Till Augustin, Doppel Helix – 2020, steel ropes and steel, hot-dip galvanized, sawn, sanded and patinated, ca. 32 x 62 x 42 cm, ca. 100 kg
Till Augustin, Simultan – 2024, steel cables, welded, hot-dip galvanized, cut and polished, 52 x 50 x 4,5 cm
Till Augustin, UnUmWunden – 2024, steel cables, forged, annealed and patinated, ca. 56 x 22 x 15 cm
Ewerdt Hilgemann,Three of Kind (giacometti) – 2016, stainless steel, each 100 x 10 x 10 cm
Horst Linn, Abstand Smooth – 1999, acrylic on steel, 63 x 58 x 10 cm
Horst Linn, cherchez var I – 2015, acrylic on aluminum, 52 x 34 x 3 cm
Horst Linn, short stop – 2012, steel, acrylic, 30 x 15 x 6 cm
Horst Linn, schwarz über chrom – 2007, Acryl auf Stahl, 47 x 47 x 1 cm
Horst Linn, Passepatout square (black) – 2010, steel, paint, 32 x 43 cm
Horst Linn, rhombus (bordeaux) – 2007, steel, lacquer, folded, 25 x 25 cm, unique piece
Horst Linn, Auf und zu – 1986, steel, acrylic, 44 x 37 x 15 cm
Pfeifer & Kreutzer, KAFFEEPRESSE – 2022, Stahl, 3D-Druck, 130 x 40 x 60 cm
Pfeifer & Kreutzer – 2024, Five Poms, kinetisches Objekt, Fellimitate, Motoren, Batterie, 43,8 x 61,7 x 9,3 cm
Pfeifer & Kreutzer – 2024, Blue Pom, kinetisches Objekt, Fellimitate, Motoren, Batterie, 22 x 22 x 93 cm, Unikat
Pfeifer & Kreutzer – 2024, Pink Yellow Love, kinetisches Objekt, Fellimitate, Motoren, Batterie, 21,7 x 30,6 x 9,3 cm, Unikat
Pfeifer & Kreutzer – 2024, Crowded Poms, kinetisches Objekt, Fellimitate, Motoren, Batterie, 21,9 x 30,6 x 9,3 cm, Unikat
Pfeifer & Kreutzer, 1 Rotation in Pink auf Schwarz – 2024, kinetisches Objekt, Holz, Motoren, 75 x 75 x 12 cm, Unikat
Gert Riel, Tension Fields – 2023, corten steel, rope tension, 55 x 68 x 96 cm
Gert Riel, Raumzeichen #518 – 2021, lacquer on aluminum, 27 x 30 x 6 cm
Gert Riel, Raumzeichen #519 – 2021, lacquer on aluminum, 27 x 30 x 5 cm
Gert Riel, Raumzeichen #522 – 2021, lacquer on aluminum, 27 x 30 x 5 cm
Gert Riel, Raumzeichen #513 – 2020, Lack auf Aluminium, 27 x 30 x 6 cm
Gert Riel, Raumzeichen #515 – 2020, Lack auf Aluminium, 20 x 30 x 7 cm
Marco Stanke, Teil aus Kollektiv – 2024, oil, acrylic, nettle, stretcher frame, 80 x 80 x 2 cm
Marco Stanke, Teil aus Kollektiv – 2024, acrylic, nettle, stretcher frame, 61,5 x 60 x 6 cm
Marco Stanke, Teil aus Kollektiv – 2021, oil, acrylic, nettle, stretcher frame, 50 x 50 x 2 cm
Marco Stanke, Teil aus Kollektiv – 2024, oil, acrylic, nettle, stretcher frame,39 x 30 x 6,5 cm
Marco Stanke, Teil aus Kollektiv – 2021, acrylic, nettle, stretcher frame, 30 x 30 x 4,5 cm
Marco Stanke, Teil aus Kollektiv – 2024, oil, acrylic, nettle, wooden wedge, stretcher frame, 65 x 37 x 5 cm
Marco Stanke, Teil aus Kollektiv – 2024, acrylic, nettle, stretcher frame, 66 x 67 x 2 cm
Marco Stanke, Teil aus Kollektiv – 2024, acrylic, nettle, stretcher frame, 48 x 16 x 2 cm
Marco Stanke, Teil aus Kollektiv – 2024, oil, acrylic, linen, stretcher frame, 83 x 60 x 2 cm
Marco Stanke, Teil aus Kollektiv – 2024, acrylic, jute, stretcher frame, 69 x 59 x 2 cm
Teil aus Kollektiv – 2024, acrylic, nettle, linen, stretcher frame, 60 x 60 x 4,5 cm
Marco Stanke, Teil aus Kollektiv – 2024, acrylic, nettle, stretcher frame, 68,5 x 63 x 2 cm
Marco Stanke, Teil aus Kollektiv – 2024, nettle, stretcher frame, 50 x 50 x 2 cm
Marco Stanke, Teil aus Kollektiv – 2024, acrylic, nettle, stretcher frame, 45 x 45 x 2 cm
Marco Stanke, Teil aus Kollektiv – 2024, acrylic, nettle, stretcher frame, 45 x 45 x 3 cm
Marco Stanke, Teil aus Kollektiv – 2024, acrylic, nettle, stretcher frame, 59 x 44 x 2 cm
Heiner Thiel, ohne Titel (wvz781) – 2024, aluminum, anodized, blue turquoise, 82 x 82 x 20 cm
Heiner Thiel, ohne Titel (wvz770) – 2023, aluminum, anodized, 66 x 77 x 10 cm
Heiner Thiel, ohne Titel (wvz774) – 2023, aluminum, anodized, 85 x 60 x 12 cm
Heiner Thiel, ohne Titel (wvz741) – 2020, aluminum, anodized, 40 x 64 x 15 cm
Heiner Thiel, ohne Titel (wvz767) – 2023, aluminum, anodized, 114 x 82 x 23 cm
Heiner Thiel, ohne Titel (wvz779) – 2024, aluminum, anodized, 76 x 73 x 18 cm
Heiner Thiel, ohne Titel (wvz753) – 2021, aluminium, anodised, homage to Ellsworth Kelly, 78 x 76 x 16 cm
Jeremy Thomas, With Gratitude (JTS1098) – 2023, hemp, epoxy resin, vinyl emulsion, 76,2 x 49,5 x 33 cm
Jeremy Thomas, Creeper #4 (JTS1145) – 2024, organic cotton, resin, vinyl emulsion, 38 x 51 x 51 cm
Jeremy Thomas, Creeper Blue (JTS1127) – 2023, organic cotton, resin, vinyl emulsion, 27,3 x 45,7 x 33,7 cm
Jeremy Thomas, Like Red on a Rose (JTS1114) – 2023, hemp, cotton, recycled polyester, resin, vinyl emulsion, 22 x 37 x 23 cm
Jeremy Thomas, Square Air Blue (JTS1117) – 2023, hemp, epoxy resin, vinyl emulsion, 26,7 x 30,5 x 22 cm
Jeremy Thomas, Passions Run High (JTS1139) – 2023, organic cotton, resin, vinyl emulsion, 19 x 22 x 22 cm
Jeremy Thomas, Green Lid (JTS1149) – 2021, organic cotton, resin, vinyl emulsion, 17,5 x 28,5 x 27 cm
Jeremy Thomas, Yellow Lid (JTS1148) – 2021, organic cotton, resin, vinyl emulsion, 18,5 x 32 x 27 cm
Jeremy Thomas, Red Lid (JTS1151) – 2021, organic cotton, resin, vinyl emulsion,16 x 30 x 28,5 cm
Jeremy Thomas, Phenol Yellow (JTS1032) – 2021, vinyl emulsion, stainless steel, 66 x 61 x 35,5 cm
Jeremy Thomas, Synthetic Carbon Black (JTS1026) – 2021, Vinyl Emulsion, Edelstahl, 62 x 61 x 49 cm
Martin Willing, Sechszehn Stäbe in Unruhe (WVZ Nr. 2023-09) – 2023/24, spring steel wire (2.4 mm), straightened, titanium grid, eroded on stainless steel block, edition 3/3, h. 195 cm, block 12 x 12 x 12 cm
Martin Willing, Stab zum Kegel gewickelt – 2023, chrome-nickel spring wire, bent, pre-tensioned, on titanium plate, edition 6/40, h. 15 cm, d. 20 cm
Martin Willing, Kubus, dreiachsig geschnitten, Ebenen mäanderförmig – 1998/99, duralumin, cut from block on adjustable aluminum plate, edition 3/3, edge length 14 cm
Martin Willing, Bewegte Wand – 1995, duralumin, water jet cut, prestressed, polished, edition 1/10, 56 x 40 x 6 cm
Martin Willing, Sphere (WVZ Nr. 1994-14) – 1994, duralumin, laser cut, curved, prestressed, on oval stainless steel plate, edition 1/10, 19 x 30 x 20 cm
Till Augustin, Ewerdt Hilgemann, Horst Linn, Pfeifer & Kreutzer, Gert Riel, Marco Stanke, Heiner Thiel, Jeremy Thomas, Martin Willing
Vernissage: Friday, June 21st from 6 to 8 pm Matinee: Saturday, June 22nd from 12 to 4 pm
Exhibition at Galerie Renate Bender, Munich June 21 to August 3, 2024
Our new exhibition “In Good Shape” presents the works of 10 contemporary artists. With their “shaped” canvases and metal objects, their work goes beyond traditional formats and question viewers’ expectations of painting and sculpture. The artists focus on the specific characteristics of the materials: their tension, materiality and texture. They call into question our visual experience and expectations when, for example, a seemingly flat object turns out to be convex, a static sculpture begins to move in a gentle breeze, or an object attached to a wall suddenly comes alive through the action of an electronic device. Some works vacillate between painting and sculpture, extending unexpectedly around the corner or protruding into the room. Steel pillars give way as air is literally extracted from them; another object appears to be strapped together, caught in tense suspension. Massive steel ropes seem to have been wound playfully into knots. The art exhibited here astounds and captivates the viewer, and leaves a lasting impression!
“If you continue like this, you’ll have to go to Mahlmann!” That was the recommendation of the instructor at the design department of the academy in Hamburg that Peter Weber had been attending since 1969. Without doubt this laid out the path for the young artist, who was warmly accepted into Max H. Mahlmann’s circle. Here students were not simply “listeners;” rather they belonged to an “inner circle” that surrounded the talented painter and mentor. Mahlmann did not lecture; he gave his students the freedom to develop on their own, offering tactful suggestions for their artistic development. The friendship between the “young” student and the “old” artist was to last to the end of Mahlmann’s life. And thus it seemed logical that for our first project on the theme “Zwei Generationen konkret” (Two Generations of Concrete Art”) the work of Max H. Mahlmann and Peter Weber would open the gallery’s exhibition with this new focus.
Peter Weber’s uninterrupted contact to Mahlmann’s family, especially to his daughter Maria Mahlmann, enabled us to draw on a wonderful collection of works by the Hamburg Concrete Artist and to present a small but excellent exhibition, for which we extend our appreciative thanks to Maria Mahlmann.
Renate Bender
February 2024
Peter Weber, Max H. Mahlmann and Gudrun Piper, March 10th, 1976
“The conceptual goal of geometric design is commensurate with our technological age. With this experience, mankind envisions a new humanity.” Max. H. Mahlmann “The idea of various folding “states” gained more and more importance in all of my folding experiments and my discovery of the most diverse materials. In the working process, architectonic constructions arise…these “states” that appear in the middle of the folding process were not shown to the public before 2017.” Peter Weber
Max H. Mahlmann was born in 1912 in Hamburg, Germany. He died in 2000 in Wedel, Germany.
In his works Max Hermann Mahlmann, who studied at the Akademie der bildenden Künste in Dresden (Dresden Academy of Fine Arts), strove for clarity and transparency. In 1949 he initially focused on Constructivism and, ten years later, created his first white reliefs.
In the 1960s he developed a methodological basis for his geometrical designs, which culminated in so-called “super structures” emerging from underlying grids.
In 1968 he developed ideas for what he called “programmed designs”, which he understood as a further development of Constructivism. As of 1970, his work featured grid structures that were continuously expanded and developed. In these images, the starting point is a basic grid that is controlled by a centralized or decentralized network of coordinates. Lines, surfaces and three-dimensional forms arise, and “color is assigned according to theoretical principles” (MHM). Aesthetic freedom is achieved through variation, dissolution and contraction that is always recognizable, not least by the title, which can provide, for example, the distance between the lines in the underlying grid. In their formal reduction they are poetic images. The grid drawings vibrate in those places where the configuration is dense, and they shift into zones of quiet harmony where the lines are further apart. Max H. Mahlmann developed a clear system with identifiable rules that has nevertheless produced unpredictable results and led to even more reduction in his late works.
Max H. Mahlmann was a skilled step dancer, mastered an overtone flute without instruction and was a charming and captivating conversationalist. He impressed and inspired his students not only those attending the Werkkunstschule Hamburg (now the University of Applied Science, Hamburg), where he taught for almost 20 years, but also numerous other artists who, in many cases, maintained a life-long friendship with him. Max H. Mahlmann received numerous awards, including, in 1995 the Bundesverdienstkreuz am Bande (Order of Merit of the Federal Republic of Germany).
Peter Weber, born 1944 in Kollmar/Elbe, Germany. He lives and works near Munich, Germany.
