art KARLSRUHE

Eine Veranstaltung der

Meyer Riegger Galerie

Klauprechtstraße 22, 76137 Karlsruhe
Deutschland

Telefon +49 721 821292
Fax +49 721 982 21 41
info@meyer-riegger.de
http://www.meyer-riegger.de

Messeplanung

Aus MyOrganizer entfernen Als Favorit zu MyOrganizer hinzufügen

Standort

Halle 2 / H2/E07

Unser Angebot

Kategorien

Unsere Künstler

Tamina Amadyar

Horst Antes

Ulla von Brandenburg

Sabine Christmann

Zara Idelson

Lin Olschowka

Olivia Sterling

Jan Zöller

One-Artist-Show

Künstlerdetails

Kategorie: Gegenwartskunst

Tamina Amadyar

Tamina Amadyar is dealing with memories to places and situations and converts them into reduced but colourful paintings which combine geometric and biomorphic elements and appear as free contemporary translations of the vocabulary of classical modern abstraction. Recently, figurative works have been added, mainly in the form of watercolours, which, however, also draw their subjects from the artist’s immediate living environment and, much like her abstractions, rely on the power of colour and the spontaneity of the painting process; these include portraits of friends and family, views of rooms and architecture, but also representations of domestic objects and food.

Tamina Amadyar

Kategorie: Gegenwartskunst

Horst Antes

Horst Antes was born in Heppenheim an der Bergstrasse on October 28, 1936. From 1957 to 1959 he studied at the State Academy of Fine Arts in Karlsruhe under HAP Grieshaber. At the age of 23, the young artist was awarded the prize of the Hanoverian economy (Pankofer Prize, Baden Baden). In 1960 he received a scholarship from the Kulturkreis im Bundesverband der Deutschen Industrie, Cologne. The first head painting in profile “Head with red cap” is created. Horst Antes was awarded the “Junger Westen” art prize and the “Prix des artistes” at the II Biennale des “juenes artistes”, Paris in 1961. After that he lived and worked for one year in Florence with a scholarship from Villa Romana. He then went to Rome for a year to the Villa Massimo. From 1965 to 1968 Horst Antes taught at the State Academy of Fine Arts in Karlsruhe (1967-68 as a visiting professor). In 1966 he participated for the second time in the XXXIII Venice Biennale, received the Unesco Prize for Painting and the second scholarship of the Aldegrever Society, Münster. Horst Antes’ interest in indigenous peoples led him for the first time in 1972 to various Indian reservations in the USA. The Falklands War in 1982 shocked the artist deeply and led to a change in his subjects: the “head figure” disappears from the pictorial work and the first house paintings are created.

Horst Antes

Kategorie: Gegenwartskunst

Ulla von Brandenburg

Through Ulla von Brandenburg’s choreographic pictorial language, which draws on both theater aesthetics and sculptural ideas, a complex interplay between performance and installation; among film, props and static imagery; and among music, colors and costumes takes place within this stage-like overall arrangement. Finely balanced contradictions and mutually responsive contrasts of the individual elements are decisive for the performative experience of Ulla von Brandenburg’s stage installations. The oscillation between flowing cloth backdrops and rigid wooden constructions, between emptiness and density, between monochrome projection surfaces and richly colored ornaments thus intensifies the multimedia conflation of cinematic and real space. Under the artist’s direction, ephemeral intermediate spaces are created, spaces of transition at the interface between a fictive and real world, spaces that draw the visitor into often surreal settings and situations.

Ulla von Brandenburg

Kategorie: Gegenwartskunst

Zara Idelson

Zara Idelson’s approach to painting is based on intuition and direct observation as well as a clear set of parameters consisting of small-scale works and a limited palette. Texture is created through thin layers of paint, vital with brushwork over bare priming, where colour is used less to depict than to create a sense of movement.

Zara Idelson

Kategorie: Gegenwartskunst

Lin Olschowka

Lin Olschowka’s paintings offer us glimpses of a world that we would not necessarily wish to live in at first glance: the surroundings are cold, the light harsh and the bodies resemble interchangeable objects rather than characterful subjects. One image shows a young, white, conventionally attractive woman in a bikini in an open tanning bed. In another, a glaring beam from a helicopter forms a cone of light in the darkness. Another painting presents the cut, bloody palm of a fleshy hand.

