Stefan Lenke
22.01.2011 – 04.03.2011

Stefan Lenke shows works which he completed during his stay as a fellow in Columbus/Ohio in 2010. The paintings of Stefan Lenke are geometrically structured and abstractly constructed works with partly transparently superposed put layers of pigment and colour glazes. Refusing a concrete concept, there has always been a readable altercation of architecture within the pictorial space. In the age of reproducibility the act of thinking, seeing and perception are coined by filtering processes, refraction, sequence and the principle of the series. In currently popular areas of music there is scratching, looping and sampling – these are techniques, which have also found their analogy in the painting of Stefan Lenke. A new aspect of Lenke’s works on canvas is that like his previous object installations having been compiled out of numerous pieces, his new works are sometimes continued on to the wall. The colours are louder, the image motifs are increasingly shaped by patterns, the details of deep pictorial spaces depict themselves in more nuances. »Driveby« seems like a taxi drive passing sky scrapers, glass façades, bill boards and illuminated advertisements.  

Stefan Lenke · »Storefront (98)« · 27 1/2 x 43 1/3 in (70 x 110 cm) · acrylic and pigment on canvas · 2010

Stefan Lenke · »Driveby (95)« · 23 2/3 x 86 2/3 in (60 x 220 cm) · acrylic and pigment on canvas · 2010

Stefan Lenke · »Manhatten 1 (96)« · 51 1/4 x 31 1/2 in (130 x 80 cm) ·
acrylic and pigement on canvas · 2010

Stefan Lenke · »American Landscapes 2 (99)« · 38 1/4 x 24 in
(97 x 61 cm) · acrylic and pigment on canvas · 2010

Stefan Lenke · »WHUDD (100)« · 50 3/4 x 78 in (129 x 198 cm) · print on transperancy film · 2010

Stefan Lenke · »Click!« · exhibition view from outside · 2011
Anne Wenzel
Bright Solitude
22.01.2011 – 04.03.2011

Anne Wenzel was born in Germany and has been living in Nederland since many years. She is fascinated by the aesthetics of agglomeration, destruction and the morbid. Her landscapes seem like the illustration of Cormac McCarthys »The Street«. Anne Wenzel’s world of images seems to depict apocalyptical visions of the future but also mirror romantic picture traditions, brutal and beautiful at the same time. The artist receives current images of the media depicting catastrophes, accidents and bombing attacks, as well as history paintings, hunting scenes and depictions of horsemen. 

In her group of works »Bright Solitude« goblets made from ceramic and medals follow in their arrangement the classic conventions of a museum. But the museum seems burnt out. There are only left monochrome matt black insignia of representation, which show a high level of destruction. The trigger of this cultural disaster stays unnamed but the traces which are a kind of apocalyptic enamel remain very obvious.

1972 born in Schüttdorf (D) · 1992 – 1997 study at Academy for visual art Enschede (NL) · lives and works in Rotterdam (NL) · 2010 Sidney Myer Fund Australian Ceramic Award


Anne Wenzel · »Bright Solitude (trophy #12)« ·
26 1/3 x 10 2/3 x 10 2/3 in (67 x 27 x 27 cm) ·
ceramic, platinum luster · 2009

Anne Wenzel · »Bright Solitude (chainlet)« ·
47 1/4 x 35 1/2 x 29 1/2 in (120 x 90 x 75 cm) ·
ceramic, platinum luster, metal · 2009

Anne Wenzel · »o.T. (Schwarzes Mädchen)« · 51 1/4 x 39 1/3 x 37 1/2 in
(130 x 100 x 95 cm) · ceramic · 2003

Anne Wenzel · »Bright Solitude (medal #4)« · 1 3/4 x 8 2/3 x 6 2/3 in (4,5 x 22 x 17 cm) · ceramic, platinum luster · 2010

Anne Wenzel · »Bright Solitude (trophy #4)« ·
26 1/3 x 10 2/3 x 10 2/3 in (67 x 27 x 27 cm) ·
ceramic, platinum luster · 2009

