AOA;87 Gallery

Holger Schmidhuber (*1970) is a German multimedia artist and, since 2010, a professor of time-based media at the Hochschule Mainz. His works have been showcased worldwide in over 50 solo and group exhibitions and are included in numerous prestigious collections, such as the Museum Wiesbaden, the Kunsthaus Taunusstein, and the Deutsche Bank Collection. Schmidhuber’s innovative methods and interdisciplinary focus make him a standout figure in contemporary art, pushing the boundaries of how we perceive and engage with various forms of media. His contributions as an artist, designer, and educator continue to influence and inspire the next generation of creatives.

Schmidhuber works in cycles, each characterized by extensive preliminary considerations and detailed studies of artistic processes. While these cycles are interconnected, each stands in painterly autonomy. Schmidhuber’s artistic identity is rooted in the appropriative selection and the subsequent creative act that transforms his work.

Not “just” a painter, Schmidhuber is also an accomplished designer, musician, and professor. A significant aspect of his practice in design, music, and teaching is the role of improvisation, which is essential to the success of the creative process. His artistic philosophy posits that painting, like music, can be dynamic and performative.

His latest series “Sequenced Inversions” is inspired by the idea that painted memories, akin to musical pieces, can be “played” differently, even in reverse. Through techniques such as liquefying, moving colors, gradients, layering, and collaging, the traditional painterly process oriented towards a specific motif is transformed. When applied consistently, this approach yields remarkably unique perspectives.

The carpet as a medium is preserved in his “Carpets of the Forgotten” series, where it becomes a work of art once again. Schmidhuber cleans old carpets, sometimes shearing or dyeing them. This act of painting over an old carpet is both an appropriation and a dialogue with the found artistic material. This process can be seen as a commentary on memory and transformation, where the past is recontextualized to create new meaning.

Margarete Adler (*1967 in Greifswald, Germany) is a German sculptor who lives and works in Berlin. Adler’s remarkable foray into the art world at the age of 50 challenges the boundaries of conventional artistic ascent and age restrictions, distinguished by her outstanding talent. What sets Margarete Adler apart is not only the beauty of her sculptures but also the thoughtful and intricate process behind each piece. Unlike many artists who churn out numerous works annually, Margarete Adler meticulously crafts only 3 to 5 sculptures per year. This deliberate pace is a testament to her unwavering dedication to precision. The creation of a Margarete Adler sculpture is a journey in itself, one that spans conceptualization, meticulous measurement of models, painstaking hand sculpting, casting in polyurethane, and finally, intricate hand-painting. Each step in the process is executed with utmost care and attention to detail, ensuring that every sculpture is a masterpiece in its own right.

Adler’s oeuvre consistently explores the multifaceted and often contradictory nature of human emotions and relationships. Her inaugural cycle, “Mutterliebe,” serves as a poignant examination of the ambivalence inherent in maternal love. Embracing the principle of “both and,” her work captures the simultaneous presence of nurturing and wounding, healing and harm. Through a series of six sculptures, she traverses the spectrum of human experience, from infancy to old age, encapsulating the transformative journey from daughter to mother.

Her sculptures, with their anatomical precision and perfect beauty, initially captivate with their external allure. Yet, upon closer inspection, the viewer is confronted with cracks and seams, symbolic of deeper, concealed emotional worlds. This deliberate interplay between outer perfection and inner complexity invites a profound reflection on the invisible depths of human existence.

Adler’s art transcends mere aesthetic appeal, engaging with broader societal norms, role models, and traditions. By revealing the imperfections beneath the surface, she challenges the viewer to question and reassess ingrained beliefs and emotions. Her work provokes an introspective dialogue about the dualities and contradictions that define the human condition.

Adler’s debut series “Mother’s Love” premiered in 2020 at the duo exhibition “The Mute and the Screaming,” alongside the renowned German portrait artist Cornelia Schleime at Gallery AOA;87. Since then, Adler’s works have been prominently featured in a series of international exhibitions across Miami, Basel, and Germany, showcasing her dynamic range and thematic depth. Adler’s works form part of esteemed collections including the Sberbank Collection in Russia, the Europapark Art Collection in Germany, and various private collections, affirming her significant impact on the contemporary art scene.

