Ayelen Coccoz (born in 1973 in Rosario, Argentinia, studied at the Academy of Fine Arts in Buenos Aires and has been master student of Martin Honert at HfBK Dresden since 2010) covers her low reliefs with a layer of resin thus her motifs are enclosed like fossils and engrossed within their contexts in terms of time and space.

Nadja Frank (born in 1980 in Lohr am Main, until 2008 studies of fine arts at HfBK Hamburg, 2009 until 2011 at the MFA Columbia University New York) changes the surfaces in an Italian marble stone pit and documents and stages the permanently changing landscape (also through visual illusion).

Stefan Krauth (born in 1978 in Karlsruhe, since 2010 master student of Ralf Kerbach at HfBK Dresden) re-takes photographs of his own images from a monitor. Through outer impacts such as light, dust and fog the former documentary photographs appear artificial, mystic and alien.

The still lives of Stefan Kübler (born in 1968 in Balingen, 2001 until 2003 master student of Ralf Kerbach at HfBK Dresden) are reverse glass paintings. The artist consequently paints behind the plate, only when the image skin is loosened from the glass and fixed on canvas the artist sees the (now mirror inverted) image. 

Christian Schwarzwalds artistic media is drawing. He uses various techniques and image sources that depict themselves in his newly formulated image language. Thereby the artist uses aspects of reproduction, the irritation through embedded faults and the illusion of three-dimensionality. The work of Schwarzwald is similar to a sign system. In his mostly capacious drawing installations the artist uses individual drawings like building stones for his own system of speech and thus claims next to the overall view the altercation of the details of each individual drawing. 

The paintings of Stefan Lenke are geometrical arranged, abstract constructed compositions of colour, form and line. His artistic examination of objective experiences is (clearly) perceivable, however the spaces which arise within the colourful surfaces refuse a concrete appellation. Reduced applied lines, side by side standing surfaces, fluent colour transitions and severe colour contrasts give the flat image carrier a moving space volume.

In a long process of repeatedly, partly transparently overlaying multiple pigment layers, the subsurfaces become visible and the technical forms start to pulsate and to oscillate. The elements of the image receive a differentiated sensual character. Thus the abstract colour surfaces make both the wideness of landscapes and architectural situations tangible.

Also, his object installations vibrate and appear at their fronts instabile, while the sides of these geometrical objects concentrate to surfaces.

Andreas Hildebrandt

1973 born in Dresden · 1997 – 2002 study of painting and graphic arts at HfBK Dresden · 2002 – 2004 post graduate with Prof. Ralf Kerbach · lives and works in Potsdam

Oliver Stäudlin

1972 born in Friedrichshafen · 1999 – 2005 study of painting and graphic arts at Staatliche Akademie der Bildenden Künste Karlsruhe · 2004 – 2005 post graduate with Prof. Erwin Gross · lives and works in Leipzig

The installation »Zwölf Brüder« (»Twelve Brothers«) revolves around the central question as to which extent a person is ready to dedicate to a certain task.

The work consists of two central parts. One part is a large round shaped mirrored three-staged object. This object symbolises the prospective way, a kind of career ladder, whereas the first step is put up fairly high and there seems to be hardly any room left on the landing. Through the mirroring the viewer can reflect about his or her own possibilities in life. On the other hand twelve portraits are mirrored within the middle step of the object and thus form its second consistent part. There are portraits of scientists, writers, actors...- people who are all already dead and who had decided upon their career path early and had thus dedicated their lives towards it. The Indian ink drawings show the depicted in their twenties at a stage in their lives where they decided upon their personal path. With the help of a quill, some water, coffee and other interfering elements like traces of wrinkles and fissures the »young« portraits receive an old masterly patina, faces dissolve, bleach out, become fragments. Because of the mirroring effect of the object the viewer only perceives the frame of the images, the work wherefore the depicted stand and thus the personality itself, fades into the background, vanishes into oblivion. 