The artist’s path from painting in the early 1970s to his present-day foldings is characterized by a relentless investigation and struggle with mathematical-geometrical specifications, by the resulting strict formality of his work and by his ability to implement these conceptual parameters in complex groups of works using his “manual understanding” as Eugen Gomringer once referred to it.
Pictures from the group “Interferenzstufungen” (“Interference Gradations”) of 1976/77 reveal in exemplary manner how Peter Weber remembers Mahlmann’s ingeniously employed grid structures. From the start, however, Peter Weber expanded and developed them into a completely different geometrical system.
The complex foldings and different folding states that the artist has discovered and developed since then arose, as is so often the case in artistic endeavors, by chance. As an instructor at the academy in Hamburg, Peter Weber designed together with his students an invitation to a group exhibition in the form of a folded card. It was received with such enthusiasm that it encouraged him to explore folding systems. Created in canvas, his first folded works were shown by the artist in two different states of both the front and reverse sides: folded and opened. Folding became his medium of choice and in the end led to Peter Weber’s devoting himself entirely to folding. Initially, paper and canvas were his main material, followed by translucent HDPE, a highly dense polyethylene.
Paper has always been one of his most important materials. For his particular purpose Weber soon discovered that a 640-gram water color paper would remain stable throughout the folding process, enabling him to retain the folding states in their position, quasi as reliefs. The resulting objects, seemingly architectonic in character, combine precision and elegance in one artistic design.
And if that were not enough, Peter Weber has returned to steel, or rather stainless steel, which he had used in the early 1990s for some outside sculptures. However, because the material is unfoldable, it had to be cut with a laser and welded back together again.
The idea of a “folding state” has enabled him now to have the steel plates lasered by a specialized workshop according to drawings detailing the folds. Little bars that remain in the metal between the cuts and a simultaneously occurring folding technique that requires considerable strength and skill, actually enabled him to fold or bend the flat plates by himself.
A concrete idea carefully thought through, refined, expanded and executed over 50 years.
Angelika Huber, in motion – brush – 2024, split-flap display, colored synthetic hair, transformer, motion detector, 9,5 x 6 x 19 cm
Angelika Huber, in motion – impact – 2024, split-flap display, mylar, transformer, motion detector, 9,5 x 6 x 19 cm
Angelika Huber, in motion – leave me a note – 2024, split-flap display, blackboard foil, blackboard chalk, transformer, motion detector, 9,5 x 6 x 19 cm, detail 1
Angelika Huber, in motion – leave me a note – 2024, split-flap display, blackboard foil, blackboard chalk, transformer, motion detector, 9,5 x 6 x 19 cm, detail 2
Angelika Huber, in motion – strumming – 2024, split-flap display, stainless steel sheet, transformer, motion detector, 9,5 x 6 x 19 cm, detail 1
Angelika Huber, in motion – strumming – 2024, split-flap display, stainless steel sheet, transformer, motion detector, 9,5 x 6 x 19 cm, detail 2
Angelika Huber, in motion – world in my eyes – 2024, split-flap display, adhesive film, fake lashes, transformer, motion detector, 2 parts, each 9,5 x 6 x 19 cm
Angelika Huber, in motion – birdie in a box – 2024, MDF, wall paint, split-flap display, feathers, transformer, 32 x 42 x 32 cm
Angelika Huber, in motion – birdie in a box – 2024, MDF, wall paint, split-flap display, feathers, transformer, 32 x 42 x 32 cm, detail 1
Angelika Huber, in motion – birdie in a box – 2024, MDF, wall paint, split-flap display, feathers, transformer, 32 x 42 x 32 cm, detail 2
Edda Jachens, SCHICHTUNGEN 290421, 010420, 131020, 180521 – 2020-2021, watercolor on hand-made paper, each 97,5 x 67,5 cm
Edda Jachens, SCHICHTUNGEN 061123 – 2023, watercolor on hand-made paper, 78 x 58 cm
Edda Jachens, SCHICHTUNGEN 301122 – 2022, watercolor on hand-made paper, 78 x 58 cm
Edda Jachens, SCHICHTUNGEN 250522 – 2022, watercolor on hand-made paper, 78 x 58 cm
Edda Jachens, SCHICHTUNGEN 280722 – 2022, watercolor on hand-made paper, 78 x 58 cm
Edda Jachens, SCHICHTUNGEN 290421 – 2021, watercolor on hand-made paper, 96,5 x 68 cm
Edda Jachens, SCHICHTUNGEN 180521 – 2021, watercolor on hand-made paper, 96,5 x 67,5 cm
Edda Jachens, SCHICHTUNGEN 010420 – 2020, watercolor on hand-made paper, 96 x 68 cm
Edda Jachens, SCHICHTUNGEN 131020 – 2020, watercolor on hand-made paper, 96,5 x 66,5 cm
Edda Jachens, ZEICHEN 240119 – 2019, watercolor on hand-made paper, 87,5 x 66 cm
Edda Jachens, SCHICHTUNGEN 200318 – 2018, watercolor on hand-made paper, 78 x 58 cm
Edda Jachens, ELLIPSEN 0802171 – 2017watercolor on hand-made paper, 50 x 40 cm
Edda Jachens, SCHICHTUNGEN 1806172 – 2017, watercolor on hand-made paper, 50 x 40 cm
Edda Jachens, SCHICHTUNGEN 1806173 – 2017, watercolor on hand-made paper, 50 x 40 cm
Edda Jachens, SCHICHTUNGEN 1503166 – 2016, watercolor on hand-made paper, 50 x 40 cm
Edda Jachens, KREUZUNGEN 1504162 – 2016, watercolor on hand-made paper, 50 x 40 cm
Edda Jachens, KREUZUNGEN 1804162– 2016, watercolor on hand-made paper, 50 x 40 cm
Edda Jachens, KREUZUNGEN 0305161 – 2016, watercolor on hand-made paper, 80 x 60 cm
Edda Jachens, SCHICHTUNGEN 2305162 – 2016, watercolor on hand-made paper, 50 x 40 cm
Edda Jachens, SCHICHTUNGEN 2305163 – 2016, watercolor on hand-made paper, 50 x 40 cm
Fiene Scharp, “Greetings from …” – 2016, continuos, framed, each 20 x 26 cm
Fiene Scharp, “Greetings from…” (FS-08-026) – 2023, paper cut from picture postcard (Ukraine), framed, 20 x 26 cm
Fiene Scharp, “Greetings from…” (FS-08-027) – 2023, paper cut from picture postcard (Ukraine), framed, 20 x 26 cm
Fiene Scharp, “Greetings from…” (FS-08-031) – 2023, paper cut from picture postcard (Ukraine), framed, 20 x 26 cm
Fiene Scharp, “Greetings from…” (FS-08-035) – 2023, paper cut from picture postcard (Syria), framed, 20 x 26 cm
Fiene Scharp, “Greetings from…” (FS-08-022) – 2021, paper cut from picture postcard (Iraq), framed, 20 x 26 cm
Fiene Scharp, “Greetings from…” (FS-08-023) – 2021, paper cut from picture postcard (Iraq), framed, 20 x 26 cm
Fiene Scharp, “Greetings from…” (FS-08-034) – 2016, paper cut from picture postcard (Syria), framed, 20 x 26 cm
Fiene Scharp, “Greetings from…” (FS-08-007) – 2016, paper cut from picture postcard (Syria), framed, 20 x 26 cm
Fiene Scharp, “Greetings from…” (FS-08-011) – 2016, paper cut from picture postcard (Syria), framed, 20 x 26 cm
Fiene Scharp, Ohne Titel (FS-01-179) – 2023, paper cut, tape, framed, 99 x 69 cm
Fiene Scharp, Ohne Titel (FS-01-181) – 2023, four layer paper cut between acrylic glass panels, framed, 43 x 30,6 cm
Fiene Scharp, Ohne Titel (FS-01-182) – 2023, three layer paper cut between acrylic glass panels, framed, 30,8 x 22 cm
Fiene Scharp, Ohne Titel (FS-01-183) – 2023, four layer paper cut between acrylic glass panels, framed, 30,5 x 22 cm
Fiene Scharp, Ohne Titel (FS-01-185) – 2023, three layer paper cut between acrylic glass panels, framed, 30,8 x 22 cm
Fiene Scharp, Ohne Titel (FS-01-186) – 2023, four layer paper cut between acrylic glass panels, framed, 30,8 x 22 cm
Fiene Scharp, Ohne Titel (FS-01-044) – 2023, four layer paper cut between acrylic glass panels, framed, 30,4 x 21,7 cm
Fiene Scharp, Ohne Titel (FS-01-046) – 2016, four layer paper cut between acrylic glass panels, framed, 30,4 x 21,7 cm
Fiene Scharp, untitled (FS-01-083) – 2019, paper cut, framed, 50 x 40 cm
Fiene Scharp, untitled (FS-01-129) – 2021, paper cut, framed, 50 x 40 cm
Fiene Scharp, untitled (FS-01-159) – 2022, paper cut, framed, 50 x 40 cm
Fiene Scharp, untitled (FS-01-160) – 2022, paper cut, framed, 50 x 40 cm
Fiene Scharp, untitled (FS-01-161) – 2022, paper cut, framed, 50 x 40 cm
Three Positions of Contemporary Art
Angelika Huber, Edda Jachens, Fiene Scharp
Opening: Friday, January 19, 2024, 6 to 8 pm Matinee: Saturday, January 20, 2024, 12 to 4 pm
Exhibition at Galerie Renate Bender, Munich January 19 to April 13, 2024
MATTER FOLLOW MIND – 1998, FOR LINZ – 2011, pigment, lacquer on aluminum, 200 x 287 x 10 cm, Kunstsammlung OÖ, LINZ-AT, 2011
METANOIA-SANFT – 2023, pigment, lacquer on mirrored glass, nine pieces, 116 x 153 cm
METANOIA I – 2023, pigment, lacquer on mirrored glass, 30 x 30 cm, view 1
METANOIA I – 2023, pigment, lacquer on mirrored glass, 30 x 30 cm, view 2
METANOIA II – 2023, pigment, lacquer on mirrored glass, 30 x 30 cm, view 1
METANOIA II – 2023, pigment, lacquer on mirrored glass, 30 x 30 cm, view 2
METANOIA VI– 2023, pigment, lacquer on mirrored glass, 15 x 15 cm
METANOIA VII – 2023, pigment, lacquer on mirrored glass, 15 x 15 cm
METANOIA IX – 2023, pigment, lacquer on mirrored glass, 30 x 30 cm
METANOIA XI – 2023, pigment, lacquer on mirrored glass, d. 15 cm
METANOIA XII – 2023, pigment, lacquer on mirrored glass, d. 21 cm
METANOIA XIV – 2023, pigment, lacquer on mirrored glass, d. 30 cm
LICHTTANK IX – 2022, pigment, lacquer on mirrored glass, 30 x 127 cm, four pieces, view 1
LICHTTANK IX – 2022, pigment, lacquer on mirrored glass, 30 x 127 cm, four pieces, view 2
LICHTTANK X – 2022, pigment, lacquer on mirrored glass, 30 x 127 cm, four pieces, view 1
LICHTTANK X – 2022, pigment, lacquer on mirrored glass, 30 x 127 cm, four pieces, view 2
EVERGLOW 100 – 2023, pigment, lacquer on mirrored glass, 30 x 30 cm
EVERGLOW 085 HRO – 2022, pigment, lacquer on mirrored glass, 30 x 30 cm
EVERGLOW 010 HO-K – 2021, pigment, lacquer on mirrored glass, 15 x 15 cm
EVERGLOW 067 HGRW-K – 2021, pigment, lacquer on mirrored glass, 15 x 15 cm
LICHTTANK I – 2020, pigment, lacquer on mirrored glass, 30 x 30 cm, view 1
LICHTTANK I – 2020, pigment, lacquer on mirrored glass, 30 x 30 cm, view 2
LICHTTANK III – 2020, pigment, lacquer on mirrored glass, 30 x 30 cm, view 1
LICHTTANK III – 2020, pigment, lacquer on mirrored glass, 30 x 30 cm, view 2
ECHO NOBLE II-2 – 2020, pigment, lacquer on mirrored glass, 30 x 30 cm, view 1
ECHO NOBLE II-2 – 2020, pigment, lacquer on mirrored glass, 30 x 30 cm, view 2
UNTOLD SUCCESSFUL STORIES I – 2019, pigment, lacquer on alucobond, 40 x 81,2 cm, two pieces, view 1
UNTOLD SUCCESSFUL STORIES I – 2019, pigment, lacquer on alucobond, 40 x 81,2 cm, two pieces, view 2
TRANSFORMATION I – 2017, pigment, lacquer on alucobond, 60 x 60 cm, view 1
TRANSFORMATION I – 2017, pigment, lacquer on alucobond, 60 x 60 cm, view 2
MEERAUM II – 2014, pigment, lacquer on aludibond, 120 x 120 cm, view 1
MEERAUM II – 2014, pigment, lacquer on aludibond, 120 x 120 cm, view 2
ZARTKRAFT III – 2013, pigment, lacquer on aludibond, 60 x 150 cm
ZARTKRAFT IV – 2013, pigment, lacquer on aludibond, 60 x 150 cm
TIEFSEH II – 2003, pigment, lacquer on nettle on
wood, 120 x 120 cm (view detail on title)
CHANGE ONE’S MIND III – 2001, Pigment, Lack auf Nessel auf Holz, 120 x 120 cm
3 x GELB – 1991, pigment, acrylic on cotton, 78 x 100 cm, three pieces, view 1
3 x GELB – 1991, pigment, acrylic on cotton, 78 x 100 cm, three pieces, view 2
TREASURE ISLAND 490 – 2001, r-print on aludibond, acrylic glass, 120 x 42 cm
TREASURE ISLAND 493 – 2001, r-print on aludibond, acrylic glass, 120 x 42 cm
TREASURE ISLAND 494 – 2001, r-print on aludibond, acrylic glass, 120 x 42 cm
TREASURE ISLAND 497 – 2001, r-print on aludibond, acrylic glass, 120 x 42 cm
TREASURE ISLAND 498 – 2001, r-print on aludibond, acrylic glass, 120 x 42 cm
TREASURE ISLAND 499 – 2001, r-print on aludibond, acrylic glass, 120 x 42 cm
TROPPO VERO I – 2000, r-print on aludibond, acrylic glass, 40 x 118 cm
TROPPO VERO II – 2000, r-print on aludibond, acrylic glass, 40 x 118 cm
Just the Blink of an Eye... 30 years of Rosa M Hessling at Galerie Renate Bender
Opening: Friday,November 10, 2023, 6 to 8 pm (at 6:30 introduction to the work of Rosa M Hessling Prof. Dr. Karin Stempel) Matinee: Saturday,11. November 2023, 12 bis 16 Uhr Finissage: Saturday,January 13, 2024, 12 to 4 pm. The artist will be present.