Bodo Korsig (*1962, Zwickau), residing in New York and Trier, is renowned for his artistic work primarily focusing on spatial installations, objects, and videos. His art transcends the mere combination of visual and auditory elements, characterized by a profound interest in the potentials of space and interaction, along with an ongoing quest for new forms of expression and aesthetic experiences.

Since 2015, Korsig has dedicated himself increasingly to the creation of interactive installations. In doing so, he incorporates elements from various artistic disciplines such as fine arts, literature, and performance. This interdisciplinary approach expands the boundaries of his art, allowing for the exploration of complex themes in multifaceted ways.

Since the early 2000s, Korsig has been exploring the use of cut-outs in his artistic practice. He began integrating this technique into his sculptures and installations to create three-dimensional forms and spaces that evoke a special effect through the interplay of light and shadow. His focus lies in visualizing the invisible transitions and in-between spaces, thereby delving into the significance of changes. Consequently, his artistic concept addresses not only aesthetic aspects but also facilitates a profound philosophical exploration.

A particular emphasis in Korsig’s work lies in the examination of human behavioral patterns under extreme conditions.

Korsig pursued studies in stone restoration at the Fachschule für Werbung und Gestaltung Berlin from 1986 to 1990 and has been teaching experimental printmaking at the European Art Academy in Trier since 1992. In addition to numerous projects in public spaces, such as the installation “Connecting the dots – Challenge the status quo” in 2018 at the Hsinchu Science Park in Taiwan, he has received numerous international awards and scholarships. His works are represented in well over 50 museum collections worldwide, including the National Gallery of Art in Washington, D.C., USA; the Kaohsiung Museum of Fine Arts in Taiwan; the Deutsche Bank Collection in Frankfurt, Germany; and the Czech Museum of Fine Arts in Prague, Czech Republic. Since the 1990s, Korsig has been featured in over 200 solo and group exhibitions internationally.

Born in Zurich in 1964, MARCK has established himself as an internationally acclaimed artist renowned for his innovative fusion of sculpture and video. His unique video sculptures transcend traditional artistic boundaries, creating multi-sensory art objects that not only convey information but also evoke deep emotional responses. These works are distinguished by their versatile and high aesthetic standards, making MARCK a distinctive figure in contemporary art.

The term “sculpture” in MARCK’s work underscores the three-dimensionality and materiality of his creations. Each piece is meticulously crafted by hand, emphasizing the tangible, physical presence of the objects. This hands-on approach highlights the artisanal quality of his art, setting it apart in an era dominated by digital manipulation. The interplay between the video content and its sculptural frame is central to his work, creating a dynamic relationship that challenges traditional perceptions of art and media.

A particular focus of MARCK’s art is the examination of human thought patterns, especially in relation to societal limitations and restrictions. He delves into both externally imposed and self-imposed boundaries, compelling viewers to reflect on their own perspectives on social constraints. MARCK´s Oeuvre challenges entrenched societal norms and encourages a reconsideration of these limitations.

MARCK’s sculptures are conceived as fragments of our “mental cinema,” offering viewers an open-ended narrative that they must complete themselves. This participatory element invites personal interpretation, making each viewer an active participant in the artistic experience. By doing so, MARCK not only engages the audience on an intellectual level but also on an emotional and psychological plane.

His works have been acquired by numerous renowned institutions such as the ZKM Center for Art and Media, Karlsruhe, DE, the Grande Finale Museum, FR, the Dosan Artcenter, Korea, or the Artcenter Istanbul, Turkey, and are highly sought after by private collectors. Since 2007, MARCK has been shown internationally in more than 200 solo and group exhibitions.

Helga Schmidhuber often uses found objects from flora and fauna as the starting point for her sculptures and paintings, which she allows to grow into expansive installations. To this end, she creates collages from screens, taxidermy, skulls, sound, etc.

Painting is the focus of her experimental, multimedia work. The elements of several overlapping layers of images are combined to create a new picture. The central motif is again animals, not in their natural environment, but in an abstract, energetically charged field of tension. Does this show the threat or the auratic charisma of these individuals? This question remains open. Schmidhuber has had an affinity with the animal world and the natural sciences since childhood. According to Schmidhuber, many phenomena that exist in nature can be transferred to the conditions and areas of human existence.