Anne Wenzel · »Brigth Solitude« · exhibition view · 2011
Benedikt Braun · Jan Christensen · Stuart Croft · Mark Formanek · Falk Haberkorn/Sven Johne · Sebastian Hempel · Philipp Hennevogl · Andreas Lorenschat · Navid Nuur · Miklos Onucsan · Gabriele Worgitzki
18.03.2011 – 21.04.2011
Stop and Go (kuratiert von Mathias Wagner)
Benedikt Braun · Jan Christensen · Stuart Croft · Mark Formanek · Falk Haberkorn/Sven Johne · Sebastian Hempel · Philipp Hennevogl · Andreas Lorenschat · Navid Nuur · Miklos Onucsan · Gabriele Worgitzki
18.03.2011 – 21.04.2011

In our present time non-stop actions of communication and mobility suggest that the overcoming of time and space virtually as well as physically is possible at any time. We have nearly dismissed the thought that everything takes its time. Every waking second is filled with information, events and activities. Time during which little or nothing happens is said to be unproductive. To take a break, to be able to wait in order to start something of which the outcome is not foreseeable, to do nothing, to take time – these needs have been eliminated by the philosophy of life which demands everything. at the same time. now.. It looks as if the enormous acceleration of every aspect of our life has changed our sense of having time and dealing with time to a huge extent. An around the clock availability and the increasing speed of the internet lead us to believe that the human could function as quickly and flexible in real life. We are not able to keep up of course. The more intense the timely concretion becomes the frailer we react, if the flow of pieces of information and actions slows down or is even cut. Then we get mixed up, impatience takes over. The disposition to wait is diminishing nowadays. 

As a psychological category the term impatience is hard to get a grip on. The term itself is according to the absence of an inversion of the concept dependent on its contrary. Impatience is at first an individual reflex. It is a feeling which occurs when the inner clock is running faster than real time is actually passing. Especially when one is exposed to situations and events of which one cannot influence the durance of but which one would like to accelerate. But it is the experience of impatience, a mandatory break, which leads to intensely feel a one-dimensional, target-orientated relation towards time that we have developed. 

Because impatience is within its erratic character a subjective feeling it is difficult to find general images for it. Within art impatience rarely appears as a concrete subject und motif beyond thinkable depictions of (im)patience as vice. Moments of impatience belong to the area of by-products of the artistic creative process and to the reaction of the crowd without defining impatience as such. The artistic altercation of different phenomena of time within the conflicting area of impatience and patience are often bound to one situation in which different sections of time and space contrastingly confront or overlay. Thereby the visualized concept of time within the image, photograph, object or film is relating to the measure of time of the viewer. Through this action intervals are created which permit a differentiated experience of time.

Falk Haberkorn, Sven Johne · »The Brocken is a German« · three parts · 72 3/4 x 5 3/4 in (185 x 15 cm) · Archival Pigment Ink on alu-dibond kaschiert · 2010

Philipp Hennevogl · »Beschwörung« · 15 3/4 x 7 1/4 in
(40 x 18,5 cm) · linocut on paper · 2007

Jan Christensen · »Horror Vacui« · mural · acrylic · 2007

Stuart Croft · »Drive In« · Video · 7 min 24 sec · 2007

Gabriele Worgitzki · »Neukölln« · 38 1/4 x 47 3/4 x 4 in (95 x 120 cm) · C-print behind plexiglass · 2009

Mark Formanek · »Standard Time« · 24 h · Video · 2007

Andreas Lorenschat · »Der Rasenmähermann« · Video · 2 min 30 sec · 2004

Miklos Onucsan · »Other Annual Rings« · Ø 12 1/2 in (32 cm) · wood · 1998-2008

Navid Nuur · »Untitled« · 19 2/3 x 31 1/2 x 7 in (50 x 80 x 18 cm) · ligth box, color · 2006-2008