Exhibition at Galerie Renate Bender, Munich November 10th, 2023 to January 13th, 2024
A catalog is published on the occasion of the exhibition with a text contribution by Prof. Dr. Karin Stempel
Rosa M Hessling was born in 1954 in Zell/Mosel, Germany, where she lives and works.
The development of Rosa M Hessling’s artistic work is not only characterized by a increasing differentiation and nuance of the modes of action of her pictures, (…) but is also associated with an increasing deceleration of the physical movement of the viewer in space. Rather, the viewer’s gaze rests in a finely choreographed spectacle of turbulence, in which implosions and explosions of color thwart and traverse. There is a figure of light which detaches itself from the color body that opens in a brilliant glow like a flower, an inflamed glow that illuminates everything and its gaze draws into an infinite depth, extinguishing in the whirlpool of this movement, in order to get out of it to emerge again from the subterranean glow. Gently pulsating, quietly floating, triumphantly shining, sinking into itself, smoldering and glowing – imago viva – here painting takes place as a visionary show.
Karin Stempel
(Excerpt from the text contribution “Rosa M Hessling” in the exhibition catalog)
„In Touch with Light“, Galerie Renate Bender, 2023
Ausstellungsansicht „In Touch with Light“, Galerie Renate Bender 2023
Ausstellungsansicht „In Touch with Light“, Galerie Renate Bender 2023
Ausstellungsansicht „In Touch with Light“, Galerie Renate Bender 2023
Ausstellungsansicht „In Touch with Light“, Galerie Renate Bender 2023
Ausstellungsansicht „In Touch with Light“, Galerie Renate Bender 2023
Ausstellungsansicht „In Touch with Light“, Galerie Renate Bender 2023
Ausstellungsansicht „In Touch with Light“, Galerie Renate Bender 2023
Ausstellungsansicht „In Touch with Light“, Galerie Renate Bender 2023
Ausstellungsansicht „In Touch with Light“, Galerie Renate Bender 2023
Ausstellungsansicht „In Touch with Light“, Galerie Renate Bender 2023
Ausstellungsansicht „In Touch with Light“, Galerie Renate Bender 2023
Hellmut Bruch, Vertikale mit Farbtransfer – 2021, transparent acrylic glass, 36 x 21 cm, edition of 3 + 1 A.P.
Hellmut Bruch, Prisma – 2012, transparent acrylic glass, 34 x 13 x 13 cm
Hellmut Bruch, Prismenprogression – 2003, transparent acrylic glass, h. 89 cm
Hellmut Bruch, 12 Vertikale – 1999/2015, transparent acrylic glass, 68 x 21 x 21 cm
Hellmut Bruch, „Progressiv nach rechts“ – 2020, Acrylglas rot, fluoreszierend, Auflage 3 + 1 A.P., 1 PT, 50 x 50 x 0,3 cm
Hellmut Bruch, „Unendlich, endlich“ – 2020, Acrylglas orange, fluoreszierend, Auflage 3 + 1 A.P., 1 PT, 50 x 50 x 0,3 cm
Hellmut Bruch, Variation zu Hommage à Malewitsch I – 2016, orange acrylic glass, fluorescent, 50 x 50 x 2,5 cm, edition of 3 + 1 a.p.
Hellmut Bruch, Variation zu Hommage à Malewitsch II – 2016, orange acrylic glass, fluorescent, 50 x 50 x 2,5 cm, edition of 3 + 1 a.p.
Hellmut Bruch, „Exzentrisch offen“ – 2017, Acrylglas lavaorange, fluoreszierend, 34 x 144 x 0,3 cm
Inge Dick, Lichtstreifen – 1985/17-2022/14 – 1985/2022, print on Hahnemühle Photo Rag Vetra Smooth, 30 pcs., each 30,5 x 24 cm
Inge Dick, sommer licht weiss (2023/8) – 2023, Giclée print on Hahnemühle Photo Rag Bright White 310g, 70 x 50 cm (framed), edition of 8
Inge Dick, sommer licht weiss (2023/9) – 2023, Giclée print on Hahnemühle Photo Rag Bright White 310g, 70 x 50 cm (framed), edition of 8
Inge Dick, sommer licht weiss (2023/11) – 2023, Giclée print on Hahnemühle Photo Rag Bright White 310g, 70 x 50 cm (framed), edition of 8
Inge Dick, „frühlings licht weiss – 2020/33“, „sommer licht weiss – 2020/34“, „herbst licht weiss – 2020/35“ und „winter licht weiss – 2020/36“ – 2020, Giclée Druck auf HPL 260g, auf Aluminium, Acrylglas, Auflage je 12 Ex., je 30 x 30 cm
Siegfried Kreitner, I-2023 – 2023, aluminum, plastics, dimmed neon tube, aluminum tubes polished and black anodized, 3 E-motors, h. 188 cm, Ø 25 cm
Siegfried Kreitner, III – 2022, aluminum, dibond, foam rubber elliptical gears with varying gear ratios from 1 to 2 till 2 to 1, 1electric motor 0.7 rpm, 188,5 x 22,5 to 39 x 22,5 to 39 cm
Jan van Munster, Hanging Brainwave – 2012, blue and transparent glass, argon, neon, transformer, 160 x 30 cm, edition 3 + 1 AP
Jan van Munster, Hanging Brainwave – 2012, schwarzes und transparentes Glas, Argon, Neon, Transformator, 160 x 30 cm
Jan van Munster, „Swinging Uecker“ – 2016, Holz, schwarze Farbe, Nagel, Magnet, 24 Karat Gold, 27 x 18 x 7 cm, Unikatreihe
Thomas Mükisch, 3232EK104 – 2023, solstick on aluminium oxide, 55 x 59 cm
Thomas Mükisch, 7232EK104 – 2023, solstick on aluminium oxide, 55 x 59 cm
Thomas Mükisch, 1221EK98 – 2022, solstick on aluminum oxide, aluminum, 48 x 48 cm, photo: Peter Hutter
Regine Schumann, colormirror rainbow purpur groves munich – 2023, acrylic glass, fluorescent, 110 x 50 x 17 cm
Regine Schumann, colormirror rainbow purpur groves munich – 2023, acrylic glass, , fluorescent, 110 x 50 x 17 cm, black light view
Regine Schumann, colormirror small red corner – 2023, acrylic glass, fluorescent, 54 x 36 x 9 cm
Regine Schumann, colormirror small red corner – 2023, acrylic glass, fluorescent, 54 x 36 x 9 cm, black light view
Regine Schumann, colormirror soft double satin turquoise munich – 2023, acrylic glass, fluorescent, 18 x 14 x 6 cm, edition of 6 + 2 A.P.
Regine Schumann, colormirror soft double satin turquoise munich – 2023, acrylic glass, fluorescent, 18 x 14 x 6 cm, edition of 6 + 2 A.P., black light view
Regine Schumann, colormirror satin dark blue glowing after bologna – 2022, acrylic glass, fluorescent and luminescent, 46 x 110 x 11 cm
Regine Schumann, colormirror satin dark blue glowing after bologna – 2022, acrylic glass, fluorescent and luminescent, 46 x 110 x 11 cm, black light view
Regine Schumann, colormirror satin violet rainbow blue – 2022, acrylic glass, fluorescent, 150 x 130 x 15 cm
Regine Schumann, colormirror satin violet rainbow blue – 2022, acrylic glass, fluorescent, 150 x 130 x 15 cm, black light view
Regine Schumann, colormirror grape pink milan – 2021, acrylic glass, fluorescent, 78 x 38 x 8 cm
Regine Schumann, colormirror grape pink milan – 2021, acrylic glass, fluorescent, 78 x 38 x 8 cm, black light view
Hans Schork, RHAVETT V – 2022, screen print on acrylic glass, neon tube, electric motor (0.5 rpm), 50 x 50 x 10 cm
Hans Schork, Meditation: Nefta – 2022, screen print on acrylic glass, neon tube, electric motor (0.5 rpm), 60 x 60 x 10 cm
Julius Stahl, Relief 1/22 – 2022, resonance object – aluminium, lacquer, sine tones, electronics, 160 x 49 x 15 cm
Julius Stahl, Luminogramm 3/21 – 2021, gelatin silver paper, half object box with museum glass
, 57 x 70 cm
Julius Stahl, Luminogramm 34/20 – 2020, gelatin silver paper, 24 x 30 cm
Julius Stahl, Luminogramm 37/20 – 2020, gelatin silver paper, 24 x 30 cm
Timm Ulrichs, „Ein Bild sagt mehr als sieben Worte, ein Bild sagt mehr als zweiundvierzig Buchstaben“ – 1964/79 (Text) / 2009, LED-Laufschrif-Objekt, Auflagen 5, 11 x 69,8 x 4,5 cm
In Touch with Light
Hellmut Bruch, Inge Dick, Siegfried Kreitner, Jan van Munster, Thomas Mükisch, Regine Schumann, Hans Schork, Julius Stahl and Timm Ulrichs
Exhibition at Galerie Renate Bender, Munich September 8th to October 28th, 2023
Vernissage: Friday, September 8th 2023, 6 to 9 pm
Special opening hours for Open Art: Saturday and Sunday Sept. 9/10 from 11 am to 6 pm
At the start of the 2023 season, Galerie Renate Bender is "In Touch with Light":
With Inge Dick's early black-and-white photographs, which capture poetic moments of light, as well as the prism works made of solid acrylic glass by Hellmut Bruch. With the "Brainwaves" by Jan van Munster blown into curved neon tubes and the fluorescent acrylic glass objects by Regine Schumann. Enigmatic and humorous with Timm Ulrichs or challenging perception as in the minimal-kinetic works of Hans Schork and Siegfried Kreitner. But also delicately tracing the interplay between material and incidence of light with the wax chalk works of Thomas Mükisch. Subtly demonstrating the interplay of light and sound space, with the relief by Julius Stahl.
The international cast of artists focuses on the theme of "light" – with completely different forms of expression.
5 Jahre später. Bender Schwinn Projekt Reloaded – 2023
Marile Holzner, o.T. (2. Schwungserie) – 2023, ballpoint on paper, each 27,9 x 42 cm, 8 pieces.
5 Years later. Bender Schwinn Project Reloaded
Raphael Grotthuss, Marile Holzner, Steffen Kern, Martin Lehmer, Pfeifer & Kreutzer, Eunji Seo, Marco Stanke
Vernissage on Friday, June 30th 2023 from 6 to 8 pm Matinee on Saturday, July 1st 2023 from 12 to 4 pm
Exhibition from June 30th to July 29th, 2023
In 2016, the aim of the "Bender Schwinn Project" was to show and promote young artists who are at the beginning of their artistic careers in established gallery spaces. Opening up to a new generation – both of artists and an future gallery owner – has been very successful. While "Project One" took place "between" the regular gallery exhibitions on a few days in March 2016, the exhibition concept was given the place of the four-week summer exhibition the following year due to its great success. In 2018, "Project Three" was the last exhibition for the time being on this specific topic.
Now the exciting question arises: How have our "young" discoveries evolved?
In the meantime, the artists in these three exhibitions have been awarded several prizes, scholarships and catalogue grants, some of them several times. They have already successfully mastered their first steps into the highly competitive art market.
Five years after the last "Bender Schwinn Project", we are now once again inviting a selection of the artists shown at that time. Some have by now been included in the permanent art program of the gallery, others have remained connected to us and we follow their careers with joy and curiosity. While some have clear ideas about where their artistic path is going, others are still searching. It's pleasure to watch these developments and experiments.
Layer by Layer exploring the Essence of Color Bim Koehler – Matt McClune
Layer by Layer exploring the Essence of Color Bim Koehler – Matt McClune
Exhibition from April 21st to June 24th, 2023
Opening: Friday, April 21, 2023, 6 to 8 pm Matinee: Saturday, April 22, 2023, 11 am to 6 pm
The paintings of Bim Koehler and Matt McClune achieve their fascination from the countless layers of color that create depth and pictorial space. The use of finely-dispersed pigments, which are mixed by hand, often leads to a different tone for each brush or spatula application. Eager to experiment, both of the painters investigate the nature of color and arrive at different results.
