’s paintings. In her ink drawings the artist captures real places and experienced situations. She transfers silhouettes, surfaces and textures like set pieces into paintings, reminiscent of natural structures. Painted walls and sheets of paper transform the exhibition space and create seemingly organic environments.

The real space becomes part of the pictorial space in Bettina Marx’s paintings. In her ink drawings the artist captures real places and experienced situations. She transfers silhouettes, surfaces and textures like set pieces into paintings, reminiscent of natural structures. Painted walls and sheets of paper transform the exhibition space and create seemingly organic environments.

Envi_50x40cm_Acrylic-on-wooden-box_2019

BETTINA MARX
Envi
2019
Acrylic on wooden box
50 x 40 cm


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BETTINA MARX
Envi
2019
Acrylic on wooden box
50 x 40 cm


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BETTINA MARX
Envi
2019
Acrylic on wooden box
50 x 40 cm


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BETTINA MARX
Envi
2019
Acrylic on wooden box
50 x 40 cm


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BETTINA MARX
Envi
2019
Acrylic on wooden box
50 x 40 cm


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A.R. Penck

A.R. Penck

A.R. Penck

A.R. Penck

A.R. Penck

"Inhibitions are the wrong form of resistance."

"Inhibitions are the wrong form of resistance."

"Inhibitions are the wrong form of resistance."

"Inhibitions are the wrong form of resistance."

"Inhibitions are the wrong form of resistance."

Hardly any German artist did as much as A.R. Penck to revive painting in Germany. Unmistakable are Penck's self-created symbols and forms, which suggest primitive cave painting. With his figurative elements, he repeatedly deals with the relationship between the individual and society.

Hardly any German artist did as much as A.R. Penck to revive painting in Germany. Unmistakable are Penck's self-created symbols and forms, which suggest primitive cave painting. With his figurative elements, he repeatedly deals with the relationship between the individual and society.

Hardly any German artist did as much as A.R. Penck to revive painting in Germany. Unmistakable are Penck's self-created symbols and forms, which suggest primitive cave painting. With his figurative elements, he repeatedly deals with the relationship between the individual and society.

Hardly any German artist did as much as A.R. Penck to revive painting in Germany. Unmistakable are Penck's self-created symbols and forms, which suggest primitive cave painting. With his figurative elements, he repeatedly deals with the relationship between the individual and society.

Hardly any German artist did as much as A.R. Penck to revive painting in Germany. Unmistakable are Penck's self-created symbols and forms, which suggest primitive cave painting. With his figurative elements, he repeatedly deals with the relationship between the individual and society.

A.R.-Penck-mit-Person

A.R. Penck
Untitled
1990
Oil on canvas
70 x 50 cm


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A.R. Penck
Untitled
1990
Oil on canvas
70 x 50 cm


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A.R. Penck
Untitled
1990
Oil on canvas
70 x 50 cm


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A.R. Penck
Untitled
1990
Oil on canvas
70 x 50 cm


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A.R. Penck
Untitled
1990
Oil on canvas
70 x 50 cm


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Setareh_2020_11_02_24584 Kopie

Imi Knoebel

Imi Knoebel

Imi Knoebel

Imi Knoebel

Imi Knoebel

"If you want to stay alive,
you have to do something radical"

"If you want to stay alive,
you have to do something radical"

"If you want to stay alive,
you have to do something radical"

"If you want to stay alive,
you have to do something radical"

"If you want to stay alive,
you have to do something radical"

As one of the leading German artists of the post-war period, Imi Knoebel's (b. 1940 in Dessau) wide-ranging oeuvre unites drawing, painting, photography, sculpture, projections and installation. Although Knoebel studied under the tutelage of Joseph Beuys at the Düsseldorf Art Academy, he returned to Kasimir Malevich‘s reduction to the square and use of colour. Influenced by the Bauhaus movement he explores relationships between colour and structure.

As one of the leading German artists of the post-war period, Imi Knoebel's
(b. 1940 in Dessau) wide-ranging oeuvre unites drawing, painting, photography, sculpture, projections and installation. Although Knoebel studied under the tutelage of Joseph Beuys at the Düsseldorf Art Academy, he returned to Kasimir Malevich‘s reduction to the square and use of colour. Influenced by the Bauhaus movement he explores relationships between colour and structure.

As one of the leading German artists of the post-war period, Imi Knoebel's (b. 1940 in Dessau) wide-ranging oeuvre unites drawing, painting, photography, sculpture, projections and installation. Although Knoebel studied under the tutelage of Joseph Beuys at the Düsseldorf Art Academy, he returned to Kasimir Malevich‘s reduction to the square and use of colour. Influenced by the Bauhaus movement he explores relationships between colour and structure.

As one of the leading German artists of the post-war period, Imi Knoebel's (b. 1940 in Dessau) wide-ranging oeuvre unites drawing, painting, photography, sculpture, projections and installation. Although Knoebel studied under the tutelage of Joseph Beuys at the Düsseldorf Art Academy, he returned to Kasimir Malevich‘s reduction to the square and use of colour. Influenced by the Bauhaus movement he explores relationships between colour and structure.

As one of the leading German artists of the post-war period, Imi Knoebel's (b. 1940 in Dessau) wide-ranging oeuvre unites drawing, painting, photography, sculpture, projections and installation. Although Knoebel studied under the tutelage of Joseph Beuys at the Düsseldorf Art Academy, he returned to Kasimir Malevich‘s reduction to the square and use of colour. Influenced by the Bauhaus movement he explores relationships between colour and structure.

Imi-Knoebel

IMI KNOEBEL
Untitled
1985
Oil, gesso and découpage on fibreboard
202 x 172 cm

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IMI KNOEBEL
Untitled
1985
Oil, gesso and découpage on fibreboard
202 x 172 cm

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IMI KNOEBEL
Untitled
1985
Oil, gesso and découpage on fibreboard
202 x 172 cm

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IMI KNOEBEL
Untitled
1985
Oil, gesso and découpage on fibreboard
202 x 172 cm

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IMI KNOEBEL
Untitled
1985
Oil, gesso and découpage on fibreboard
202 x 172 cm

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Yang Jiechang

Yang Jiechang

Yang Jiechang

Yang Jiechang

Yang Jiechang

"I entered into a black and gray world."

"I entered into a black and gray world."

"I entered into a black and gray world."

"I entered into a black and gray world."

"I entered into a
black and gray world."

Yang Jiechang’s (b. 1956 Foshan, Guangdong Province China) artistic practice as a calligrapher-painter helped him become one oft he most important chinese contemporary artists. He accomplishes this by adopting the performative expressivity of the traditional brush. In his newest series, Yang Jiechang employs the meticulous traditional Chinese brush technique.

Yang Jiechang’s (b. 1956 Foshan, Guangdong Province China) artistic practice as a calligrapher-painter helped him become one oft he most important chinese contemporary artists. He accomplishes this by adopting the performative expressivity of the traditional brush. In his newest series, Yang Jiechang employs the meticulous traditional Chinese brush technique.

Yang Jiechang’s (b. 1956 Foshan, Guangdong Province China) artistic practice as a calligrapher-painter helped him become one oft he most important chinese contemporary artists. He accomplishes this by adopting the performative expressivity of the traditional brush. In his newest series, Yang Jiechang employs the meticulous traditional Chinese brush technique.