Sebastian Hempel · »Sanduhr« · 25 2/3 x 25 2/3 x 2 1/3 in (65 x 65 x 6 cm) · Plexiglas, aluminium, polarization foil, drives · 2011

Benedikt Braun · »Kreisuhr« · Video · 1 min · 2008

»Stop and Go« · exhibition view · 2011
Claudia Schötz
18.03.2011 – 21.04.2011

Art seen as a space beyond conventional operational levels can be a stage for authentic thoughts and actions if possible the viewer can be put into a situation within which the retrieval of learnt patterns of acting lead into an empty space. The works of Claudia Schötz are »practise spaces« for other forms perception of art. The viewer does not stand in front of the art work but within it. As »accessible« rooms the works allow a sensory perception which corresponds to the work’s level of contents. The »exercise« which is taking place here is a continued act of deconstruction of implicitness and certainty. 

Claudia Schötz · »The Night they`ll do me right« · room view · 2011

Claudia Schötz · »The Night they`ll do me right« · variabel size · paper, cloth, light ventilators · 2011

Claudia Schötz · »The Night they`ll do me right« · variabel size · paper, cloth, light ventilators · 2011

Claudia Schötz · »The Night they`ll do me right« · performance · variabel size · paper, cloth, light ventilators · 2011

Claudia Schötz · »The Night they`ll do me right« · variabel size · paper, cloth, light ventilators · 2011

Claudia Schötz · »The Night they`ll do me right« · variabel size · paper, cloth, light ventilators · 2011
Franka Hörnschemeyer
06.05.2011 – 08.07.2011

Nachdem 1812 die Festungsanlagen geschliffen worden waren , schuf Dresden als eine der ersten Gemeinden in Deutschland mit dem Bau von Entwässerungsanlagen die hygienische Grundlage für die Entwicklung zu einer prosperierenden Großstadt. War dies damals ein überaus fortschrittlicher Entschluss, erfährt seine Durchführung und Bedeutung heute nur noch wenig Aufmerksamkeit. Mit ihrer künstlerischen Praxis holt Franka Hörnschemeyer solche einem Ort oder einem Raum eingeschriebenen Ebenen der Geschichte in das Bewusstsein der heutigen Allgemeinheit zurück. Mit architektonischen Projekten im öffentlichen Raum wie dem Trichter am ehemaligen Seetor in Dresden, mit begehbaren Strukturen aus industriell gefertigten Bauelementen oder mit Foto- und Videoarbeiten legt sie die Strukturen von Räumen frei und spürt deren sozialen und historischen Fährten nach. Ihre Spurensuche wird in der Sichtbarmachung von historischer Prägung und gleichzeitiger Verschränkung mit gegenwärtiger Nutzung zu einer Archäologie der Gegenwart.

Für ihre erste Einzelausstellung in Dresden schuf Franka Hörnschemeyer einen Erfahrungsraum, der die Analyse des Ausstellungsraums mit den Entwicklungsebenen ihrer eigenen Arbeit verschränkt. Eine sich durch die Galerie ziehende Konstruktion aus Messebauwänden reflektiert als baulicher Kommentar die architektonischen Gegebenheiten. Gleichzeitig dient sie als Hintergrund, auf dem die Entwicklungsstufen von Hörnschemeyers Werkprozess in Form von Arbeitsmaterialien nachvollziehbar werden. Zeichnungen, Pläne, Fotografien und Prints veranschaulichen die Entwicklung von »Westzimmer« (2001), »Trichter« (2003-2011) und »Franks International« (2008). Ineinander verwoben sind so die Geschichte und die Gegenwart des Galerieraums sowie die Geschichte und die Gegenwart künstlerischer Praxis zu einer nach außen und nach innen gerichteten Formation. Die Arbeit ist so zugleich temporäres Archiv – sowohl als Speicher historischer Spuren des Raums als auch des künstlerischen Werks.