Bim Koehler was born in 1949 in Kassel, Germany. He lives and works in Spiesheim / Rhineland-Palatinate, Germany.
Bim Koehler’s oeuvre includes, in addition to his predominantly monochrome works, his unmistakable stripe paintings. In his monochrome works, the artist uses a wide brush to apply a variety of color variations, one on top of the other. Layer by layer, a nearly monochrome image appears, the final coats of color being successively applied towards the top. The countless layers combine to generate tension and open up pictorial spaces.
In his stripe paintings, the almost endless number of colored stripes, applied one on top of the other, draws the viewer’s eye into the spatial depth of the picture, inevitably raising the question of the last brush stroke.
Matt McClune was born in 1973 in Worcester, MA, USA. He lives and works in St. Romain, France.
The American Matt McClune, who has been living in Burgundy for nearly 20 years, applies the paint onto rigid supports with specially-made spatulas of various widths. The numerous, often thinly applied layers of color, create a meditative and tranquil effect which changes depending on the natural lighting. But the image is also gestural and expressive, when the wash, mixed with a polyurethane gel, emerges in an almost three-dimensional manner and the spatula produces compositional and structural elements.
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Ausstellungsansicht „What’s out there? Five American Artists“, Galerie Renate Bender 2023
Robin Rose, Robert Sagerman, Jeremy Thomas, Bill Thompson & Susan York
Exhibition from January 20 to March 31, 2023
Opening: Friday, January 20, 2023, 6 to 8 pm Matinee: Saturday, January 21, 2023, 12 to 4 pm
When Galerie Renate Bender last asked: "What's out there?”, a group exhibition with five artists from just as many countries was created on the occasion of the Open Art 2009.
We dare to think outside the box again with five American artists who we represent for many years and whose work has an extraordinary physical presence. They all share an innovative approach to their respective materials: oil, polyurethane, steel, wax and graphite. The results are three-dimensional objects and relief-like surfaces in a wide range of colors. Let's take a look across the pond!
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
Ausstellungsansicht „Die Sinnlichkeit der Farbe. Helmut Dirnaichner zum 80. Geburtstag. Arbeiten aus vier Jahrzehnten“, Galerie Renate Bender 2022
The Sensuality of Color Helmut Dirnaichner on his 80th birthday Works from four decades
The Sensuality of Color Helmut Dirnaichner on his 80th birthday. Works from four decades
Exhibition from November 10th, 2022 to January 14th, 2023
+++ The gallery remains closed from December 24th, 2022 to January 9th, 2023 +++
Helmut Dirnaichner was born in 1942 in Kolbermoor, Bavaria. He lives and works in Munich, Germany and Milan, Italy.
With his fragile works of ground earth, stones, minerals and cellulose, Helmut Dirnaichner occupies a unique position in contemporary art. The artist describes himself as the poetic “creator” of his art.
Since 1982 Dirnaichner has been working with stones and semi-precious jewels like azurite, malachite and lapis lazuli, materials which can be traced back to the beginnings of painting. These stones, he discovered, provide him with a natural color palette. At the beginning of his creative process, he crushes and grinds the stones until granules are formed. This mineral substance is combined with cellulose without using any binding agents. It interfuses with the resulting fragile pictorial body, thereby rendering a richly varied surface structure. These structures have a different effect depending on the position of the viewer and the ambient light, lending them a unique depth and tranquillity. In this way, as Dirnaichner himself has commented, the artist enters into a dialogue with stones.
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
Ausstellungsansicht „Papierwelten 4.0 – aus und auf Papier“, Galerie Renate Bender 2022
The World of Paper 4.0 – Made from and on paper
Fiene Scharp, Raphael Grotthuss, Franz Riedl, Reinhard Wöllmer, Peter Weber, Russell Herron
Exhibition from September 9 to October 29, 2022
Opening: Friday, September 9, 2022, 6 to 9 pm
Special opening times during OPEN ART 2022 Saturday / Sunday, September 10th/11th, 2022, from 11 am to 6 pm
From wall-sized formats to filigree cut-outs – in this year’s exhibition “Papierwelten 4.0” (“The World of Paper 4.0”), the work of our main protagonists, Fiene Scharp and Raphael Grotthuss, demonstrate how varied and fascinating this topic is being dealt with in the present art scene. The exhibition also includes current works of well-known artists from our own gallery program, which has focused on paper as material for many years.
Fiene Scharp’s delicate paper cut-outs are created from existing or self-constructed grids. Using a scalpel, she cuts out the white surface between the lineation or she combines elements to form new grids. Functional paper, used primarily as a framework for scaling an image, takes on a materiality of its own. The result are works with seemingly three-dimensional textures – networks of co-ordinates with textile-like character. The paper structures form arches, foldings and overlayings that create surface tension.
Spraying, pouring, scooping – these three basic techniques of working
with fiber are used by Raphael Grotthuss to subdue the strength and resistance of the material. The poured flax fibers and sprayed pigment create free pictorial surfaces that are installed openly in the exhibition space or sprayed on broken glass plates.
The exhibition also includes additional works by familiar artists from our gallery
whose material of choice is paper: Franz Riedl, Vienna; Reinhard Wöllmer, Nuremberg; Peter Weber, Munich and guest artist Russell Herron, London.
Jus Juchtmans – Lars Strandh Two European Positions in Minimalist Painting
Jus Juchtmans – Lars Strandh Two European Positions in Minimalist Painting
Exhibition from May 14 to July 30, 2022
Opening: Friday, May 13, 2022, 6 to 8 pm Matinee: Saturday, May 14, 2022, 12 to 4 pm
Both artists will be present at the vernissage.
Under the title "Two European Positions in Minimalist Painting" we are showing current works by the artists Jus Juchtmans from Antwerp and Lars Strandh from Olso.
Jus Juchtmans was born in 1952 in Mortsel, Belgium. He lives and works in Antwerp, Belgium.
The glossy paintings of Jus Juchtman are monochromatic only at first sight. Applied with a squeegee to the canvas, each of the numerous layers of paint are clearly visible at the edges of his works. It is this transparency that opens up the pictorial space, an effect that is intensified by the reflection of light.
The artist's keen sense for what can arise through reduction - a “letting go” in the creation process - led to the paintings that he first showed in the spring of 2022 in Munich. In these works Jus Juchtmans recognized that the dissolution of materiality and the emergence of “absolute painting” could at times be achieved after applying just a few layers. The resulting works, also those shown here, seem to breathe, and the viewer is uncertain whether they are emerging or vanishing. The glossy surface interacts directly with their surroundings; they reflect within themselves and thus become what Michael Fehr referred to as the “transitory part of the pictorial event.” With his oscillating creations, Jus Juchtman has positioned himself as one of the most prominent artists in the sphere of monochrome painting in Europe.
Lars Strandh was born in 1961 in Gothenburg, Sweden. He lives and works in Oslo, Norway.
In the course of the last twenty years, the Swedish artist Lars Strandh has painted several hundred thousand lines in his distinctive manner. The concentration and precision required for this painting method can be immediately recognized. From a distance the paintings can appears to be monochromatic works but they are in fact polychromatic.
His finely painted brushstrokes form a clearly defined color field on the unprimed linen canvas. Viewed up close, the lines begin to oscillate. They create a color space - at times calm, at times vibrating - developed from the contrast of light and dark and from the choice of complementary colors. The works emanates a stillness that invites contemplation but also reflection. The simplicity is very complex and makes the paintings totally experiential. The more time you give to Strandh’s painting the more will be given back to you. Thus, Lars Strandh can be seen in the tradition of those minimalist artists who investigate the phenomenon color in its many forms.
Till Augustin, Ewerdt Hilgemann, Siegfried Kreitner, Horst Linn, Heiner Thiel, Gert Riel
Exhibition from February 5 to April9 2022(will be extended until Thursday, April 14, 2022.)
Opening: Friday February 4, 2022, 6 to 8 pm Matinee: Saturday, February 5, 2022, 12 to 4 pm
Till Augustin, Siegfried Kreitner, Gert Riel and Heiner Thiel will be present at the vernissage.
Attention: The wearing of a FFP2 mask in the gallery is an obligation and please keep your distance. There is limited access to the gallery space.
Whether arm-thick, intertwined steel cables, imploded forms made of shiny stainless steel, electric motor-driven, movable aluminum plates, folded or deformed steel - the works of the six sculptors show how the material metal can be treated in completely different ways. Sometimes the materiality of steel is revealed in all its heaviness and rough texture, as in the sculptures by Till Augustin or the wall reliefs by Horst Linn, some of which have a rust patina. Then there is the play with illusion both in form and surface of Heiner Thiel's steel sheets treated with graphite and shellac. At the other end of the scale, the cut-open "Cracked Cubes" by Ewerdt Hilgemann, shown for the first time in Munich; the steel sheets by Gert Riel, deformed by traction or pressure and under tension; and finally the "minimal-kinetic" sculptures by Siegfried Kreitner, which have both a meditative and playful effect.
Ausstellungsansicht „color constructs. Harald Pompl – Robert Sagerman“, Galerie Renate Bender 2021
Ausstellungsansicht „color constructs. Harald Pompl – Robert Sagerman“, Galerie Renate Bender 2021
Ausstellungsansicht „color constructs. Harald Pompl – Robert Sagerman“, Galerie Renate Bender 2021
Ausstellungsansicht „color constructs. Harald Pompl – Robert Sagerman“, Galerie Renate Bender 2021
Ausstellungsansicht „color constructs. Harald Pompl – Robert Sagerman“, Galerie Renate Bender 2021
Ausstellungsansicht „color constructs. Harald Pompl – Robert Sagerman“, Galerie Renate Bender 2021
Ausstellungsansicht „color constructs. Harald Pompl – Robert Sagerman“, Galerie Renate Bender 2021
Ausstellungsansicht „color constructs. Harald Pompl – Robert Sagerman“, Galerie Renate Bender 2021
Ausstellungsansicht „color constructs. Harald Pompl – Robert Sagerman“, Galerie Renate Bender 2021
Ausstellungsansicht „color constructs. Harald Pompl – Robert Sagerman“, Galerie Renate Bender 2021
Ausstellungsansicht „color constructs. Harald Pompl – Robert Sagerman“, Galerie Renate Bender 2021
Ausstellungsansicht „color constructs. Harald Pompl – Robert Sagerman“, Galerie Renate Bender 2021
ColorConstructs Harald Pompl – Robert Sagerman
Opeining: Thursday, November 11th, 2021, 6 to 9 pm Matinee: Saturday, November 13th, 2021, 12 to 4 pm
Exhibition from November 11th to December 23rd, 2021 extended until January 22nd, 2022
„Color Constructs“, the title of the exhibition already suggests: it is about color and how an artist creates color.
Harald Pompl has been working for many years with a rich color canon of synthetic resins, which he usually colors himself in a liquid state with pigments. In his latest group of works, "color cubes," he pours the liquid colored synthetic resin into molds, which are then layered on top of each other to create colorful, light-filled massive cubes.
Robert Sagerman meticulously builds up massive colored surfaces of dense oil paint on a support with individual "marks" over a period of months until the body of color corresponds to his ideas. Just as meticulously, he records in a diary when he has prepared the paint and how many "marks" he has applied at a certain time of day in which color.
Ausstellungsansicht „Black is Beautiful“, Galerie Renate Bender 2021
Ausstellungsansicht „Black is beautiful“, Galerie Renate Bender 2021, Photo: Gary Thurner
Ausstellungsansicht „Black is beautiful“, Galerie Renate Bender 2021, Photo: Gary Thurner
Ausstellungsansicht „Black is Beautiful“, Galerie Renate Bender 2021
Ausstellungsansicht „Black is beautiful“, Galerie Renate Bender 2021, Photo: Gary Thurner
Ausstellungsansicht „Black is beautiful“, Galerie Renate Bender 2021, Photo: Gary Thurner
Ausstellungsansicht „Black is Beautiful“, Galerie Renate Bender 2021
Ausstellungsansicht „Black is beautiful“, Galerie Renate Bender 2021, Photo: Gary Thurner
Ausstellungsansicht „Black is Beautiful“, Galerie Renate Bender 2021
Ausstellungsansicht „Black is Beautiful“, Galerie Renate Bender 2021
Ausstellungsansicht „Black is Beautiful“, Galerie Renate Bender 2021
Ausstellungsansicht „Black is Beautiful“, Galerie Renate Bender 2021
Ausstellungsansicht „Black is Beautiful“, Galerie Renate Bender 2021
Ausstellungsansicht „Black is beautiful“ mit Renate Bender, Galerie Renate Bender 2021, Photo: Gary Thurner
Black is Beautiful
Douglas Allsop, Till Augustin, Claudioadami, Helmut Dirnaichner, Alfonso Fratteggiani Bianchi, Raphael Grotthuss, Bim Koehler, Siegfried Kreitner, Maria Lalić, Horst Linn, Martin Lehmer, Matt McClune, Pfeifer & Kreutzer, Nadine Poulain, Robert Sagerman, Hans Schork, Regine Schumann, Lars Strandh, Heiner Thiel, Jeremy Thomas, Peter Weber, Susan York and Pierre Soulages
Exhibition from September 10th to October 30th, 2021
Opening: Friday, September 10th, 6 to 9 pm Matinee: Saturday, September 11th, 12 to 4 pm
Special opening hours during Open Art Munich: Friday, September 24th, 6 to 9 pm Saturday / Sunday September 25th / 26th, 11 am to 6 pm
My exhibition themes can be traced back to what I experienced during the early years of my gallery, when I began to explore art in the US, especially in New York. It was a solo exhibition of the American painter Ad Reinhardt at MoMA in the summer of 1991 that captivated me and was to play a crucial role in my gallery work in the years thereafter. The exhibition showed, for the first time, a retrospective selection of his work, which, historically, can be closely connected with American Expressionism and Minimalism. Ad Reinhardt, born in 1913, began working in the 1930s with geometric abstraction and then in the 1940s turned to painting, what he termed, “allover patterns.” In the 1950s he sought to free himself from everything that could express “content, ideas or self-representation.” Pure painting – monochrome fields on canvas in red, blue and, ultimately, black – had to be enough. Hardly visible, especially in the black works, were overlapping cross-shaped elements.