Yang Jiechang’s (b. 1956 Foshan, Guangdong Province China) artistic practice as a calligrapher-painter helped him become one oft he most important chinese contemporary artists. He accomplishes this by adopting the performative expressivity of the traditional brush. In his newest series, Yang Jiechang employs the meticulous traditional Chinese brush technique.

Yang Jiechang’s (b. 1956 Foshan, Guangdong Province China) artistic practice as a calligrapher-painter helped him become one oft he most important chinese contemporary artists. He accomplishes this by adopting the performative expressivity of the traditional brush. In his newest series, Yang Jiechang employs the meticulous traditional Chinese brush technique.

Heaven-and-hearth-in-one-Stroke_235x122cm_Ink-and-acrylic-on-Xuan-paper,-mounted-on-canvas_2017-2018
Lightbox-Art-Cologne-Yang-J-1

YANG JIECHANG
Heaven and Earth in One Stroke (Whip)
2017 - 2018
Ink and acrylic on Xuan-paper,
mounted on canvas
235 x 122 cm

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YANG JIECHANG
Heaven and Earth in One Stroke (Whip)
2017 - 2018
Ink and acrylic on Xuan-paper,
mounted on canvas
235 x 122 cm

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YANG JIECHANG
Heaven and Earth in One Stroke (Whip)
2017 - 2018
Ink and acrylic on Xuan-paper,
mounted on canvas
235 x 122 cm

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YANG JIECHANG
Heaven and Earth in One Stroke (Whip)
2017 - 2018
Ink and acrylic on Xuan-paper,
mounted on canvas
235 x 122 cm

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YANG JIECHANG
Heaven and Earth in One Stroke (Whip)
2017 - 2018
Ink and acrylic on Xuan-paper,
mounted on canvas
235 x 122 cm

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Bettina Scholz

Bettina Scholz

Bettina Scholz

Bettina Scholz

Bettina Scholz

Inspired by literature, film and music, Bettina Scholz (b. 1979) creates impressively pictorial organisms. Covered behind glass, her paintings seem like to capture snapshots of liquid and vivid substances. Other works appear to hold a composition of colored ink encountering water. They are reminiscent of microscopic views of chemical processes, but also of cosmic spheres and extra-terrestrial landscapes. Her Artworks open up new dimensions while reaching out to the viewers aesthetic experience. Further, they challenge our media influenced viewing habits and enrich them to new and foreign perspectives. The fathomless depth of the depicted, lets us linger a while looking at the painting. A dark and somehow gloomy view at first sight, turns out to be a precisely differentiated representation of beauty

Inspired by literature, film and music, Bettina Scholz (b. 1979) creates impressively pictorial organisms. Covered behind glass, her paintings seem like to capture snapshots of liquid and vivid substances. Other works appear to hold a composition of colored ink encountering water. They are reminiscent of microscopic views of chemical processes, but also of cosmic spheres and extra-terrestrial landscapes. Her Artworks open up new dimensions while reaching out to the viewers aesthetic experience. Further, they challenge our media influenced viewing habits and enrich them to new and foreign perspectives. The fathomless depth of the depicted, lets us linger a while looking at the painting. A dark and somehow gloomy view at first sight, turns out to be a precisely differentiated representation of beauty

Inspired by literature, film and music, Bettina Scholz (b. 1979) creates impressively pictorial organisms. Covered behind glass, her paintings seem like to capture snapshots of liquid and vivid substances. Other works appear to hold a composition of colored ink encountering water. They are reminiscent of microscopic views of chemical processes, but also of cosmic spheres and extra-terrestrial landscapes. Her Artworks open up new dimensions while reaching out to the viewers aesthetic experience. Further, they challenge our media influenced viewing habits and enrich them to new and foreign perspectives. The fathomless depth of the depicted, lets us linger a while looking at the painting. A dark and somehow gloomy view at first sight, turns out to be a precisely differentiated representation of beauty

Inspired by literature, film and music, Bettina Scholz (b. 1979) creates impressively pictorial organisms. Covered behind glass, her paintings seem like to capture snapshots of liquid and vivid substances. Other works appear to hold a composition of colored ink encountering water. They are reminiscent of microscopic views of chemical processes, but also of cosmic spheres and extra-terrestrial landscapes. Her Artworks open up new dimensions while reaching out to the viewers aesthetic experience. Further, they challenge our media influenced viewing habits and enrich them to new and foreign perspectives. The fathomless depth of the depicted, lets us linger a while looking at the painting. A dark and somehow gloomy view at first sight, turns out to be a precisely differentiated representation of beauty

Inspired by literature, film and music, Bettina Scholz (b. 1979) creates impressively pictorial organisms. Covered behind glass, her paintings seem like to capture snapshots of liquid and vivid substances. Other works appear to hold a composition of colored ink encountering water. They are reminiscent of microscopic views of chemical processes, but also of cosmic spheres and extra-terrestrial landscapes. Her Artworks open up new dimensions while reaching out to the viewers aesthetic experience. Further, they challenge our media influenced viewing habits and enrich them to new and foreign perspectives. The fathomless depth of the depicted, lets us linger a while looking at the painting. A dark and somehow gloomy view at first sight, turns out to be a precisely differentiated representation of beauty

Vadavarot(end Version),2019_222x142cm

BETTINA SCHOLZ
Vadavarot (end Version)
Spray paint and Indian ink on acrylic glass on HDF board
222 x 142 cm

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BETTINA SCHOLZ
Vadavarot (end Version)
Spray paint and Indian ink on acrylic glass on HDF board
222 x 142 cm

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BETTINA SCHOLZ
Vadavarot (end Version)
Spray paint and Indian ink on acrylic glass on HDF board
222 x 142 cm

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BETTINA SCHOLZ
Vadavarot (end Version)
Spray paint and Indian ink on acrylic glass on HDF board
222 x 142 cm

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BETTINA SCHOLZ
Vadavarot (end Version)
Spray paint and Indian ink on acrylic glass on HDF board
222 x 142 cm

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Walter Leblanc

Walter Leblanc

Walter Leblanc

Walter Leblanc

Walter Leblanc

"I wanted to paint in a way that had a minimum of drawing (the point) but a maximum of personality and originality."

"I wanted to paint in a way that had a minimum of drawing (the point) but a maximum of personality and originality."

"I wanted to paint in a way that had a minimum of drawing (the point) but a maximum of personality and originality."

"I wanted to paint in a way that had a minimum of drawing (the point) but a maximum of personality and originality."

"I wanted to paint in a way that had a minimum of drawing (the point) but a maximum of personality and originality."

Walter Leblanc (b. 1932 in Antwerpen; † 1986 in Silly) is considered one of the most important artists of Kinetic Art and Op Art. His works focus on the essential, without straying the viewer through ambiguities. He succeeds to create an impression without confusing. Leblanc remained faithful to his informal style, while constantly reinventing himself through form and design. He gained national and international recognition through his clear constructivism.