Helga Schmidhuber was born in Wiesbaden in 1972. After completing her design studies, she studied fine art at the Düsseldorf Art Academy from 1999 to 2004 under Prof. Dieter Krieg and Prof. Albert Oehlen, who appointed her as his first master student.

Since 2006, the artist has participated in artist-in-residence programs and has worked in Austria, Iceland, Canada and Spain. Her work has been shown internationally in important institutions such as the Hamburger Kunsthalle, CCA Kunsthalle / Mallorca, Museum Wiesbaden, Museum Villa Rot, Frankfurter Kunstverein, Zoologisches Museum Hamburg, Nassauischer Kunstverein, among others.

She has been awarded the Markus Lüpertz Prize and the Max Ernst Scholarship, among others. In 2020, she received the prestigious Hans Platschek Prize and in 2024 the work scholarship of the STIFTUNG_Kunstfonds.

XOOOOX is a Berlin-based artist renowned for his of urban aesthetics, constantly pushing the boundaries of traditional techniques and embracing innovative technologies.

In his most recent works, XOOOOX combines his passion for experimentation with his signature spray can technique to create truly unique art forms. He begins by constructing intricate models using AI-generated designs, meticulously crafting each detail to perfection. These models serve as the foundation for his artwork, providing a tangible representation of his imaginative concepts.

Once the models are complete, XOOOOX takes his experimentation a step further by overpainting them with his distinct style. This transformative process imbues his artwork with layers of meaning and depth, as he explores themes of identity, technology, and the human experience.

The result are series of stunning compositions that challenge conventional notions of art and invite viewers to explore the intersection of creativity and technology. From thought-provoking exhibitions to immersive installations, XOOOOX’s work captivates audiences with its dynamic energy and visionary spirit.

Best known for his life-size stencils of professionally styled photo models which serve as a recurring motif and invite viewers to contemplate the worship cult and seduction techniques of haute couture. Despite their beguiling beauty, XOOOOX’s women convey a profound sense of melancholy and introversion.

Though XOOOOX’s stencil pieces have earned notable recognition, his venture into conceptual art and installations illuminates another layer of his artistic brilliance. Inspired by everyday life and discovered objects, XOOOOX’s exploration of conceptual art breaks away from established limits, welcoming a versatility of materials and shapes. This progression signifies a departure from rigid structures towards a nuanced examination of artistic expression via tactile encounters and inventive arrangements.

Born in 1979, XOOOOX currently lives and works in Berlin, where his multifaceted artistic practice continues to captivate audiences worldwide.

Numero Cromatico is an artist, a research centre and a publisher, composed of researchers from various fields of knowledge, from the art world to neuroscience.

Since its foundation in 2011, Numero Cromatico’s main aim has been to redefine and expand the boundaries of art research, integrating theories, methodologies and technologies, including scientific ones, in the light of contemporary possibilities and challenges.

In its installations, Numero Cromatico intertwines visual art, design, architecture and literature with scientific knowledge, including neuroaesthetics, empirical aesthetics, experimental psychology and digital studies, with the aim of imagining new forms of relationships between human beings, nature and technologies and questioning the paradigms of contemporary society.

For years, it has been promoting a debate on the relationship between art and neuroscience through Nodes – Journal of Art and Neuroscience, a journal on neuroaesthetics that is today a point of reference for researchers worldwide.

Since 2016, the group has opened an experimental space in Rome, where it presents some of its research to the public.

In 2019 Numero Cromatico, during ArtVerona, conducted the first neuroaesthetic experiment in an Italian art fair and won the award i10 as best independent entity. In 2020, the artist won Exhibit Program by DGCC MiBACT and the Artribune award for best hybrid space in Italy.

In 2021 Numero Cromatico won Re:Humanism Art Prize; the call Abitante; the prize Sala Santa Rita Contemporanea promoted by Azienda Speciale PalaExpo and Italian Council X by MiC’s DGCC. For three years (2021-2023) the artist was shortlisted for the Brain Awareness Week grant promoted by FENS and Dana Foundation.

In 2022 the artist won Premio Taverna, was mentioned among the best booths at Arte Fiera Bologna, and was nominated Best emerging artist of the year by Exibart.

In 2024 Numero Cromatico won the Talent Prize promoted by Inside Art.