What impressed me at the Reinhardt exhibition was, at the entrance, visitors were encouraged to let their eyes adjust to the darkened route leading to the show rooms, a necessary step to be able to experience the “colorfulness” of the black paintings.
As I left the exhibition, it became clear to me that the “art of seeing” monochrome paintings would be one of the primary curatorial focuses of my future exhibitions. This was the beginning of a gradual process that has shaped my gallery’s program and which, today, I would characterize as specializing in reduced, monochrome and minimalist forms of painting, sculpture and photography.
Following two of my gallery shows on the theme “Black and White” in 2013 and 2015, my wish from the summer of 1991 has come to fruition with the exhibition “Black is Beautiful.” Exactly 30 years later, my gallery in Munich is showing, as part of Kulturherbst 2021, 22 artists from my own program as well as a work by Pierre Soulages – on loan from my esteemed colleague Edith Rieder – the twentieth-century grand master of “black.”
With this exhibition, I would like to demonstrate the variety of this oldest of all colors, for, as Soulages said:
« Avec le noir c‘est la vie de la lumière qui apparait. » 1) « With black, light comes alive. »
Renate Bender, September 2021
1) Pierre Soulages, in: Entretien publique. Collection Inconotexte, Marseille 1998
Paola Neumann, Michael Post, Gert Riel, Heiner Thiel, Alfonso Fratteggiani Bianchi, Rosa M Hessling, Jus Juchtmans, Bill Thompson
Exhibition from June 25th to July 31st, 2021
Our new exhibition format “Curated by...” will continue, this time we invited Heiner Thiel as our guest curator. The successful sculptor and
curator has gained international acclaim since his studies at the Städelschule, Frankfurt a. M. (sculpture class Michael Croissant) with numerous exhibitions and his work is represented in many public and private collections. Together with his artist friend and colleague Michael Post, whose work will also be part of this exhibition, he has curated since 2013 the international exhibition series “embodying colour”.
Being a sculptor, Heiner Thiel is of course interested first of all in the spatial; the space created, changed, activated, or emotionally charged
by his work. Color has long played an important role in Heiner Thiel’s works, and so it is not surprising that he is in a permanent exchange
with fellow sculptors and painters to explore their approach to the “Verkörperung der Farbe / embodying colour”.
The exhibition at Galerie Renate Bender shows artists who are artistically close to Heiner Thiel’s artistic approach, both from his personal relations as well as those he has selected from Galerie Renate Bender’s program.
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Ausstellungsansicht „Material und Struktur. Alfred Haberpointner – Peter Weber“, Galerie Renate Bender 2021
Material and Structure Alfred Haberpointner – Peter Weber
Openig reception on Friday, April 23rd from 1 to 7 pm Matinee on Saturday, April 24th from 12 to 4 pm
Exhibition from April 23rd to June 19th, 2021
From April 23rd to June 19th, 2021, the new exhibition in the Renate Bender Gallery is dedicated to three-dimensional wall objects and sculpture in the broadest sense, with works by Alfred Haberpointner and Peter Weber. The title of the exhibition - "Material and Structure" - is programmatic for the way the two artists work. Alfred Haberpointner uses centimeter-thick wooden panels for his chopped panel paintings and works out his head sculptures from massive tree trunks. In the exhibition, one of his monumental diptychs in bright violet is shown for the first time in Munich. Peter Weber has been committed to folding for four decades. Materials such as felt and stainless steel get their three-dimensional design through complex folding structures made of one piece and without cuts in the surface. His most recent paper reliefs made of heavy hand-made paper do not recede into the surface like his normal paper foldings but remain as relief bodies in the space.
The juxtaposition of the two positions reflects the diversity of a contemporary approach to the classic materials wood, paper, steel and, in the case of Peter Weber, wool felt. With their own means, the artists arrive at a very different formal language.
Alfred Haberpointner was born in 1966 in Salzburg, Austria. He lives and works in Leonding, Austria.
Wood is a key design material for Alfred Haberpointner. He chops up, cuts, burns traces into its surface, fans them out or saws gaps, and colors the finished work with stain. In addition to the well-known floor sculptures and his work cycle “Heads”, he has been using mainly solid wooden panels, which he has also treated creatively, especially recently. Panel paintings are created, the surface opens up to allow the play of light and color. Associations of content are left to the viewer.
Peter Weber, born 1944 in Kollmar/Elbe, Germany. He lives and works near Munich, Germany.
Using the most varied techniques and materials, Peter Weber has developed a system for folding the entire surface of a single piece of material without cutting it. In his series made of pure white Canson watercolor paper or the 640g heavy handmade paper, the mathematical possibilities of this technique are revealed in all their variations. His folded works of undyed or dyed felt, which has been Weber’s dominant material since 2001, exhibit a stark materiality. In addition to felt and paper, Weber also uses materials such as canvas, cotton, synthetic materials and even steel. In late 2017, he created his first folded steel reliefs.
Exhibition view "Inge Dick. A Life for the Light", Galerie Renate Bender 2021
Exhibition view "Inge Dick. A Life for the Light", Galerie Renate Bender 2021
Exhibition view "Inge Dick. A Life for the Light", Galerie Renate Bender 2021
Exhibition view "Inge Dick. A Life for the Light", Galerie Renate Bender 2021
Exhibition view "Inge Dick. A Life for the Light", Galerie Renate Bender 2021
Exhibition view "Inge Dick. A Life for the Light", Galerie Renate Bender 2021
Exhibition view "Inge Dick. A Life for the Light", Galerie Renate Bender 2021
Exhibition view "Inge Dick. A Life for the Light", Galerie Renate Bender 2021
Exhibition view "Inge Dick. A Life for the Light", Galerie Renate Bender 2021
Exhibition view "Inge Dick. A Life for the Light", Galerie Renate Bender 2021
Exhibition view "Inge Dick. A Life for the Light", Galerie Renate Bender 2021
INGE DICK. A Life for the Light Inge Dick on her 80th birthday
Exhibition from January 15th to April 16th, 2021
Inge Dick was born 1941 in Vienna, Austria. She lives and works in Innerschwand am Mondsee, Austria.
The retrospective exhibition on the occasion of the 80th birthday of the Austrian film and photo artist in January 2021 shows works from Inge Dick’s fourpart cycle “jahres licht weiss” (“a year’s light white”) with new square color excerpts. Looking back on her work, large format polaroids and a selection of her “white paintings” are on display where the oil paint is applied in small squares with great precision using a palette knife. Her new “golden paintings” will be exhibited for the first time in Munich.
“Light is Inge Dick’s life-long artistic theme. She works with natural light, a phenomenon that is not tangible but that we perceive as a palpable presence. Working for many years with a variety of media using a meticulous, almost scientific approach, she has succeeded in capturing the substance of light and rendering it visually as its color temperatures change over the course of a day.”
Artists from the private collection Erhard Witzel and from the program of the Renate Bender gallery
Thomas Emde / Camill Leberer / Jan Ulrich Schmidt / Uta Belina Waeger – Hellmut Bruch / Matt McClune / Robert Sagerman / Regine Schumann
Exhibition from November 13th to December 19th, 2020
Our new exhibition format “Curated by ...” starts with guest curator Erhard Witzel. The successful gallery owner, experienced art dealer, passionate collector and ambitious exhibition maker has been running the QuadrArt in Dornbirn since 2009, a forum for exhibitions, projects, lectures, discussions, etc. with the aim of promoting and encouraging a sophisticated dialogue about contemporary art.
The exhibition in the Renate Bender gallery shows artists from Erhard Witzel’s private collection and from the Renate Bender Gallery’s program.
Whether collector, gallery owner, artist or exhibition maker – in every art season we plan to invite in the future an interesting guest curator to take a new look at our gallery program. For over 30 years the Renate Bender Gallery has been showing contemporary art with a focus on reduced forms of painting, photography and sculpture, mainly in the field of mini mal, monochrome and concrete forms of expression. The outside view of our program creates space for new encounters and constellations – out side the box and with a lot of joy in experimenting.
„Curated by… Erhard Witzel“ Galerie Renate Bender, 13.11.-19.12.2020 Film by Bernhard Kreutzer
Exhibition archive
Ausstellungsansicht „The Responsive Eye’s First and Second Generation“, Galerie Renate Bender 2020. Foto: Bernhard Kreutzer
Ausstellungsansicht „The Responsive Eye’s First and Second Generation“, Galerie Renate Bender 2020. Foto: Bernhard Kreutzer
Ausstellungsansicht „The Responsive Eye’s First and Second Generation“, Galerie Renate Bender 2020. Foto: Bernhard Kreutzer
Ausstellungsansicht „The Responsive Eye’s First and Second Generation“, Galerie Renate Bender 2020. Foto: Bernhard Kreutzer
Ausstellungsansicht „The Responsive Eye’s First and Second Generation“, Galerie Renate Bender 2020. Foto: Bernhard Kreutzer
Ausstellungsansicht „The Responsive Eye’s First and Second Generation“, Galerie Renate Bender 2020. Foto: Bernhard Kreutzer
Ausstellungsansicht „The Responsive Eye’s First and Second Generation“, Galerie Renate Bender 2020. Foto: Bernhard Kreutzer
The Responsive Eye‘s First and Second Generation
Angelika Huber / Siegfried Kreitner / Jan van Munster / Pfeifer & Kreutzer / Hans Schork / Julius Stahl / Ludwig Wilding / Martin Willing
Exhibition from September 11th to October 31st, 2020
The title of our new exhibition, to be held on the occasion of Open Art 2020, refers to the “The Responsive Eye,” the 1965 exhibition shown at MoMA in New York. It featured the work of the first generation, i.e. artists of the 1960s, who had, for the first time, broken away from the traditional forms of artistic representation in the fine arts. The then curator at MoMA, William C. Seitz, sought out artists from around the world who experimented with the phenomenon of optical movement – whether real or illusionary. It was in the context of this exhibition that a journalist coined the term “Op Art.” The term was rejected, however, by many, including, among others, Ludwig Wilding, whose work was also presented in the exhibition. Despite the truth of his argument, namely, that “all art is optical art,” the term has endured until today.
In recent years, a younger generation of artists has once again taken up the subject matter of movement, light and sound – the “second generation” that is addressing this forever fascinating topic.
During the conceptual phase of our exhibition it was clear that Ludwig Wilding (1927-2010), who can be seen as the forerunner of this artistic movement in Germany, had to be included. But also the Aschaffenburg artist Hans Schork (b. 1935), who had focused at an early date on kinetics, and the Dutch artist Jan van Munster (b. 1939), who investigated “energy and perception” in the broadest sense of the terms, were both essential to our exhibition.
The “Second Generation” comprises the younger age group, led by Martin Willing (b. 1958) with his continuously moving fragile sculptures. Julius Stahl (b. 1978), who lives in Berlin and Dresden, creates similarly fragile objects, which he terms “Resonanz-Objekte” (Resonating Objects). In his “Quader” (Cuboid) series, he has constructed objects using the finest wire, in which the viewer perceives not only delicate movement but also the most subtle sounds. The Munich artist Siegfried Kreitner (b. 1967) is a master of constructing moving light sculptures. Amongst the youngest participants, the artist duo Anne Pfeifer (b.1987) and Bernhard Kreutzer (b. 1986) exhibit objects made of primarily colored acrylic glass with invisible stimulators that produce movement and sound. In contrast, Angelika Huber (b. 1977) repurposes split-flap displays, which were originally used to provide timetable information, creating vivid “pictures in motion” that change according to different rhythmic patterns.
Ausstellungsansicht „Punkt und Linie zur Fläche. Frei nach Kandinsky“, Galerie Renate Bender 2020
Ausstellungsansicht „Punkt und Linie zur Fläche. Frei nach Kandinsky“, Galerie Renate Bender 2020
Ausstellungsansicht „Punkt und Linie zur Fläche. Frei nach Kandinsky“, Galerie Renate Bender 2020
Ausstellungsansicht „Punkt und Linie zur Fläche. Frei nach Kandinsky“, Galerie Renate Bender 2020
Ausstellungsansicht „Punkt und Linie zur Fläche. Frei nach Kandinsky“, Galerie Renate Bender 2020
Ausstellungsansicht „Punkt und Linie zur Fläche. Frei nach Kandinsky“, Galerie Renate Bender 2020
Ausstellungsansicht „Punkt und Linie zur Fläche. Frei nach Kandinsky“, Galerie Renate Bender 2020
Ausstellungsansicht „Punkt und Linie zur Fläche. Frei nach Kandinsky“, Galerie Renate Bender 2020
Ausstellungsansicht „Punkt und Linie zur Fläche. Frei nach Kandinsky“, Galerie Renate Bender 2020
Ausstellungsansicht „Punkt und Linie zur Fläche. Frei nach Kandinsky“, Galerie Renate Bender 2020
Dots and Line to Surface
Nicholas Bodde, Rosa M Hessling, Maria Lalić, Heiner Thiel, Lars Strandh
Exhibition from April 20th to August 1st, 2020
In his treatise Dots and Line to Surface for the Bauhaus magazine, Kandinsky
made reference “to the main role of the basic design lessons taught by the visual artists.” In these lessons the students learn that every line starts from a
point: “The death of the point is simultaneous with the emergence of the line
... pull it out of the surface and extend it on the surface in any direction. This
creates a "new being" with a "new, independent life" ... you can develop (it)
further into surface which, for example, is composed of many lines.