Walter Leblanc (b. 1932 in Antwerpen; † 1986 in Silly) is considered one of the most important artists of Kinetic Art and Op Art. His works focus on the essential, without straying the viewer through ambiguities. He succeeds to create an impression without confusing. Leblanc remained faithful to his informal style, while constantly reinventing himself through form and design. He gained national and international recognition through his clear constructivism.

Walter Leblanc (b. 1932 in Antwerpen; † 1986 in Silly) is considered one of the most important artists of Kinetic Art and Op Art. His works focus on the essential, without straying the viewer through ambiguities. He succeeds to create an impression without confusing. Leblanc remained faithful to his informal style, while constantly reinventing himself through form and design. He gained national and international recognition through his clear constructivism.

Walter Leblanc (b. 1932 in Antwerpen; † 1986 in Silly) is considered one of the most important artists of Kinetic Art and Op Art. His works focus on the essential, without straying the viewer through ambiguities. He succeeds to create an impression without confusing. Leblanc remained faithful to his informal style, while constantly reinventing himself through form and design. He gained national and international recognition through his clear constructivism.

Walter Leblanc (b. 1932 in Antwerpen; † 1986 in Silly) is considered one of the most important artists of Kinetic Art and Op Art. His works focus on the essential, without straying the viewer through ambiguities. He succeeds to create an impression without confusing. Leblanc remained faithful to his informal style, while constantly reinventing himself through form and design. He gained national and international recognition through his clear constructivism.

Walter-Leblanc_Twisted-strings

WALTER LEBLANC
Twisted strings
1970
String on canvas
130 x 108 cm


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WALTER LEBLANC
Twisted strings
1970
String on canvas
130 x 108 cm


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WALTER LEBLANC
Twisted strings
1970
String on canvas
130 x 108 cm


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WALTER LEBLANC
Twisted strings
1970
String on canvas
130 x 108 cm


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WALTER LEBLANC
Twisted strings
1970
String on canvas
130 x 108 cm


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Art-Cologne-at-the-Gallery,-2020,-Art-Fairs,-Ernst-Wilhelm-nay,-Walter-Leblanc,-Francois-Morellet,-Jean-Michel-Atlan-at-Setareh-Galerie- Düsseldor

François Morellet

François Morellet

François Morellet

François Morellet

François Morellet

Morellet-Francois_Sphère-Trames

"We were passionate about modern materials that
hadn’t yet been ‘polluted’ by traditional art.
We particularly liked anything that could produce movement or light."

"We were passionate about modern materials that hadn’t yet been ‘polluted’ by traditional art.
We particularly liked anything that could produce movement or light."

"We were passionate about modern materials that hadn’t yet been ‘polluted’ by traditional art. We particularly liked anything that could produce movement or light."

"We were passionate about modern materials that hadn’t yet been ‘polluted’ by traditional art. We particularly liked anything that could produce movement or light."

"We were passionate about modern materials that hadn’t yet been ‘polluted’ by traditional art. ..."

Besides painting and sculpture, François Morellet (b. 1926 in Cholet; † 2016 there)engaged in the field of Light Art and Kinetic Art. The French artist was a member of the research group GRAV (Groupe de Recherche d'Art Visuel), which rejected traditional structures and dealt with experimental art. Morellet was particularly interested in light and its behavior in a given space. His works include uncommon use of materials and the systematic preliminary planning and processing of the artworks.

Besides painting and sculpture, François Morellet (b. 1926 in Cholet; † 2016 there)engaged in the field of Light Art and Kinetic Art. The French artist was a member of the research group GRAV (Groupe de Recherche d'Art Visuel), which rejected traditional structures and dealt with experimental art. Morellet was particularly interested in light and its behavior in a given space. His works include uncommon use of materials and the systematic preliminary planning and processing of the artworks.

Besides painting and sculpture, François Morellet (b. 1926 in Cholet; † 2016 there)engaged in the field of Light Art and Kinetic Art. The French artist was a member of the research group GRAV (Groupe de Recherche d'Art Visuel), which rejected traditional structures and dealt with experimental art. Morellet was particularly interested in light and its behavior in a given space. His works include uncommon use of materials and the systematic preliminary planning and processing of the artworks.

Besides painting and sculpture, François Morellet (b. 1926 in Cholet; † 2016 there) engaged in the field of Light Art and Kinetic Art. The French artist was a member of the research group GRAV (Groupe de Recherche d'Art Visuel), which rejected traditional structures and dealt with experimental art. Morellet was particularly interested in light and its behavior in a given space. His works include uncommon use of materials and the systematic preliminary planning and processing of the artworks.

Besides painting and sculpture, François Morellet (b. 1926 in Cholet; † 2016 there)engaged in the field of Light Art and Kinetic Art. The French artist was a member of the research group GRAV (Groupe de Recherche d'Art Visuel), which rejected traditional structures and dealt with experimental art. Morellet was particularly interested in light and its behavior in a given space. His works include uncommon use of materials and the systematic preliminary planning and processing of the artworks.

Lightbox-Art-Cologne-Morellet-Sculpture-3

FRANÇOIS MORELLET
Sphère-Trames
1962
Stainless steel
36 x 36 x 36 cm

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FRANÇOIS MORELLET
Sphère-Trames
1962
Stainless steel
36 x 36 x 36 cm

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FRANÇOIS MORELLET
Sphère-Trames
1962
Stainless steel
36 x 36 x 36 cm

Get in touch with us

FRANÇOIS MORELLET
Sphère-Trames
1962
Stainless steel
36 x 36 x 36 cm

Get in touch with us

FRANÇOIS MORELLET
Sphère-Trames
1962
Stainless steel
36 x 36 x 36 cm

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Francois-Morellet_Pi-Piquant-No-10-1=3

FRANÇOIS MORELLET
Pi Piquant No 10 1=3
2001
Acrylic on canvas
80 x 80 cm

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FRANÇOIS MORELLET
Pi Piquant No 10 1=3
2001
Acrylic on canvas
80 x 80 cm

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FRANÇOIS MORELLET
Pi Piquant No 10 1=3
2001
Acrylic on canvas
80 x 80 cm

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FRANÇOIS MORELLET
Pi Piquant No 10 1=3
2001
Acrylic on canvas
80 x 80 cm

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FRANÇOIS MORELLET
Pi Piquant No 10 1=3
2001
Acrylic on canvas
80 x 80 cm

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Ed Ruscha

Ed Ruscha

Ed Ruscha

Ed Ruscha

Ed Ruscha

"As an artist, I gotta stand up to my own work."

"As an artist, I gotta stand up to my own work."

"As an artist, I gotta stand up to my own work."

"As an artist, I gotta stand up
to my own work."

"As an artist, I gotta stand up
to my own work."

Inspired by his chosen home, Los Angeles, and the American Commercial Society, the works of the artist Ed Ruscha (b. 16. Dezember 1937 in Omaha) show his view on the Western attitude. Whether paintings, photographs, drawings or prints, Ruscha's style is both ironic and mysterious. As a representative of Pop Art, he successfully captivates the viewer by introducing enigmatic sentence components and drawing the attention to America´s post-war idealism. 