New Tahiti

In 2008, Vienna based artist Lukas Pusch founded the White Cube Gallery Nowosibirsk, the first centre for contemporary art in Siberia.Housed in a shabby sheet metal garage of the Breschnew era, the centre unites a ready made as well as an architectural monument and an exhibition space.

During the summer of 2009 Pusch and his artist friend Konstantin Skotnikov assembled the White Cube Gallery onto the loading space of a Soviet ZIL 130 lorry and travelled for months with changing exhibitions following the spirit of the Russian Peredwischniki, a group of Russian artists from 1871 to 1923 through the velds and forests of Siberia. This was the beginning of some distant longing for a new world in the allegoric sense of the word with refernce to Gaugin and Nolde. Following the traces of the avantgarde after the collapse of the Futurism of the Soviet Union and viewing it as a total work of art, Pusch betook himself to look for a new Tahiti, an »island« full of possibilities far off the capital in the vastness of Siberia.

In 2010 the first state-run centre for contemporary art was founded in Siberia. The White Cube Gallery was positioned at the entrance as a »monument of artistic freedom«. The ERARTA museum in Saint Petersburg is presenting works by Lukas Pusch, the only Western artist featured in the survey exhibition of key works »Chudoshestvennoechozjaistwo – contemporary art in Siberia«. At the Biennale in Krasnojarsk the project »White Cube Gallery« was marked best work in the category of public art.

Veranstaltet in Zusammenarbeit mit der Galerie Baer, der Hochschule für Bildende Künste Dresden, dem Kupferstich-Kabinett Dresden und dem Amt für Kultur und Denkmalschutz.Thema ist Originaldruckgrafik in Qualität und Vielfalt: Ein druckgrafischer Abzug wird als Original angesehen, da Druckgrafik über spezifische Ausdrucksmöglichkeiten verfügt, die allein durch die Mittel der originaldruckgrafischen Verfahren realisiert werden können. Für die Künstler ist dabei der Dialog mit dem Material, die Ausstrahlung des Druck-Prozesses selbst und die Magie des Arbeitens in grafischen Werkstätten von essentieller Bedeutung. Die zwei Werkstattwochen konzentrieren sich 2012 auf die Technik Algrafie. Außerdem entstehen mehrfarbige Blätter in der „Edition Handpressendrucke“. Eine Ausstellung der sechs Stipendiaten in der Galerie Baer bildet den Abschluss.

www.handpressendrucke.de

...Since the emancipation of art from the paternalism of the church or sovereigns and since the introduction of free-market economy the prices for art have steadily been increasing. The advance in prices accompanied the deployment of paper money. In art the abstract money seems to be taking on a new physical shape: a strategy accreditation that is beyond the victim and more so points towards the material authentication. At the same time, art just like money is an artefact of the mind hence an abstraction. And also art has been undergoing a process of excarnation... For Marc Shell dematerialisation of economy as well as art has been creating a »certificate of authenticity«. After all art just like money executes power over our feelings. This form of double positioning – in mind and matter – elaborates art to a suitable construct for old and new paths of monetarism and if the monetary value of art has effectually risen in the last decades (parallel to the emergence of financial capitalism) one is asking oneself whether money is the last possibility of confirmation of material or is looking for a new type of form...

Christina von Braun; Der Preis des Geldes – Eine Kulturgeschichte, S. 278/279; Berlin 2012

Theo Boettger · Hannes Broecker · Jan Brokof · Laura Bruce · Stefanie Busch · Constanze Deutsch · Eckehard Fuchs · Tino Geiß · Sebastian Hempel · Andreas Hildebrandt · Franka Hörnschemeyer · Eric Keller · Peter K. Koch · Stefan Krauth · Stefan Kübler · Anja Langer · Stefan Lenke · Jonas Lewek · Sophia Schama · Marten Schech · Christian Schwarzwald · Robert Seidel · Anne Wenzel · Martina Wolf