Jasper Kettner 

Franka Hörnschemeyer · »Franks International 6029« ·
36 1/4 x 29 1/4 in (92 x 74 cm) · piezo print · 2007/2011

Franka Hörnschemeyer · »Franks International 3811« · 29 1/4 x 36 1/4 in (74 x 92 cm) · piezo print · 2006/2011

Franka Hörschemeyer · »discrete case II« ·
102 1/3 x 118 x 98 1/2 in (260 x 300 x 250 cm) ·
aluminum cast, wooden panel · 2012

Franka Hörnschemeyer · »Raumkonstruktion« · wooden panels · 2011

Franka Hörnschemeyer · »Raumkonstruktion« · wooden panels · 2011

Franka Hörnschemeyer · »Seetor« · in Dresden · 2011

Theo Boettger · »Germanys Next Topmodel« · 98 1/2 x 78 3/4 in
(250 x 200 cm) · acrylic and varnish spray on canvas · 2011

Theo Boettger · »Meryem Ana« · 49 1/4 x 39 1/3 in (125 x 100 cm) ·
acrylic and varnish spray on canvas · 2011

Hannes Broecker · »Das Alphabet« · 74 3/4 x 98 1/2 in (190 x 250 cm) · oil and varnish on canvas · 2011

Hannes Broecker · »Cut Up« · 15 3/4 x 11 3/4 in (40 x 30 cm) ·
mixed media on dibond · 2011

Eckehard Fuchs · »Pan« · 59 x 39 1/3 in (150 x 100 cm) ·
oil and egg tempera on canvas · 2011

Eckehard Fuchs · »Köder« · 47 1/4 x 47 1/4 in (120 x 120 cm) · oil and egg tempera on canvas · 2011

Andreas Hildebrandt · »Schutz« · 55 x 43 1/3 in (140 x 110 cm) ·
mixed media on canvas · 2011

Andreas Hildebrandt · »Scheibe« · 70 3/4 x 55 in (180 x 140 cm) ·
mixed media on canvas · 2011

»Boettger · Broecker · Fuchs · Hildebrandt« · exhibition view · 2011
Archive of Dr. Joseph M. Carrier 1962-1973, 2010
16.09.2011 – 21.10.2011
Danh Vo
Archive of Dr. Joseph M. Carrier 1962-1973, 2010
16.09.2011 – 21.10.2011

Danh Vo was born in 1975 in Vietnam and after the fall of Saigon and the victory of the communists he was brought to the island of Phu Quoc together with 20.000 other South Vietnamese people. From there he and his family escaped in 1980 on a boat his father had built.

Vo studied at the Royal Arts Academy Copenhagen and at the Städelschule in Frankfurt/Main. The artist was nominated for two of the highest endowed prices of contemporary art in Germany, the »Blauorange-Preis« that he won in 2007 and he was shortlisted for the prize of the National Gallery in 2009.

Danh Vo sets many footprints which is hard to believe according to his biography that reads like the one of a phantom. Likewise he married four times just in order to prolong his name (Ky-Danh Rosasco Trung). The artist is linking his past which portrays itself mainly as colonial history and the history of war with the present. The viewer has to make an effort in order to catch the artist in the act. 

Danh Vo · »Archive of Dr Joseph M. Carrier 1962-1973, 2010« ·
gravure on somerset with satin paper in various sizes · Set of 24 details

Dahn Vo · »Archive of Dr. Joseph M. Carrier 1962–1973, 2010« · detail of the Set

Dahn Vo · »Archive of Dr. Joseph M. Carrier 1962–1973, 2010« · detail of the Set

»Danh Vo - Archiveof Dr Joseph M. Carrier 1962-1973« · exhibition view · 2011
Peter K. Koch
16.09.2011 – 21.10.2011

An outline sketches a certain issue, an idea, an object or a surface and silhouettes it visibly and perceptibly from its surroundings. Clear lines of divisions constitute themselves but the borders blur increasingly the more intense the backlight becomes. Then image and object mix, inside and outside, area and space, and challenge a dual perception. At this point Peter K. Koch is starting his formal-conceptual experiments and quests the constraints of object, painting, collage and photography. Through geometrical abstraction, deconstruction and analysis of material characteristics the artist is thereby researching at which point a reduced design vocabulary enlarges itself expressively and from which point an exact category can’t be denominated. A quest for vagueness by the means of clarity. Thus the artificial concept of an anti-outline deals with the execution of the narrowness of categories and conventions as well as the optimistic denial of conceptual containment. 