Inspired by his chosen home, Los Angeles, and the American Commercial Society, the works of the artist Ed Ruscha (b. 16. Dezember 1937 in Omaha) show his view on the Western attitude. Whether paintings, photographs, drawings or prints, Ruscha's style is both ironic and mysterious. As a representative of Pop Art, he successfully captivates the viewer by introducing enigmatic sentence components and drawing the attention to America´s post-war idealism. 

Inspired by his chosen home, Los Angeles, and the American Commercial Society, the works of the artist Ed Ruscha (b. 16. Dezember 1937 in Omaha) show his view on the Western attitude. Whether paintings, photographs, drawings or prints, Ruscha's style is both ironic and mysterious. As a representative of Pop Art, he successfully captivates the viewer by introducing enigmatic sentence components and drawing the attention to America´s post-war idealism. 

Inspired by his chosen home, Los Angeles, and the American Commercial Society, the works of the artist Ed Ruscha (b. 16. Dezember 1937 in Omaha) show his view on the Western attitude. Whether paintings, photographs, drawings or prints, Ruscha's style is both ironic and mysterious. As a representative of Pop Art, he successfully captivates the viewer by introducing enigmatic sentence components and drawing the attention to America´s post-war idealism. 

Inspired by his chosen home, Los Angeles, and the American Commercial Society, the works of the artist Ed Ruscha (b. 16. Dezember 1937 in Omaha) show his view on the Western attitude. Whether paintings, photographs, drawings or prints, Ruscha's style is both ironic and mysterious. As a representative of Pop Art, he successfully captivates the viewer by introducing enigmatic sentence components and drawing the attention to America´s post-war idealism. 

Ruscha, Ed_Pico & Sepulveda Kopie

ED RUSCHA
Pico & Sepulveda
2001
Acrylic on raw linen
35.6 x 50.8 cm


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ED RUSCHA
Pico & Sepulveda
2001
Acrylic on raw linen
35.6 x 50.8 cm


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ED RUSCHA
Pico & Sepulveda
2001
Acrylic on raw linen
35.6 x 50.8 cm


Get in touch with our expert

ED RUSCHA
Pico & Sepulveda
2001
Acrylic on raw linen
35.6 x 50.8 cm


Get in touch with our expert

ED RUSCHA
Pico & Sepulveda
2001
Acrylic on raw linen
35.6 x 50.8 cm

Get in touch with our expert

Installation3

Jean-Michel Atlan

Jean-Michel Atlan

Jean-Michel Atlan

Jean-Michel Atlan

Jean-Michel Atlan

"Painting can go much further than anyone can imagine. Primitive people believed they were magicians when they were making art. We believe we are making art, when we are actually using powerful magic strengths. This magic is rhythm first, because rhythm generates breath and life. Rhythm creates forms and gives dance and painting this sacred dimension…"

"Painting can go much further than anyone can imagine. Primitive people believed they were magicians when they were making art. We believe we are making art, when we are actually using powerful magic strengths. This magic is rhythm first, because rhythm generates breath and life. Rhythm creates forms and gives dance and painting this sacred dimension…"

"Painting can go much further than anyone can imagine. Primitive people believed they were magicians when they were making art. We believe we are making art, when we are actually using powerful magic strengths. This magic is rhythm first, because rhythm generates breath and life. Rhythm creates forms and gives dance and painting this sacred dimension…"

"Painting can go much further than anyone can imagine. Primitive people believed they were magicians when they were making art. We believe we are making art, when we are actually using powerful magic strengths. This magic is rhythm first, because rhythm generates breath and life. Rhythm creates forms and gives dance and painting this sacred dimension…"

"Painting can go much further than anyone can imagine. Primitive people believed they were magicians when they were making art. …"

The autodidact Jean-Michel Atlan (b. 1913 in Constantine, Algerien; † 1960 in Paris) was in his lifetime one of the most influential and connected artist of the Nouvelle École de Paris and his generation. After the painful experiences during the German occupation of Paris he developed his very unique painting style allowing him to achieve a great power of poetic and pictorial expression.

The autodidact Jean-Michel Atlan (b. 1913 in Constantine, Algerien; † 1960 in Paris) was in his lifetime one of the most influential and connected artist of the Nouvelle École de Paris and his generation. After the painful experiences during the German occupation of Paris he developed his very unique painting style allowing him to achieve a great power of poetic and pictorial expression.

The autodidact Jean-Michel Atlan (b. 1913 in Constantine, Algerien; † 1960 in Paris) was in his lifetime one of the most influential and connected artist of the Nouvelle École de Paris and his generation. After the painful experiences during the German occupation of Paris he developed his very unique painting style allowing him to achieve a great power of poetic and pictorial expression.

The autodidact Jean-Michel Atlan (b. 1913 in Constantine, Algerien; † 1960 in Paris) was in his lifetime one of the most influential and connected artist of the Nouvelle École de Paris and his generation. After the painful experiences during the German occupation of Paris he developed his very unique painting style allowing him to achieve a great power of poetic and pictorial expression.

The autodidact Jean-Michel Atlan (b. 1913 in Constantine, Algerien; † 1960 in Paris) was in his lifetime one of the most influential and connected artist of the Nouvelle École de Paris and his generation. After the painful experiences during the German occupation of Paris he developed his very unique painting style allowing him to achieve a great power of poetic and pictorial expression.

Atlan_San-titre

JEAN-MICHEL ATLAN
Untitled
1957
Oil on canvas
130 x 81 cm

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JEAN-MICHEL ATLAN
Untitled
1957
Oil on canvas
130 x 81 cm

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JEAN-MICHEL ATLAN
Untitled
1957
Oil on canvas
130 x 81 cm

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JEAN-MICHEL ATLAN
Untitled
1957
Oil on canvas
130 x 81 cm

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JEAN-MICHEL ATLAN
Untitled
1957
Oil on canvas
130 x 81 cm

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Ed Ruscha gedreht Kopie

Hans Hartung

Hans Hartung

Hans Hartung

Hans Hartung

Hans Hartung

"I prefer for the hand to remain free to make its mark, like that, as we think, at full speed and if possible with full strength. Then, when the acid is deep down, it is a wonder for the artist."

"I prefer for the hand to remain free to make its mark, like that, as we think, at full speed and if possible with full strength. Then, when the acid is deep down, it is a wonder for the artist."

"I prefer for the hand to remain free to make its mark, like that, as we think, at full speed and if possible with full strength. Then, when the acid is deep down, it is a wonder for the artist."

"I prefer for the hand to remain free to make its mark, like that, as we think, at full speed and if possible with full strength. Then, when the acid is deep down, it is a wonder for the artist."

"I prefer for the hand to remain free to make its mark, like that, as we think, at full speed and if possible with full strength. Then, when the acid is deep down, it is a wonder for the artist."

Hans Hartung (b. 1904 in Leipzig, DE – 1989 in Antibes, FR) is the most prominent representative of abstract expressionism and was a relentless artistic experimenter. Exploring and playing with the possibilities of painting, he not only used small and large brushes but also feather dusters, paint rollers and scrapers as well as converted vacuum cleaners and spray cans, all of which provided him with a newly found freedom in his mature artistic output.