In the introduction to the 1955 edition of Kandinsky’s treatise, Max Bill wrote:
“It seems to us of particular value today that these groundbreaking theories
are available to anyone who wants to study them. For Concrete Art has
spread widely, but has not gained much in depth. Perhaps this is partly due to
the fact that it no longer has to fight for its existence and recognition as a means of expression, as it did then, and that many young people participated
without thorough preparation! They have relied solely on external elements of
form rather than recognizing the inner structure, the spirit and the idea of this
new art genre.”.
This is the reason why I was early on in my galley program looking for new
forms of expression of the concrete-constructive directions, to find those artists
who have internalized those thoughts.
Renate Balda, Hermann Glöckner, Raphael Grotthuss, Wolfgang Hein, Edda Jachens, Ole Müller, Rakuko Naito, Franz Riedl, Marco Stanke, Peter Weber, Reinhard Wöllmer
Exhibition from November 8th, 2019 to January 18th, 2020
Opening: Friday, November 8th, 2019, 6 to 9pm
Special opening hours during PLATEAU 2019 Saturday, November 9th, 2019 from 11 am to 6 pm
Ausstellungsansicht „Erde, Stein, Pigment. Helmut Dirnaichner – Alfonso Fratteggiani Bianchi“, Galerie Renate Bender, 2019
Ausstellungsansicht „Erde, Stein, Pigment. Helmut Dirnaichner – Alfonso Fratteggiani Bianchi“, Galerie Renate Bender, 2019
Ausstellungsansicht „Erde, Stein, Pigment. Helmut Dirnaichner – Alfonso Fratteggiani Bianchi“, Galerie Renate Bender, 2019
Ausstellungsansicht „Erde, Stein, Pigment. Helmut Dirnaichner – Alfonso Fratteggiani Bianchi“, Galerie Renate Bender, 2019
Ausstellungsansicht „Erde, Stein, Pigment. Helmut Dirnaichner – Alfonso Fratteggiani Bianchi“, Galerie Renate Bender, 2019
Ausstellungsansicht „Erde, Stein, Pigment. Helmut Dirnaichner – Alfonso Fratteggiani Bianchi“, Galerie Renate Bender, 2019
Ausstellungsansicht „Erde, Stein, Pigment. Helmut Dirnaichner – Alfonso Fratteggiani Bianchi“, Galerie Renate Bender, 2019
Ausstellungsansicht „Erde, Stein, Pigment. Helmut Dirnaichner – Alfonso Fratteggiani Bianchi“, Galerie Renate Bender, 2019
Earth, Stone, Pigment Helmut Dirnaichner – Alfonso Fratteggiani Bianchi
Exhibition from September 13th to October 26th, 2019
Opening: Friday, September 13th, 2019, 6 to 9 pm
Special opening times during OPEN ART 2019 Saturday / Sunday, September 14th/15th, from 11 am to 6 pm
Artist talk and catalog presentation: Saturday, October 19th, at 7 pm
Helmut Dirnaichner crushes, grinds and pulverizes earth, stones and minerals until a granulate is produced. This mineral substance is scooped into cellulose without a binding agent. It permeates the resulting fragile body of the painting and gives it varied surface structures. The grains cast shadows, reflect light, and lend depth. Different shades of color enter into correspondence with each other; fine reliefs emerge that tell stories about the materials used.
Alfonso Fratteggiani Bianchi reduces himself in his painterly work to the pure application of pigment. He rubs the pure pigment by hand without any binding agents into a sandstone, the "pietra serena", until the desired degree of saturation is achieved. The "powdery" character of the pure pigment and the resulting velvety surface allow the colors to be experienced completely unadulterated. So intense, in fact, that one believes the pigment is diffusing its own light.
With their approach, both artists occupy a unique position in contemporary monochrome art, which the exhibition "Earth, Stone, Pigment" impressively demonstrates to the viewer.
Ausstellungsansicht „wie weiss ist wissen die weisen“, Galerie Renate Bender 2019
LTR: Helmut Dirnaichner, Harald Pompl, Bim Koehler, Inge Dick, Renate Bender, Peter Weber, Till Augustin, Lars Strandh
Pigment vials of white Kremer pigments
Bender Talk: Lecture by Dr. Georg Kremer on April 6th, 2019
Ausstellungsansicht „wie weiss ist wissen die weisen“, Galerie Renate Bender 2019
Ausstellungsansicht „wie weiss ist wissen die weisen“, Galerie Renate Bender 2019
Ausstellungsansicht „wie weiss ist wissen die weisen“, Galerie Renate Bender 2019
Ausstellungsansicht „wie weiss ist wissen die weisen“, Galerie Renate Bender 2019
Ausstellungsansicht „wie weiss ist wissen die weisen“, Galerie Renate Bender 2019
Ausstellungsansicht „wie weiss ist wissen die weisen“, Galerie Renate Bender 2019
how white is only the wise know
Till Augustin, Inge Dick, Helmut Dirnaichner, Alfonso Fratteggiani Bianchi, Rosa M Hessling, Bim Koehler, Maria Lalić , Matt McClune, Harald Pompl, Robert Sagerman, Regine Schumann, Lars Strandh, Bill Thompson, Peter Weber, Ludwig Wilding
Exhibition from March 15th to May 11th, 2019
Opening: Thursday, March 14th, 2019, 7 to 9 pm Introductory speech: Dr. Tobias Hoffmann, Berlin Matinée: Saturday, March 16th, 2019, 12pm to 4pm
Bender Talk: Lecture with Dr. Georg Kremer on Saturday, April 6th at 2pm
With the exhibition title “wie weiss ist wissen die weisen“ (“how white is only the wise know”), a poem by the Concrete poet Eugen Gomringer, we draw on a theme of a show, held in 1999 at our former gallery in Hohenzollernstrasse, which attracted considerable attention. Particularly in the last few years, “white” has been chosen as the subject of numerous museum exhibitions to demonstrate how artists approach the color white with their different artistic resources. This convinced us to “reload” the topic after 20 years with 15 different artistic positions.
Ausstellungsansicht „AM ANFANG WAR DAS WORT AM. Sprache in Wort und Bild“, Galerie Renate Bender 2018
Ausstellungsansicht „AM ANFANG WAR DAS WORT AM. Sprache in Wort und Bild“, Galerie Renate Bender 2018
Ausstellungsansicht „AM ANFANG WAR DAS WORT AM. Sprache in Wort und Bild“, Galerie Renate Bender 2018
Ausstellungsansicht „AM ANFANG WAR DAS WORT AM. Sprache in Wort und Bild“, Galerie Renate Bender 2018
Ausstellungsansicht „AM ANFANG WAR DAS WORT AM. Sprache in Wort und Bild“, Galerie Renate Bender 2018
Ausstellungsansicht „AM ANFANG WAR DAS WORT AM. Sprache in Wort und Bild“, Galerie Renate Bender 2018
Ausstellungsansicht „AM ANFANG WAR DAS WORT AM. Sprache in Wort und Bild“, Galerie Renate Bender 2018
Ausstellungsansicht „AM ANFANG WAR DAS WORT AM. Sprache in Wort und Bild“, Galerie Renate Bender 2018
Ausstellungsansicht „AM ANFANG WAR DAS WORT AM. Sprache in Wort und Bild“, Galerie Renate Bender 2018
Ausstellungsansicht „AM ANFANG WAR DAS WORT AM. Sprache in Wort und Bild“, Galerie Renate Bender 2018
Ausstellungsansicht „AM ANFANG WAR DAS WORT AM. Sprache in Wort und Bild“, Galerie Renate Bender 2018
AM ANFANG WAR DAS WORT AM. - IN THE BEGINNING WAS THE WORD IN.* Language in words and pictures (*After the work with the same title by Timm Ulrichs)
Carlo Battisti, Klaus Peter Dencker, Heinz Gappmayr, Angelika Huber, Ado Hamelryck, Lars Koepsel, Josef Linschinger, Timm Ulrichs
Artist collaborations: Tadaaki Kuwayama + Eugen Gomringer | Peter Weber + Klaus Peter Dencker
Exhibition from November 9th to December 22nd, 2018
Opening: Thursday, November 8th, 2018, 7 to 9pm Matinee: Saturday, November 10th, 2018, 12pm to 4pm
“With Concrete or Visual Poetry we can steal into language, break up its structure and present appropriated forms that show we are the masters of language. We can manipulate language in a positive sense; we can master it and work with it as we wish. We can take it apart; we can change the order of the letters and recognize in it anagrams: hidden meanings. By changing the order of the letters, I have, for example, turned the German word “Natur” (“nature”) into “Unrat” (“rubbish”) or vice versa. And when we invent or find such things, it illustrates the supremacy of the mind more so than when we painstakingly create a narrative.”
Timm Ulrichs in “Konkrete Poesie – Von Buchstaben, Lauten und Wörtern”. broadcast by SWR 2, April 12, 2012.
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Renate Bender, Inge Dick, Jan van Munster and Bea Weuthen
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Ausstellungsansicht „Between Dark and Light. Inge Dick & Jan van Munster“, Galerie Renate Bender 2018. Foto: M. Heyer
Between Dark and Light Inge Dick – Jan van Munster
Exhibition from September 14th to October 27th, 2018
Opening: Friday, September 14th, 2018, 6 to 9 pm
Special opening hours during the OPEN ART 2018: Saturday / Sunday, September 15th/16th from 11am to 6pm
Catalog presentation: Friday, October 19th at 7pm: A catalog with a text by Tobias Hoffmann will be published for the exhibition.
Special event - PLATEAU munich, October 19th/20th: Saturday, October 20th from 11am to 6pm
With her photo projects – for example using large Polaroid cameras – or her innovative film projects, Inge Dick represents one of the unusual positions in contemporary experimental photography and film work. The unbelievable colorfulness of light as it changes during the course of a day or a season is made perceptible to the human eye in these works. Inge Dick extracts from her films individual strips of color that are then printed as “stills” on Hahnemühle photo gloss paper. The exhibition presents the film “blue, infinity” realized in 2010, and a selection of stills from individual sequences. The film documents the change of light and color of the sky, filmed throughout a day. Roland Dahinden composed a special sound installation for this film.
Jan van Munster’s subject matter is energy: temperature, magnetism, radioactivity and electricity are the points of departure for many works that make the invisible visible. His minimalistic works very often consist of one simple line, which develops extraordinary presence through the use of white or colored neon tubes. His work can be seen in many locations in the Netherlands and abroad, and is included in (inter)national collections.
In the exhibition “Between Dark and Light” these two “explorers of light” are contrasted.
Ausstellungsansicht „The Phenomenon of Perception“, Carlos Cruz-Diez – Ludwig Wilding, Galerie Renate Bender 2017, Foto: Dominik Moser
Ausstellungsansicht „The Phenomenon of Perception“, Carlos Cruz-Diez – Ludwig Wilding, Galerie Renate Bender 2017, Foto: Dominik Moser
Ausstellungsansicht „The Phenomenon of Perception“, Carlos Cruz-Diez – Ludwig Wilding, Galerie Renate Bender 2017, Foto: Dominik Moser
Ausstellungsansicht „The Phenomenon of Perception“, Carlos Cruz-Diez – Ludwig Wilding, 2017, Foto: Dominik Moser
Ausstellungsansicht „The Phenomenon of Perception“, Carlos Cruz-Diez – Ludwig Wilding, Galerie Renate Bender 2017, Foto: Dominik Moser
Ausstellungsansicht „The Phenomenon of Perception“, Carlos Cruz-Diez – Ludwig Wilding, Galerie Renate Bender 2017, Foto: Dominik Moser
Ausstellungsansicht „The Phenomenon of Perception“, Carlos Cruz-Diez – Ludwig Wilding, Galerie Renate Bender 2017, Foto: Dominik Moser
Ausstellungsansicht „The Phenomenon of Perception“, Carlos Cruz-Diez – Ludwig Wilding, Galerie Renate Bender 2017, Foto: Dominik Moser
Ausstellungsansicht „The Phenomenon of Perception“, Carlos Cruz-Diez – Ludwig Wilding, Galerie Renate Bender 2017, Foto: Dominik Moser
Ausstellungsansicht „The Phenomenon of Perception“, Carlos Cruz-Diez – Ludwig Wilding, Galerie Renate Bender 2017, Foto: Dominik Moser
Ausstellungsansicht „The Phenomenon of Perception“, Carlos Cruz-Diez – Ludwig Wilding, Galerie Renate Bender 2017, Foto: Dominik Moser
Ausstellungsansicht „The Phenomenon of Perception“, Carlos Cruz-Diez – Ludwig Wilding, Galerie Renate Bender 2017, Foto: Dominik Moser
The Phenomenon of Perception Carlos Cruz-Diez & Ludwig Wilding
Exhibition from September 8th to December 22nd, 2017
The Gallery is pleased to invite you to discover works of Franco-Venezuelan artist Carlos Cruz-Diez, (b.1923), in dialogue with works by Ludwig Wilding (1927–2010).