1967 born in Köln · 1994 – 1998 studies design at the Hochschule Niederrhein · since 2005 artistic assistant at the HfBK Dresden· lives and works in Berlin 

Peter K. Koch · »o.T. (Lamelle 44)« · 52 x 43 in (132 x 109 cm) ·
card box, varnish · 2011

Peter K. Koch · »o.T. (Antikontur 3)« · 36 1/4 x 25 1/4 in
(92 x 64 cm) · Inkjetprint (plakatiert) · 2011

Peter K. Koch · »o.T. (Violettes Positiv)« · 52 x 43 in
(162 x 101 x 50 cm) · card box, varnish, wood · 2011

Peter K. Koch · »o.T. (Neuer Turm)« ·
102 1/3 x 9 3/4 x 9 3/4 in (260 x 25 x 25 cm) ·
wood, varnish · 2011

Peter K. Koch · »Antikontur« · exhibition view
Elektrisches Gefühl
Sebastian Hempel
11.11.2011 – 06.01.2012

… He (Sebastian Hempel) first trained in his father’s stonecutting business, … before studying sculpture at the Hochschule für Bildende Künste in Dresden. Although he rather quickly integrated his great fascination for motor-operated apparatuses and light phenomena into his development as an artist, even today he is largely concerned with spatial processes, with perception in three dimensions, and with stages.

On closer inspection, nearly all his objects, mechanisms, and installations are found to feature a delicate joggling in their movements, which at first seemed so perfect; traces of a very individual struggle with technical conditions; the self-constructed, the tinkered, the bumped, all of which conceal with a wink the poetry of fragility and hence the fleetingness of perfection beneath a radiantly polished surface. But it is precisely these traces left behind by technical imperfection that rescue Hempel’s from the rapid consumability of the design context and led them instead into a refined play of appearance and essence, of manic search and cool construction. The superimpositions and movements in Hempel’s installations place the focus of their reception primarily on spatial gradation and at the same time on gradual change. The image of a perfect perception machine remains deliberately unsatisfied and makes the human factor and the designable quality of the world evident precisely in the cracks of these installations. The potential for discoveries and new conquests also lies precisely in linking technical development back to the crafts, removing the machine from the circulation of its constant repetition …

extract from the text »listening to plastic« by Roland Nachtigäller, released in the catalogue »plastic can not be seen« by extraVERLAG Berlin, 2011

Sebastian Hempel · »Leuchtstabbild 14 W« · 49 1/4 x 25 2/3 x 2 1/3 in (125 x 65 x 6 cm) · kinetic object · aluminium, Plexiglas, illuminant, drives · 2010

Sebastian Hempel · »4 x 4 Lichtkreise (Bubbles)« · kinetic object · 40 1/4 x 40 1/4 x 2 1/3 in (102 x 102 x 6 cm) · LED, aluminium, Plexiglas, drives · 2011

Sebastian Hempel · »Instrument for writing the record grooves« · 2011

Sebastian Hempel · »Display 5 x 5 Circles with fluorescent tubes« ·
27 1/2 x 27 1/2 x 2 1/3 in (70 x 70 x 6 cm) · kinetic object to be
viewed with sunglasses · sunglasses, Plexiglas, fluorescent tubes,
optical filters, aluminium, drives · 2010

Sebastian Hempel · »Runder Tisch« · h = 33 1/2, Ø = 69 2/3 in (85 cm, 177 cm) · aluminium, glas, fluorescent tubes, Steel, control logic · 2011

Sebastian Hempel · »Elektrische Gefühl« · 2011 · exhibition view