Hans Hartung (b. 1904 in Leipzig, DE – 1989 in Antibes, FR) is the most prominent representative of abstract expressionism and was a relentless artistic experimenter. Exploring and playing with the possibilities of painting, he not only used small and large brushes but also feather dusters, paint rollers and scrapers as well as converted vacuum cleaners and spray cans, all of which provided him with a newly found freedom in his mature artistic output.

Hans Hartung (b. 1904 in Leipzig, DE – 1989 in Antibes, FR) is the most prominent representative of abstract expressionism and was a relentless artistic experimenter. Exploring and playing with the possibilities of painting, he not only used small and large brushes but also feather dusters, paint rollers and scrapers as well as converted vacuum cleaners and spray cans, all of which provided him with a newly found freedom in his mature artistic output.

Hans Hartung (b. 1904 in Leipzig, DE – 1989 in Antibes, FR) is the most prominent representative of abstract expressionism and was a relentless artistic experimenter. Exploring and playing with the possibilities of painting, he not only used small and large brushes but also feather dusters, paint rollers and scrapers as well as converted vacuum cleaners and spray cans, all of which provided him with a newly found freedom in his mature artistic output.

Hans Hartung (b. 1904 in Leipzig, DE – 1989 in Antibes, FR) is the most prominent representative of abstract expressionism and was a relentless artistic experimenter. Exploring and playing with the possibilities of painting, he not only used small and large brushes but also feather dusters, paint rollers and scrapers as well as converted vacuum cleaners and spray cans, all of which provided him with a newly found freedom in his mature artistic output.

Hans-Hartung

HANS HARTUNG
T1975-H47
1975
Acrylic on canvas
81 x 100 cm

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HANS HARTUNG
T1975-H47
1975
Acrylic on canvas
81 x 100 cm

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HANS HARTUNG
T1975-H47
1975
Acrylic on canvas
81 x 100 cm

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HANS HARTUNG
T1975-H47
1975
Acrylic on canvas
81 x 100 cm

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HANS HARTUNG
T1975-H47
1975
Acrylic on canvas
81 x 100 cm

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Kwang Young Chun

Kwang Young Chun

Kwang Young Chun

Kwang Young Chun

Kwang Young
Chun

"This became an important milestone in my long artistic journey that desired to express the troubles of the modern man who is driven to a devastated life by materialism, endless competition, conflicts and destruction," writes Chun. "After almost twenty years, I was now able to communicate with my own gesture and words."

"This became an important milestone in my long artistic journey that desired to express the troubles of the modern man who is driven to a devastated life by materialism, endless competition, conflicts and destruction," writes Chun. "After almost twenty years, I was now able to communicate with my own gesture and words."

"This became an important milestone in my long artistic journey that desired to express the troubles of the modern man who is driven to a devastated life by materialism, endless competition, conflicts and destruction," writes Chun. "After almost twenty years, I was now able to communicate with my own gesture and words."

"This became an important milestone in my long artistic journey that desired to express the troubles of the modern man who is driven to a devastated life by materialism, endless competition, conflicts and destruction," writes Chun. "After almost twenty years, I was now able to communicate with my own gesture and words."

"This became an important milestone in my long artistic journey that desired to express the troubles of the modern man who is driven to a devastated life by materialism, endless competition, conflicts and destruction," writes Chun. "After almost twenty years, I was now able to communicate with my own gesture and words."

Paper is his element. Kwang Young Chun (b. 1944) inspires the viewer with his installations and works made of different paper structures. The Korean artist wraps and cuts the inscribed paper pieces, achieving a resemblance to three-dimensional sculpture works.

Paper is his element. Kwang Young Chun (b. 1944) inspires the viewer with his installations and works made of different paper structures. The Korean artist wraps and cuts the inscribed paper pieces, achieving a resemblance to three-dimensional sculpture works.

Paper is his element. Kwang Young Chun (b. 1944) inspires the viewer with his installations and works made of different paper structures. The Korean artist wraps and cuts the inscribed paper pieces, achieving a resemblance to three-dimensional sculpture works.

Paper is his element. Kwang Young Chun (b. 1944) inspires the viewer with his installations and works made of different paper structures. The Korean artist wraps and cuts the inscribed paper pieces, achieving a resemblance to three-dimensional sculpture works.

Paper is his element. Kwang Young Chun (b. 1944) inspires the viewer with his installations and works made of different paper structures. The Korean artist wraps and cuts the inscribed paper pieces, achieving a resemblance to three-dimensional sculpture works.

Kwang
Kwang-2

KWANG YOUNG CHUN
Aggregation M00-157
2000
Mixed media with Korean mulberry paper


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KWANG YOUNG CHUN
Aggregation M00-157
2000
Mixed media with Korean mulberry paper


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KWANG YOUNG CHUN
Aggregation M00-157
2000
Mixed media with Korean mulberry paper


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KWANG YOUNG CHUN
Aggregation M00-157
2000
Mixed media with Korean mulberry paper


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KWANG YOUNG CHUN
Aggregation M00-157
2000
Mixed media with
Korean mulberry paper


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Ernst Wilhelm Nay

Ernst Wilhelm Nay

Ernst Wilhelm Nay

Ernst Wilhelm Nay

Ernst Wilhelm Nay

"The picture must have figure. Figure is a matter of invention,
invented shape of the surface. Inventing figure is the freedom of the artist, enjoying it is the freedom of the viewer."

"The picture must have figure. Figure is a matter of invention,
invented shape of the surface. Inventing figure is the freedom of the artist, enjoying it is the freedom of the viewer."

"The picture must have figure. Figure is a matter of invention,
invented shape of the surface. Inventing figure is the freedom of the artist, enjoying it is the freedom of the viewer."

"The picture must have figure. Figure is a matter of invention, invented shape of the surface. Inventing figure is the freedom of the artist, enjoying it is the freedom of the viewer."

"The picture must have figure. Figure is a matter of invention, invented shape of the surface. Inventing figure is the freedom of the artist, enjoying it is the freedom of the viewer."

Taking the human being as his muse, Ernst Wilhelm Nay (b. 11. Juni 1902 Berlin, † 08. April 1968)  influenced the art world with his abstract color compositions. Through a wide-range use of colour and it´s mere application, Nay created works that freed themselves from pure expressionism and set an individual focus on their non-representational nature.

Taking the human being as his muse, Ernst Wilhelm Nay (b. 11. Juni 1902 Berlin, † 08. April 1968)  influenced the art world with his abstract color compositions. Through a wide-range use of colour and it´s mere application, Nay created works that freed themselves from pure expressionism and set an individual focus on their non-representational nature.

Taking the human being as his muse, Ernst Wilhelm Nay (b. 11. Juni 1902 Berlin, † 08. April 1968)  influenced the art world with his abstract color compositions. Through a wide-range use of colour and it´s mere application, Nay created works that freed themselves from pure expressionism and set an individual focus on their non-representational nature.

Taking the human being as his muse, Ernst Wilhelm Nay (b. 11. Juni 1902 Berlin, † 08. April 1968)  influenced the art world with his abstract color compositions. Through a wide-range use of colour and it´s mere application, Nay created works that freed themselves from pure expressionism and set an individual focus on their non-representational nature.