Both Cruz-Diez and Wilding’s works were first shown together as part of “The Responsive Eye”, MoMA’s groundbreaking exhibition in 1965. Back then Constructivism with its shifting visual axes had prepared the way for a young generation of artists to develop new approaches.
Our exhibition “The Phenomenon of Perception” shows for the first time the development of the artistic discourses of these major protagonists of Kinetic Art, in a rich dialogue running from the 1960’s to nowadays.
Hellmut Bruch · Victoria Coeln · Inge Dick · Rosa M Hessling · Siegfried Kreitner · François Morellet · Jan van Munster · Nadine Poulain · Regine Schumann · Thomas Wunsch
Exhibition from May 19th to July 1st, 2017
With ten very different artistic positions from the field of reduced, minimalist contemporary art, this exhibition shows the broad spectrum the subject of “light” occupies in the visual arts today. In addition to the real use of a light source in the context of the work of art, we present works that deal primarily with filmic and photographic media, which leads to particularly experimental approaches. But the artists also make use of special materials and their function, such as fluorescent acrylic glass that shines without any “electricity”. And not to forget painting, which would not exist without light.
The exhibition conceived by Renate Bender can now be seen in the gallery in Munich with a changed spatial concept after the station in the New Art Association Aschaffenburg.
Hellmut Bruch Artistic Encounters on his 80th Birthday
Opening reception on Thursday, November 10th from 7 to 9 pm Matinee on Saturday, November 12th, 11 am to 3 pm Exhibition from November 11th to December 23rd, 2016
Hellmut Bruch was born 1936 in Hall / Tyrol, Austria, where he lives and works.
On the occasion of Hellmut Bruch’s eightieth birthday, Galerie Renate Bender has prepared an exhibition which encompasses not only his objects made of fluorescent acrylic glass but also the portfolio of graphic works, “dreizehn + eins”. Long-standing companions and friends of Bruch’s have each contributed one print to the portfolio, which was produced by Galerie Lindner and will be presented in Munich for the first time.
Light and proportion are central themes of Hellmut Bruch’s work. He cuts grooves and slits into colored fluorescent acrylic glass plates. The geometrical forms – such as circles or rectangles – follow, in their arrangement and proportion, the Fibonacci sequence and / or the golden ratio. Where the artist has worked the material, the light-collecting acrylic glass bundles the rays to form clear, geometrically-shaped radiant lines. The intense luminosity rendered in Hellmut Bruch’s works brings the beauty of the geometry and proportions to the fore, creating both an exciting and Apollonian effect.
Ausstellungsansicht „Ganzheit als Prinzip. Peter Weber – Martin Willing“, Galerie Renate Bender 2016
Ausstellungsansicht „Ganzheit als Prinzip. Peter Weber – Martin Willing“, Galerie Renate Bender 2016
Ausstellungsansicht „Ganzheit als Prinzip. Peter Weber – Martin Willing“, Galerie Renate Bender 2016
Ausstellungsansicht „Ganzheit als Prinzip. Peter Weber – Martin Willing“, Galerie Renate Bender 2016
Ausstellungsansicht „Ganzheit als Prinzip. Peter Weber – Martin Willing“, Galerie Renate Bender 2016
Ausstellungsansicht „Ganzheit als Prinzip. Peter Weber – Martin Willing“, Galerie Renate Bender 2016
Ausstellungsansicht „Ganzheit als Prinzip. Peter Weber – Martin Willing“, Galerie Renate Bender 2016
Ausstellungsansicht „Ganzheit als Prinzip. Peter Weber – Martin Willing“, Galerie Renate Bender 2016
Ausstellungsansicht „Ganzheit als Prinzip. Peter Weber – Martin Willing“, Galerie Renate Bender 2016
Ausstellungsansicht „Ganzheit als Prinzip. Peter Weber – Martin Willing“, Galerie Renate Bender 2016
Ausstellungsansicht „Ganzheit als Prinzip. Peter Weber – Martin Willing“, Galerie Renate Bender 2016
Ausstellungsansicht „Ganzheit als Prinzip. Peter Weber – Martin Willing“, Galerie Renate Bender 2016
Unfolding of the "Footprints" by Peter Weber on October 28th, 2016
Unfolding of the "Footprints" by Peter Weber on October 28th, 2016
Wholeness as a Principle Swinging sculptures and folded objects Peter Weber – Martin Willing
Exhibition from September 9th to October 29th, 2016
Presentation of the exhibition catalog on Saturday, October 15th, 7 pm A catalog is published on the occasion of the exhibition with a text contribution by Prof. Klaus Honnef
Special event - PLATEAU munich October 28/29 Finissage on Friday, October 28th until 9 pm - Unfolding of the "Footprints" by Peter Weber on 7 pm Saturday, Oct. 29th open from 11 am to 6 pm
Peter Weber's folded objects made of felt, paper and other materials shown in the exhibition appeal to the tactile sensibilities of their viewers, as do Martin Willing's swinging metal sculptures.
"Peter Weber’s pictorial objects invite us to run our finger tips over them. The works of Martin Willing have to be set into motion by an impulse from outside for their artistic intention to unfold, whether by the hands of the viewer or by the wind. Occasionally, a barely noticeable whiff of air is sufficient. (...) The creation of the former artist’s pictorial objects and the latter’s spatial forms rely on thorough planning and calculation as well as exact execution. At the same time they are of exceptional aesthetic quality. Not only do they embody beauty but also something like the essence of beauty: absolute formal structural laws, clarity of thought and, as some believe, a visual equivalent of what “holds the universe together at its core.” Prof. Klaus Honnef
Ausstellungsansicht „Kinder, wie die Zeit vergeht! Zeichnung und Grafik aus 29 Jahren Galerietätigkeit“, Galerie Renate Bender 2016
Ausstellungsansicht „Kinder, wie die Zeit vergeht! Zeichnung und Grafik aus 29 Jahren Galerietätigkeit“, Galerie Renate Bender 2016
Ausstellungsansicht „Kinder, wie die Zeit vergeht! Zeichnung und Grafik aus 29 Jahren Galerietätigkeit“, Galerie Renate Bender 2016
Ausstellungsansicht „Kinder, wie die Zeit vergeht! Zeichnung und Grafik aus 29 Jahren Galerietätigkeit“, Galerie Renate Bender 2016
Ausstellungsansicht „Kinder, wie die Zeit vergeht! Zeichnung und Grafik aus 29 Jahren Galerietätigkeit“, Galerie Renate Bender 2016
Ausstellungsansicht „Kinder, wie die Zeit vergeht! Zeichnung und Grafik aus 29 Jahren Galerietätigkeit“, Galerie Renate Bender 2016
Ausstellungsansicht „Kinder, wie die Zeit vergeht! Zeichnung und Grafik aus 29 Jahren Galerietätigkeit“, Galerie Renate Bender 2016
Ausstellungsansicht „Kinder, wie die Zeit vergeht! Zeichnung und Grafik aus 29 Jahren Galerietätigkeit“, Galerie Renate Bender 2016
Ausstellungsansicht „Kinder, wie die Zeit vergeht! Zeichnung und Grafik aus 29 Jahren Galerietätigkeit“, Galerie Renate Bender 2016
How times flies! Drawing and graphics from 29 years of gallery activity
Josef Albers / Max Bill / Rupprecht Geiger / Camille Gräser / Rosa M Hessling / Manfred Jäger / Rex Lau / Riccardo Licata / Rakuko Naito / Joan Hernández Pijuan / Marco Stanke / Lars Strandh / Victor Vasarely / Andrea Vizzini / Peter Weber / Susan York / u. v. m.
Opening reception on Thursday, July 7th, 2016 from 7 to 9 pm Matinee on Saturday, July 9th 2016 from 11 am to 3 pm Exhibition from July 8th to August 6th, 2016
The exhibition shows graphics and works on paper from the earliest beginnings of the gallery to current artistic positions.
Viele bildende Künstler pflegen neben ihrem malerischen Werk die Arbeit auf Papier, sei es nun als Zeichnung oder als Grafik. Die Präzision drucktechnischer Fähigkeiten ist für viele geradezu ein Ansporn sich an Techniken heranzuwagen, die auch neue, andere Ergebnisse in der Umsetzung liefern.
Im Laufe meiner Galeriearbeit habe ich mich immer auch mit dem grafischen Werk eines Künstlers auseinandergesetzt, bietet es doch gerade für ein jüngeres Publikum eine Einstiegsmöglichkeit in das Sammeln. Es ist meist erschwinglicher als ein Werk auf Leinwand aus der gleichen Hand und durch Editionen wird ihr Besitz einem breiteren Publikum ermöglicht und somit demokratisch.
Nach 29 Jahren Galerietätigkeit sind in dieser Ausstellung Werke früher Wegbegleiter ebenso versammelt wie Arbeiten langjähriger Programmkünstler und Neuzugänge. Sie zeichnen so die Entwick- lung der Galerie Renate Bender seit ihrer Gründung im Jahr 1987 nach. Zeit also, für eine Bestandsaufnahme aus Papier.
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Vernissage „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Vernissage „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Ausstellungsansicht „Fifty Shades of Red“, Galerie Renate Bender 2016
Fifty Shades of Red Hellmut Bruch · Inge Dick · Helmut Dirnaichner · Alfonso Fratteggiani Bianchi · Rosa M Hessling · Manfred Jäger · Bim Koehler · Maria Lalic · Matt McClune · Jus Juchtmans · Robert Sagerman · Regine Schumann · Lars Strandh · Jeremy Thomas · Bill Thompson · Peter Weber
Bender Talk: „Fifty Shades of Red – von Azaleenrot bis Zinnober“ with Dr. Georg Kremer on Thursday, June 2nd - 7 pm
Exhibition from May 13th to July 2nd, 2016
That Goethe, in his book “Theory of Colors”, elevated red to “the highest of all colors...” explains only in part the fascination that this color holds. A red signal attracts our attention, whether as a traffic warning or as a sign of ripe- ness in nature. Respect is extended to those who are given a red carpet reception and to those dressed in precious purple garments. Is red really the oldest known color designation? Does our eye react to red in a particularly sensitive manner? Does everyone associate red with blood and fire or love, lust and passion? Many of these questions can be answered with yes and yet how we actually react to this dominant color - both physically and mentally - depends on our own personal feelings.
Once again it was the glasses filled with Kremer pigments – with their incredible variety of red tones, awakening awe for the wonders of color and its use in art – which led to the idea for the exhibition “Fifty Shades of Red.” After the first “Red” exhibition in 2008, in the old premises in Schwabing, the topic would not let go of me. Many of my artists are true pigment experts, and for every one of their pictures they create
– again and again – new color combi- nations and techniques. Or they investi- gate, in a virtually scientific manner, the origin of color and pigment, as does, for example, the British painter Maria Lalic ́. For her cycle “History Paintings” she carried out extensive research on the origin of pigments – when they first appeared or were first used. This is why her work “History Painting. Red” (2016) occupies a central position in our exhibition, which with the presentation of 16 different artistic approaches is to date the most comprehensive in my gallery.
I look forward in particular to the glasses of 50 red pigments that will be shown in the exhibition. For the preparation of the pigments my sincere thanks are extended in advance to Dr. Georg Kremer.
Let me invite you to join us as we immerse ourselves in the fascination of the color red, which for six weeks will bathe the Gallery in its splendor.
Renate Bender Munich, April 2016
BENDER TALK #2
Our new event series Bender Talk gathers experts from a wide range of disciplines as well as artists to talk together in the gallery.
„Fifty Shades of Red – von Azaleenrot bis Zinnober“
The lecture by Dr. Georg Kremer took place on June 2, 2016 in the context of the current exhibition "Fifty Shades of Red". A compilation of jars with 50 red pigments prepared by Dr. Georg Kremer is presented in the exhibition and the visitors learned more about the origins of these special pigments.
Kremer Pigmente is a company specialized in the production of historical color pigments. In their production, mainly naturally occurring raw materials such as earths, minerals or plants are used and processed according to old recipes, some of which date back to the Middle Ages. The company has its own color mill in operation at its headquarters in Aichstetten, Germany - Kremer is one of the last manufacturers of small quantities of rare pigments from its own production.