Lin Olschowka

Kategorie: Gegenwartskunst

Olivia Sterling

In her paintings, Sterling presents the viewer with scenes of daily life that subtly critique attitudes towards race, class, gender and social status. While her typically closely cropped and vividly coloured canvases – teeming with arms, legs and half-eaten food – may seem playful at first sight, they do in fact tackle subjects that are anything but. In this way, Sterling’s artworks can be seen as contemporary genre paintings, designed to make us reflect upon the world around us. Through her work’s outwardly jovial exterior, Sterling lulls us into a false sense of security and forces us to consider our own misconceptions and prejudices.

Olivia Sterling

Kategorie: Gegenwartskunst

Jan Zöller

Jan Zöller’s work reflects topics and reality experiences of a young artist. Perceived romantic or transfigured questions about the future, visions and career become guiding themes – devoid of irony. Visits to pubs and exhibition openings or the purchase of new shoes appear as motifs on painted canvases. Other works contain allegories of friendly collaboration or social experience: meeting someone at a bar, the sharing of a cigarette as well as traditional meeting places like public wells and swimming baths. Zöller’s artistic practice incorporates not only painted canvases but also performance, sculpture and installation. These practices constitute solidarity, steadily supported by Zöller’s use of social codes and tokens, like rain drops, trees, birds, legs, hammers and fountains in his work. In his titles, Jan Zöller adopts selected song lyrics, proverbs and well-intentioned advice. He then slightly changes their wording whereby they become more serious or humorous – and more fitting to the artist’s own means of expression. Comments on creativity and inspiration, failure and success of artistic work form another constant in the artist’s work. Therefore, Zöller’s practice ties in with the tradition of painting as the most subjective media, but also transfers the principle of relation to the other levels of his artistic expression.

Jan Zöller

Über uns

Galerie-Information

Located in Berlin, Karlsruhe and Basel, Meyer Riegger maintains a curatorially driven programme that includes solo exhibitions of gallery artists, group shows and special projects.

Since its inception in the late nineties, the gallery has established itself as a setting to investigate artistic practices, showing a distinctive combination of painting, drawing, sculpture, photography, film, performance and installation-based work. Meyer Riegger seeks to place an emphasis on the world around us, collaborating with artists and organising shows that interrogate questions relevant to our existence and that explore important political and social topics, thereby reflecting the times in which we live through the language of art.

Established in Karlsruhe in 1997, the gallery’s early programme was distinguished by a strong emphasis on artists whose work is characterised by predominantly conceptual or abstract concerns, hosting solo shows by the likes of Franz Ackermann, Meuser, John Miller, Jonathan Monk and Helen Hendl Mirra.

During the 2000s, looking to integrate artists into the gallery’s programme for whom existential questions around life and death, performance and the human body play an important role, Meyer Riegger forged relationships with artists such as Katinka Bock, Miriam Cahn, Eva Koťátková and Ján Mančuška, the latter of whose estate is represented by the gallery. It was also during this period, in 2008, that the gallery expanded to open a second space in Berlin, in order to firmly place itself at the heart of discussions in contemporary art, both in Germany and internationally.

The past decade has seen the gallery grow further and its programme has continued to broaden and diversify. Artists including Alexandra Bachzetsis, Paulo Nazareth and Ulla von Brandenburg, have joined Meyer Riegger, with the gallery introducing the work of many to a global audience. More recently, Meyer Riegger has also begun to curate exhibitions of work by historically significant artists, namely Méret Oppenheim and Michael Schmidt, while bringing further early-career artists into the roster, for example, Tamina Amadyar and Peppi Bottrop. The opening of a third location in Basel is testament to the gallery’s intention to operate within both local and global contexts.

Meyer Riegger currently represents more than 20 international artists from different generations, many of whom the gallery has accompanied since the start of their careers. Numerous artists that Meyer Riegger works with are frequently the subjects of solo presentations at globally renowned institutions or have been featured in major biennials. At the same time, the gallery is continuously looking to foster new relationships and to integrate new positions into its programme, through a desire to maintain its commitment to exploring the many currents of contemporary artistic creation.

In October 2022 Meyer Riegger celebrated its twenty-fifth anniversary.

Unternehmensdaten

Gründungsjahr

1997