Taking the human being as his muse, Ernst Wilhelm Nay (b. 11. Juni 1902 Berlin, † 08. April 1968)  influenced the art world with his abstract color compositions. Through a wide-range use of colour and it´s mere application, Nay created works that freed themselves from pure expressionism and set an individual focus on their non-representational nature.

ENAY_M_4.007 Kopie

ERNST WILHELM NAY
Rot in Rot II
1965
Oil on canvas
162 x 150 cm

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ERNST WILHELM NAY
Rot in Rot II
1965
Oil on canvas
162 x 150 cm

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ERNST WILHELM NAY
Rot in Rot II
1965
Oil on canvas
162 x 150 cm

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ERNST WILHELM NAY
Rot in Rot II
1965
Oil on canvas
162 x 150 cm


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ERNST WILHELM NAY
Rot in Rot II
1965
Oil on canvas
162 x 150 cm

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Art-Cologne-at-the-Gallery,-2020,-Art-Fairs,-Markus-Lüpertz,-Ernst-Wilhelm-Nay-and-Francois-Morellet-wit-Mode-at-Setareh-Galerie-Düsseldorf-2

Markus Lüpertz

Markus Lüpertz

Markus Lüpertz

Markus Lüpertz

Markus Lüpertz

"Art is what you do not understand."

"Art is what you do not understand."

"Art is what you do not understand."

"Art is what you do not understand."

"Art is what you do not understand."

The works of Markus Lüpertz (b. 1942, Reichenberg, Germany) break away from Pop Art and Expressionism, they guide us through a mixture of abstract and figurative motifs. Lüpertz insinuates human figures, managing to make the viewer wonder around silhouettes and shapes.

The works of Markus Lüpertz (b. 1942, Reichenberg, Germany) break away from Pop Art and Expressionism, they guide us through a mixture of abstract and figurative motifs. Lüpertz insinuates human figures, managing to make the viewer wonder around silhouettes and shapes.

The works of Markus Lüpertz (b. 1942, Reichenberg, Germany) break away from Pop Art and Expressionism, they guide us through a mixture of abstract and figurative motifs. Lüpertz insinuates human figures, managing to make the viewer wonder around silhouettes and shapes.

The works of Markus Lüpertz (b. 1942, Reichenberg, Germany) break away from Pop Art and Expressionism, they guide us through a mixture of abstract and figurative motifs. Lüpertz insinuates human figures, managing to make the viewer wonder around silhouettes and shapes.

The works of Markus Lüpertz (b. 1942, Reichenberg, Germany) break away from Pop Art and Expressionism, they guide us through a mixture of abstract and figurative motifs. Lüpertz insinuates human figures, managing to make the viewer wonder around silhouettes and shapes.

Markus-Lüpertz_Männer-ohne-Frauen—Parsifal

MARKUS LÜPERTZ
Manner ohne Frau - Parsifal
1994
190 x 162 cm


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MARKUS LÜPERTZ
Manner ohne Frau - Parsifal
1994
190 x 162 cm


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MARKUS LÜPERTZ
Manner ohne Frau - Parsifal
1994
190 x 162 cm


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MARKUS LÜPERTZ
Manner ohne Frau - Parsifal
1994
190 x 162 cm


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MARKUS LÜPERTZ
Manner ohne Frau - Parsifal
1994
190 x 162 cm


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André Lanskoy

André Lanskoy

André Lanskoy

André Lanskoy

André Lanskoy

"I think it is the love with which you take the colour from the palette and put it on the canvas that warms and illuminates the painting."

"I think it is the love with which you take the colour from the palette and put it on the canvas that warms and illuminates the painting."

"I think it is the love with which you take the colour from the palette and put it on the canvas that warms and illuminates the painting."

"I think it is the love with which you take the colour from the palette and put it on the canvas that warms and illuminates the painting."

"I think it is the love with which you take the colour from the palette and put it on the canvas that warms and illuminates the painting."

Andre Lanskoy, one of the major representatives of lyrical abstraction, lets colour compositions explode in his paintings. Colours and shapes create impressions of motion. The individual coordinated segments of colour are reminiscent of collages and forms a harmonious ensemble.

Andre Lanskoy, one of the major representatives of lyrical abstraction, lets colour compositions explode in his paintings. Colours and shapes create impressions of motion. The individual coordinated segments of colour are reminiscent of collages and forms a harmonious ensemble.

Andre Lanskoy, one of the major representatives of lyrical abstraction, lets colour compositions explode in his paintings. Colours and shapes create impressions of motion. The individual coordinated segments of colour are reminiscent of collages and forms a harmonious ensemble.

Andre Lanskoy, one of the major representatives of lyrical abstraction, lets colour compositions explode in his paintings. Colours and shapes create impressions of motion. The individual coordinated segments of colour are reminiscent of collages and forms a harmonious ensemble.

Andre Lanskoy, one of the major representatives of lyrical abstraction, lets colour compositions explode in his paintings. Colours and shapes create impressions of motion. The individual coordinated segments of colour are reminiscent of collages and forms a harmonious ensemble.

lanskoy-mit-Rahmen

ANDRÉ LANSKOY
Untitled
Oil on canvas
114 x 147 cm

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ANDRÉ LANSKOY
Untitled
Oil on canvas
114 x 147 cm

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ANDRÉ LANSKOY
Untitled
Oil on canvas
114 x 147 cm

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ANDRÉ LANSKOY
Untitled
Oil on canvas
114 x 147 cm

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ANDRÉ LANSKOY
Untitled
Oil on canvas
114 x 147 cm

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Laura Sachs

Laura Sachs

Laura Sachs

Laura Sachs

Laura Sachs

Laura Sachs (b. 1985 in Darmstadt, Germany) works in a unique way with bodies of images composed of volatile and solid materials. Accentuated with metal strips or completely enclosed in aluminium frames, the canvases assert themselves as multi-perspective objects in space.

Laura Sachs (b. 1985 in Darmstadt, Germany) works in a unique way with bodies of images composed of volatile and solid materials. Accentuated with metal strips or completely enclosed in aluminium frames, the canvases assert themselves as multi-perspective objects in space.

Laura Sachs (b. 1985 in Darmstadt, Germany) works in a unique way with bodies of images composed of volatile and solid materials. Accentuated with metal strips or completely enclosed in aluminium frames, the canvases assert themselves as multi-perspective objects in space.

Laura Sachs (b. 1985 in Darmstadt, Germany) works in a unique way with bodies of images composed of volatile and solid materials. Accentuated with metal strips or completely enclosed in aluminium frames, the canvases assert themselves as multi-perspective objects in space.

Laura Sachs (b. 1985 in Darmstadt, Germany) works in a unique way with bodies of images composed of volatile and solid materials. Accentuated with metal strips or completely enclosed in aluminium frames, the canvases assert themselves as multi-perspective objects in space.