Ausstellungsansicht „IKARUS – Der zweite Versuch. Über den richtigen Einsatz von Wachs“, Galerie Renate Bender 2016
Ausstellungsansicht „IKARUS – Der zweite Versuch. Über den richtigen Einsatz von Wachs“, Galerie Renate Bender 2016
Ausstellungsansicht „IKARUS – Der zweite Versuch. Über den richtigen Einsatz von Wachs“, Galerie Renate Bender 2016
Ausstellungsansicht „IKARUS – Der zweite Versuch. Über den richtigen Einsatz von Wachs“, Galerie Renate Bender 2016
Ausstellungsansicht „IKARUS – Der zweite Versuch. Über den richtigen Einsatz von Wachs“, Galerie Renate Bender 2016
Ausstellungsansicht „IKARUS – Der zweite Versuch. Über den richtigen Einsatz von Wachs“, Galerie Renate Bender 2016
Ausstellungsansicht „IKARUS – Der zweite Versuch. Über den richtigen Einsatz von Wachs“, Galerie Renate Bender 2016
Ausstellungsansicht „IKARUS – Der zweite Versuch. Über den richtigen Einsatz von Wachs“, Galerie Renate Bender 2016
Ausstellungsansicht „IKARUS – Der zweite Versuch. Über den richtigen Einsatz von Wachs“, Galerie Renate Bender 2016
Bender Talk: „Song for the last Queen – Von Bienen und Kunst“ mit Time4tunes, 2016
Bender Talk: „Song for the last Queen – Von Bienen und Kunst“ mit Sybille Neumeyer und Peter Weber, 2016
Bender Talk: „Song for the last Queen – Von Bienen und Kunst“ mit Sybille Neumeyer und Peter Weber, 2016
Bender Talk: „Song for the last Queen – Von Bienen und Kunst“ mit Sybille Neumeyer und Peter Weber, 2016
Bender Talk: „Song for the last Queen – Von Bienen und Kunst“ mit Sybille Neumeyer und Peter Weber, 2016
Bender Talk: „Song for the last Queen – Von Bienen und Kunst“ mit Sybille Neumeyer und Peter Weber, 2016
Bender Talk: „Song for the last Queen – Von Bienen und Kunst“ mit Sybille Neumeyer und Peter Weber, 2016
IKARUS - THE SECOND ATTEMPT On the Proper Use of Wax
Edda Jachens – Bim Koehler – Thomas Mükisch – Ursula Neugebauer – Sybille Neumeyer – Robin Rose- Timm Ulrichs
Bender Talk: „song for the last queen – from bees and arts“ on April 14th, 7 pm
Exhibition from March 11th to April 30th, 2016
When wax is brought into play, be aware how near the sun is.... Icarus, in his recklessness, apparently forgot that the feathers of his wings were only attached with wax. When, overjoyed by his ability to fly, he came too close to the sun, the wax melted and he plunged into the sea.
With craftsmanship one man’s curse can be another man’s blessing. Countless artists have worked methodically with the “melting” of wax. In the ancient tradition of encaustic painting, for example, pigment was stirred into soft wax and then, usually with a brush or a hot palette-knife, applied to canvas, wood, paper or another support material. The fascination of the waxen lustre has excited artists for thousands of years. In antiquity the technology, named after the Greek word “enkauston” (burnt in) was part of every artist’s basic training. Even today the colors of numerous works from Egyptian, Greek and Roman times are much better preserved than those of later oil paintings. As often happens, this time-consuming technique, which requires considerable skill and craftsmanship, was lost. It is all the more interesting that contemporary artists are once again experimenting with wax. Not always in the form of encaustic painting, as does the American artist Robin Rose, for example, but al- so by using insulating intermediary layers as Bim Koehler did in his early work. Edda Jachens employs them as a “sealer” and also to render optical depth to her paintings on paper or wood. Heating the support material, a technique already implemented in antiquity, is used by the Austri- an artist Thomas Mükisch. On warm summer days he places steel plates near the windows of his studio to “heat” them in the sun. He then quickly rubs Thermomelt® crayons on the warm metal plates, relying on the phenomenon of warmth to create changes in the coloring.
In contrast Ursula Neugebauer works with translucent white paraffin to make innumerable small cast plates, which, attached to delicate strings, hover in a spatial installation that creates the illusion of a moving ice landscape.
In an entirely different manner Sybille Neumeyer and Timm Ulrichs have dealt with wax by incorporating its natural producers – bees. Whereas Timm Ulrichs makes positive use of the busy bees in their beehive to fill his stretcher bars with their carefully built-up honeycomb, Neumeyer ad- dresses the long-standing and worsening global problem of massive bee die-offs. In her work “song for the last queen” she places dead bees in various positions in small honey-filled vials. Displayed in lit-up cases the viewer is touched by these lifeless workers. From a distance though, they form – in the up and down of their positions in the vials – a kind of score of an imaginary musical piece.
You are invited to take in this multifaceted exhibition that illuminates wax as a topic from all sides in the most varied of artistic positions.
BENDER TALK #1
Our new event series Bender Talk gathers experts from a wide range of disciplines as well as artists to talk together in the gallery.
The first event in the context of the current exhibition "IKARUS - THE SECOND ATTEMPT. On the Proper Use of wax" took place on April 14, 2016:
Bender Talk: „song for the last queen – from bees and arts“
with Sybille Neumeyer - artist Peter Weber - artist and beekeeper Time4tunes: Friedamaria Wallbrecher, Bettina Fuchs, Evelyn Löhr, Christiane Kaiser
followed by a honey tasting.
As a prelude to the evening, the a cappella quartet Time4tunes interpreted the work "song for the last queen" by artist Sybille Neumeyer, which was set as a silent notation. In this work, Neumeyer addresses the global phenomenon of massive bee die-offs, which has existed for years. She embeds dead bees in honey and lines them up in small vials. By varying the positioning of the bees in the vials, the artist sets a large-scale notation. It remains open to the viewer to perceive the score as cryptic signs or to search for a readability that can lie in a sonification but does not have to.
Sybille Neumeyer then introduced the background of her working method. In her artistic work, she translates phenomena and structures from nature and the environment into installations and moving image works, among other things. In the process, research as well as subjective experiences flow into the work process.
Peter Weber then gave us an insight into beekeeping, letting us take a look inside one of his hives. The artist and long-time bee father gave us an understanding of the challenges and problems of keeping these animals, which are so important for mankind, today. Finally, there was a honey tasting.
Ausstellungsansicht „Inge Dick – jahres licht weiss“, Galerie Renate Bender 2016
Ausstellungsansicht „Inge Dick – jahres licht weiss“, Galerie Renate Bender 2016
Ausstellungsansicht „Inge Dick – jahres licht weiss“, Galerie Renate Bender 2016
Ausstellungsansicht „Inge Dick – jahres licht weiss“, Galerie Renate Bender 2016
Inge Dick und Renate Bender
Leseperformance mit Bodo Hell im Rahmen der Katalogpräsentation in der Ausstellung „jahres licht weiss“, 2016
Inge Dick – a year's light white
Four films and a selection of stills
Exhibition from January 16th to February 27th, 2016
With her photo projects – whether it is with large Polaroid cameras or with film projects – Inge Dick occupies a distinct place among contemporary photographers and artistic film makers.
This exhibition shows the films she has shot in the last few years: “herbst licht weiss” (“autumn light white,” 2012), “sommer licht weiss” (“summer light white,” 2013), “frühlings licht weiss” (“spring’s light white,” 2014) and “winter licht weiss” (“winter light white,” 2014/15) as well as a selection of the stills made from them.
All four films document the light and changes in color that occur while filming a white surface for several days. The unbelievable colorfulness of light as it changes in the course of a day or a season is rendered perceptible to the human eye only by the art- ist’s assemblage of the stills in rows of narrow strips.
Ausstellungsansicht „Fundamental Painting. Joan Hernández Pijuan – Jerry Zeniuk“, Galerie Renate Bender 2015
Ausstellungsansicht „Fundamental Painting. Joan Hernández Pijuan – Jerry Zeniuk“, Galerie Renate Bender 2015
Ausstellungsansicht „Fundamental Painting. Joan Hernández Pijuan – Jerry Zeniuk“, Galerie Renate Bender 2015
Ausstellungsansicht „Fundamental Painting. Joan Hernández Pijuan – Jerry Zeniuk“, Galerie Renate Bender 2015
Ausstellungsansicht „Fundamental Painting. Joan Hernández Pijuan – Jerry Zeniuk“, Galerie Renate Bender 2015
Ausstellungsansicht „Fundamental Painting. Joan Hernández Pijuan – Jerry Zeniuk“, Galerie Renate Bender 2015
Ausstellungsansicht „Fundamental Painting. Joan Hernández Pijuan – Jerry Zeniuk“, Galerie Renate Bender 2015
Ausstellungsansicht „Fundamental Painting. Joan Hernández Pijuan – Jerry Zeniuk“, Galerie Renate Bender 2015
Ausstellungsansicht „Fundamental Painting. Joan Hernández Pijuan – Jerry Zeniuk“, Galerie Renate Bender 2015
Ausstellungsansicht „Fundamental Painting. Joan Hernández Pijuan – Jerry Zeniuk“, Galerie Renate Bender 2015
FUNDAMENTAL PAINTING Joan Hernández Pijuan – Jerry Zeniuk
Opening: Friday, September 11th, 2015, 6 to 9pm
Special opening hours during the OPEN ART 2015: Saturday / Sunday, September 12th/13th, 2015, 11am to 6pm
Exhibition from September 11th to December 19th, 2015
In the survey show, Galerie Renate Bender also pays particular tribute to the early work of both artist personalities, who say of themselves that their artistic path began to emerge in the 1970s. The exhibition shows works on canvas and paper from four decades. From monochrome color overlays and their dissolving, to the complete breakup of the surface - both positions show quite comparable developments.
Ausstellungsansicht „Black & White II“, Galerie Renate Bender 2015
Ausstellungsansicht „Black & White II“, Galerie Renate Bender 2015
Ausstellungsansicht „Black & White II“, Galerie Renate Bender 2015
Ausstellungsansicht „Black & White II“, Galerie Renate Bender 2015
Ausstellungsansicht „Black & White II“, Galerie Renate Bender 2015
Ausstellungsansicht „Black & White II“, Galerie Renate Bender 2015
Black & White II Douglas Allsop – Inge Dick – Jus Juchtmans – Marcello Morandini – Nadine Poulain – Robert Sagerman – Klaus J. Schoen – Ludwig Wilding – Susan York
Alfonso Fratteggiani Bianchi – Alexis Harding – Rosa M Hessling – Manfred Jäger – Jus Juchtmans – Bim Koehler – Matt Mcclune – Robert Sagerman – Lars Strandh
Till Augustin – Ewerdt Hilgemann – Sigfried Kreitner – Maria Lalić – Horst Linn – Ben Muthofer – Heiner Thiel – Jeremy Thomas – Peter Weber – Martin Willing
Exhibition from November 14th, 2014 to January 17th, 2015
Douglas Allsop, Till Augustin, Hellmut Bruch, Inge Dick, Alfonso Fratteggiani Bianchi, Alfred Haberpointner, Alexis Harding, Rosa M Hessling, Manfred Jäger, Jus Juchtmans, Bim Koehler, Siegfried Kreitner, Maria Lalić, Horst Linn, Ole Müller, Matt McClune, Harald Pompl, Robert Sagerman, Regine Schumann, Lars Strandh, Jeremy Thomas, Bill Thompson, Peter Weber, Jerry Zeniuk
Vernissage: Thursday, Oktober 2nd – 7 to 9 pm Exhibition from October 3rd to November 16th, 2014
EXHIBITION VENUE:
KUNSTHAUS Fürstenfeldbruck Kloster Fürstenfeld – Fürstenfeld 7 Zugang im Museumsbereich 82256 Fürstenfeldbruck http://www.kunsthaus-ffb.de
Opening hours KUNSTHAUS: Tuesday to Saturday from 1 to. 5 pm Sunday from 11 am to 5 pm
Entrance fee: 2,50 € Reduced 1 € Members of the KUNSTHAUS free
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
Ausstellungsansicht „look into it. Regine Schumann“, Galerie Renate Bender 2014
„look into it“ Regine Schumann
- Start into the new art season at Türkenstraße 11 -
Exhibition from September 12th to November 8th, 2014
In September as the season begins with OPEN Art, visitors at the Galerie Renate Bender will have the opportunity to immerse themselves in a luminous installation of the cologne artist Regine Schumann. Her fluorescent works made of acrylic glass glow above all in black light.
In her most recent series, “colormirror rainbow,” the delicate translucent surfaces shimmer in every color of the rainbow. These new works are both three-dimensional objects of color and space that integrate the immediate surroundings and delimit themselves as pictorial objects. With their constant color transformations they are more than a projection surface for reflections. For they also capture the mirror image of the viewer. The fractured appearing surfaces of these most modern materials are reminiscent of antique mirrors that have become cloudy, the aging process having been influenced by light itself. The spectrum of color and light is scrutinized in these works, while her new use of satinized acrylic glass with its matte appearance brings above all painterly qualities to the fore.
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Die technische Speicherung oder der Zugang ist unbedingt erforderlich für den rechtmäßigen Zweck, die Nutzung eines bestimmten Dienstes zu ermöglichen, der vom Teilnehmer oder Nutzer ausdrücklich gewünscht wird, oder für den alleinigen Zweck, die Übertragung einer Nachricht über ein elektronisches Kommunikationsnetz durchzuführen.
Vorlieben
Die technische Speicherung oder der Zugriff ist für den rechtmäßigen Zweck der Speicherung von Präferenzen erforderlich, die nicht vom Abonnenten oder Benutzer angefordert wurden.
Statistiken
Die technische Speicherung oder der Zugriff, der ausschließlich zu statistischen Zwecken erfolgt.Die technische Speicherung oder der Zugriff, der ausschließlich zu anonymen statistischen Zwecken verwendet wird. Ohne eine Vorladung, die freiwillige Zustimmung deines Internetdienstanbieters oder zusätzliche Aufzeichnungen von Dritten können die zu diesem Zweck gespeicherten oder abgerufenen Informationen allein in der Regel nicht dazu verwendet werden, dich zu identifizieren.
Marketing
Die technische Speicherung oder der Zugriff ist erforderlich, um Nutzerprofile zu erstellen, um Werbung zu versenden oder um den Nutzer auf einer Website oder über mehrere Websites hinweg zu ähnlichen Marketingzwecken zu verfolgen.