LSAC_M_15.002.L

LAURA SACHS
Noon 02115J
2019
Oil, dust and metal on canvas
210 x 150 cm

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LAURA SACHS
Noon 02115J
2019
Oil, dust and metal on canvas
210 x 150 cm

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LAURA SACHS
Noon 02115J
2019
Oil, dust and metal on canvas
210 x 150 cm

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LAURA SACHS
Noon 02115J
2019
Oil, dust and metal on canvas
210 x 150 cm

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LAURA SACHS
Noon 02115J
2019
Oil, dust and metal on canvas
210 x 150 cm

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Sebastian Riemer

Sebastian Riemer

Sebastian Riemer

Sebastian Riemer

Sebastian Riemer

HighRes photographed slides of art history icons explore the canon of art and its contemporary reception. By making visible the states of decay of the film based photographic medium, Riemer’s works reveal the limits of reproducibility and at the same time question its materiality. Sebastian Riemer (b. 1982, based in Düsseldorf) consistently addresses the recurring questions in photography and shows that it can still be relevant today to take photographs, transform them and hang them on the wall to be experienced as works of art. 

HighRes photographed slides of art history icons explore the canon of art and its contemporary reception. By making visible the states of decay of the film based photographic medium, Riemer’s works reveal the limits of reproducibility and at the same time question its materiality. Sebastian Riemer (b. 1982, based in Düsseldorf) consistently addresses the recurring questions in photography and shows that it can still be relevant today to take photographs, transform them and hang them on the wall to be experienced as works of art. 

HighRes photographed slides of art history icons explore the canon of art and its contemporary reception. By making visible the states of decay of the film based photographic medium, Riemer’s works reveal the limits of reproducibility and at the same time question its materiality. Sebastian Riemer (b. 1982, based in Düsseldorf) consistently addresses the recurring questions in photography and shows that it can still be relevant today to take photographs, transform them and hang them on the wall to be experienced as works of art. 

HighRes photographed slides of art history icons explore the canon of art and its contemporary reception. By making visible the states of decay of the film based photographic medium, Riemer’s works reveal the limits of reproducibility and at the same time question its materiality. Sebastian Riemer (b. 1982, based in Düsseldorf) consistently addresses the recurring questions in photography and shows that it can still be relevant today to take photographs, transform them and hang them on the wall to be experienced as works of art. 

HighRes photographed slides of art history icons explore the canon of art and its contemporary reception. By making visible the states of decay of the film based photographic medium, Riemer’s works reveal the limits of reproducibility and at the same time question its materiality. Sebastian Riemer (b. 1982, based in Düsseldorf) consistently addresses the recurring questions in photography and shows that it can still be relevant today to take photographs, transform them and hang them on the wall to be experienced as works of art. 

Sebastian-Riemer

SEBASTIAN RIEMER
P/Flem/XVI Cent BOSCH,
Hieronimus The Garden of Delights.
det.: Giant Birds Prado, Madrid
CENTER PANEL CCNY COLL
2020
C-Print
185 x 185 cm

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SEBASTIAN RIEMER
P/Flem/XVI Cent BOSCH,
Hieronimus The Garden of Delights.
det.: Giant Birds Prado, Madrid
CENTER PANEL CCNY COLL
2020
C-Print
185 x 185 cm

Get in touch with us

SEBASTIAN RIEMER
P/Flem/XVI Cent BOSCH,
Hieronimus The Garden of Delights.
det.: Giant Birds Prado, Madrid
CENTER PANEL CCNY COLL
2020
C-Print
185 x 185 cm

Get in touch with us

SEBASTIAN RIEMER
P/Flem/XVI Cent BOSCH,
Hieronimus The Garden of Delights.
det.: Giant Birds Prado, Madrid
CENTER PANEL CCNY COLL
2020
C-Print
185 x 185 cm

Get in touch with us

SEBASTIAN RIEMER
P/Flem/XVI Cent BOSCH,
Hieronimus The Garden of Delights.
det.: Giant Birds Prado, Madrid
CENTER PANEL CCNY COLL
2020
C-Print
185 x 185 cm

Get in touch with us

Bernd & Hilla Becher

Bernd & Hilla Becher

Bernd & Hilla Becher

Bernd & Hilla Becher

Bernd & Hilla
Becher

"When we noticed that the industrial buildings were disappearing, we captured them with our camera. It was like an obligation for us."

"When we noticed that the industrial buildings were disappearing, we captured them with our camera. It was like an obligation for us."

"When we noticed that the industrial buildings were disappearing, we captured them with our camera. It was like an obligation for us."

"When we noticed that the industrial buildings were disappearing, we captured them with our camera. It was like an obligation for us."

"When we noticed that the industrial buildings were disappearing, we captured them with our camera. It was like an obligation for us."

The influential artists couple, founder of the ‘Düsseldorfer Fotoschule’ or simply ‘Becher School’, Bernd (b. 1931 in Siegen; † 2007 in Rostock) and Hilla Becher (b. 1934 in Potsdam; † 10. Oktober 2015 in Düsseldorf) enriched the art world with their systematic photographs of architecture and industrial objects. Typical for the Becher couple was the grid-shaped arrangement of their pictures, with which they influenced the forthcoming generations of photographers.The shown tableau is their only work in which the same building is shown from different perspectives.

The influential artists couple, founder of the ‘Düsseldorfer Fotoschule’ or simply ‘Becher School’, Bernd (b. 1931 in Siegen; † 2007 in Rostock) and Hilla Becher (b. 1934 in Potsdam; † 10. Oktober 2015 in Düsseldorf) enriched the art world with their systematic photographs of architecture and industrial objects. Typical for the Becher couple was the grid-shaped arrangement of their pictures, with which they influenced the forthcoming generations of photographers.The shown tableau is their only work in which the same building is shown from different perspectives.

The influential artists couple, founder of the ‘Düsseldorfer Fotoschule’ or simply ‘Becher School’, Bernd (b. 1931 in Siegen; † 2007 in Rostock) and Hilla Becher (b. 1934 in Potsdam; † 10. Oktober 2015 in Düsseldorf) enriched the art world with their systematic photographs of architecture and industrial objects. Typical for the Becher couple was the grid-shaped arrangement of their pictures, with which they influenced the forthcoming generations of photographers.The shown tableau is their only work in which the same building is shown from different perspectives.

The influential artists couple, founder of the ‘Düsseldorfer Fotoschule’ or simply ‘Becher School’, Bernd (b. 1931 in Siegen; † 2007 in Rostock) and Hilla Becher
(b. 1934 in Potsdam; † 10. Oktober 2015 in Düsseldorf) enriched the art world with their systematic photographs of architecture and industrial objects. Typical for the Becher couple was the grid-shaped arrangement of their pictures, with which they influenced the forthcoming generations of photographers.The shown tableau is their only work in which the same building is shown from different perspectives.

The influential artists couple, founder of the ‘Düsseldorfer Fotoschule’ or simply ‘Becher School’, Bernd (b. 1931 in Siegen; † 2007 in Rostock) and Hilla Becher (b. 1934 in Potsdam; † 10.Oktober 2015 in Düsseldorf) enriched the art world with their systematic photographs of architecture and industrial objects. Typical for the Becher couple was the grid-shaped arrangement of their pictures, with which they influenced the forthcoming generations of photographers.The shown tableau is their only work in which the same building is shown from different perspectives.

Becher_Puits-Monceau-Fontaine-No.-14,-Charleroi,-Belgien

BERND & HILLA BECHER
Puits Monceau Fontaine No. 14,
Charleroi, Belgien
1972
Gelatin silver print
Twisted strings

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BERND & HILLA BECHER
Puits Monceau Fontaine No. 14,
Charleroi, Belgien
1972
Gelatin silver print
Twisted strings

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BERND & HILLA BECHER
Puits Monceau Fontaine No. 14,
Charleroi, Belgien
1972
Gelatin silver print
Twisted strings

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BERND & HILLA BECHER
Puits Monceau Fontaine
No. 14, Charleroi, Belgien
1972
Gelatin silver print
Twisted strings

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BERND & HILLA BECHER
Puits Monceau Fontaine No. 14,
Charleroi, Belgien
1972
Gelatin silver print
Twisted strings

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Georges Mathieu

Georges Mathieu

Georges Mathieu

Georges Mathieu

Georges Mathieu

"The laws of semantics suddenly prove to be reversed: Up to now a thing was, was given, is a sign given, this was passible and therefore truly a sign when it finds an embodiment."

"The laws of semantics suddenly prove to be reversed: Up to now a thing was, was given, is a sign given, this was passible and therefore truly a sign when it finds an embodiment."

"The laws of semantics suddenly prove to be reversed: Up to now a thing was, was given, is a sign given, this was passible and therefore truly a sign when it finds an embodiment."

"The laws of semantics suddenly prove to be reversed: Up to now a thing was, was given, is a sign given, this was passible and therefore truly a sign when it finds an embodiment."

"The laws of semantics suddenly prove to be reversed: Up to now a thing was, was given, is a sign given, this was passible and therefore truly a sign when it finds an embodiment."

Georges Mathieu (b. 1921 in Boulogne-sur-Mer; † 2012 in Paris) is considered one of the main representatives of Tachisme, an art movement that combines abstract, informal and lyrical compositions. The French artist achieved his fame through his oversized works, which show curved calligraphic lines. Mathieu's avant-garde impulses and his international influence on the later generation of abstract artists are still unmistakable today.

Georges Mathieu (b. 1921 in Boulogne-sur-Mer; † 2012 in Paris) is considered one of the main representatives of Tachisme, an art movement that combines abstract, informal and lyrical compositions. The French artist achieved his fame through his oversized works, which show curved calligraphic lines. Mathieu's avant-garde impulses and his international influence on the later generation of abstract artists are still unmistakable today.

Georges Mathieu (b. 1921 in Boulogne-sur-Mer; † 2012 in Paris) is considered one of the main representatives of Tachisme, an art movement that combines abstract, informal and lyrical compositions. The French artist achieved his fame through his oversized works, which show curved calligraphic lines. Mathieu's avant-garde impulses and his international influence on the later generation of abstract artists are still unmistakable today.

Georges Mathieu (b. 1921 in Boulogne-sur-Mer; † 2012 in Paris) is considered one of the main representatives of Tachisme, an art movement that combines abstract, informal and lyrical compositions. The French artist achieved his fame through his oversized works, which show curved calligraphic lines. Mathieu's avant-garde impulses and his international influence on the later generation of abstract artists are still unmistakable today.

Georges Mathieu (b. 1921 in Boulogne-sur-Mer; † 2012 in Paris) is considered one of the main representatives of Tachisme, an art movement that combines abstract, informal and lyrical compositions. The French artist achieved his fame through his oversized works, which show curved calligraphic lines. Mathieu's avant-garde impulses and his international influence on the later generation of abstract artists are still unmistakable today.

georgesmathieu_composition_1969

GEORGES MATHIEU
Composition
1969
Oil on canvas
65 x 100 cm

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GEORGES MATHIEU
Composition
1969
Oil on canvas
65 x 100 cm

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GEORGES MATHIEU
Composition
1969
Oil on canvas
65 x 100 cm

Get in touch with us

GEORGES MATHIEU
Composition
1969
Oil on canvas
65 x 100 cm

Get in touch with us

GEORGES MATHIEU
Composition
1969
Oil on canvas
65 x 100 cm

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Wolfgang Betke

Wolfgang Betke

Wolfgang Betke

Wolfgang Betke

Wolfgang Betke

"I reinvent the visual language in every picture. You can watch the picture while its learning to speak."

"I reinvent the visual language in every picture. You can watch the picture while its learning to speak."

"I reinvent the visual language in every picture. You can watch the picture while its learning to speak."

"I reinvent the visual language in every picture. You can watch the picture while its learning to speak."

"I reinvent the visual language in every picture. You can watch the picture while its learning to speak."

Wolfgang Betke's (b. 1958, based in Berlin, Germany) works develop in long working processes from within themselves - from painting. With a wide range of grinding tools, he removes layers, clears tracks and creates space with them. The result is a painting, which - like in a musical improvisation process - repeatedly searches for its own zero point.

Wolfgang Betke's (b. 1958, based in Berlin, Germany) works develop in long working processes from within themselves - from painting. With a wide range of grinding tools, he removes layers, clears tracks and creates space with them. The result is a painting, which - like in a musical improvisation process - repeatedly searches for its own zero point.

Wolfgang Betke's (b. 1958, based in Berlin, Germany) works develop in long working processes from within themselves - from painting. With a wide range of grinding tools, he removes layers, clears tracks and creates space with them. The result is a painting, which - like in a musical improvisation process - repeatedly searches for its own zero point.

Wolfgang Betke's (b. 1958, based in Berlin, Germany) works develop in long working processes from within themselves - from painting. With a wide range of grinding tools, he removes layers, clears tracks and creates space with them. The result is a painting, which - like in a musical improvisation process - repeatedly searches for its own zero point.

Wolfgang Betke's (b. 1958, based in Berlin, Germany) works develop in long working processes from within themselves - from painting. With a wide range of grinding tools, he removes layers, clears tracks and creates space with them. The result is a painting, which - like in a musical improvisation process - repeatedly searches for its own zero point.

Wolfgang-Betke

WOLFGANG BETKE
Mister
2020
Mixed media on canvas
104 x 85 cm

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WOLFGANG BETKE
Mister
2020
Mixed media on canvas
104 x 85 cm

Get in touch with us

WOLFGANG BETKE
Mister
2020
Mixed media on canvas
104 x 85 cm

Get in touch with us

WOLFGANG BETKE
Mister
2020
Mixed media on canvas
104 x 85 cm

Get in touch with us

WOLFGANG BETKE
Mister
2020
Mixed media on canvas
104 x 85 cm

Get in touch with us

and many more ...

Get in touch with our expert:
Soriana Stagnitta

and many more ...

Get in touch with our expert:
Soriana Stagnitta

and many more ...

Get in touch with our expert:
Soriana Stagnitta

and many more ...

Get in touch with our expert:
Soriana Stagnitta

and many more ...

Get in touch with our expert:
Soriana Stagnitta

Königsallee 27 & 31
40212 Düsseldorf, Germany

Königsallee 27 & 31 

40212 Düsseldorf, Germany

Königsallee 27 & 31 

40212 Düsseldorf, Germany

+49 (0)211 82827171
info(at)setareh-gallery.com

Opening hours
Mon–Fri: 10am–7pm, Sat: 10am - 6pm

Opening hours 

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Sat: 10am - 6pm

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