#produzentengalerie

[seakclauswinkler]

Servus Your value by investing in a painting by SEAK Claus Winkler: - Imagine how you chill in your estate, focused on yourself, directed inward, enjoying your painting by SEAK Claus Winkler. #SEAK #ClausWinkler #SEAKClausWinkler #buntesgemälde #greatpic #largepic #paintingdetails #paintingdetail #modernartwork #beautifulpiece #luxurycondos #produzentengalerie #gallery #curating #fineartgallery #galerie #modernstyle #modernerstil #modernpicture #colourfulpainting #colorfulart #colourfulart #colorfulpainting #grossesbild #artdetail #largepainting #greatpicture #greatpictures (hier: Sörenberg, Obwalden, Switzerland) https://www.instagram.com/p/CqTriT7onXq/?igshid=NGJjMDIxMWI=

[galerieextrawurst]

Hallo Ihr Lieben! Frei nach dem Motto “Extrafrüh mit Extrawurst“ findet in der Produzentengalerie Extrawurst am Stephinger Berg auch dieses Jahr wieder ein kleiner aber feiner Weihnachtsbazar mit Weihnachtsflohmarkt statt. Am Sonntag dem 19. November kann von 11.00Uhr bis 17.00Uhr im gemütlichen Ambiente der ehemaligen Metzgerei (ja, das geht!) mit Glühwein, Punsch, Kaffee und Gebäck auf Spendenbasis in Ruhe gestöbert werden. So lässt sich bestimmt bereits das eine oder andere Geschenk finden. Geboten wird auf jeden Fall ein kurzweiliger Augenschmaus mit dem man sich langsam auf den alljährlichen Weihnachtswahnsinn einzustimmen vermag. Wir freuen uns auf Euch !

[produzentengalerie]

Thomas Bauer - Bautenschutz, Acryl, Spray und Lack auf Leinwand, 120x100cm,  2015 (@www.thomasbauer.biz)

[amirshariat]

Hieronymus Bosch „Last Judgment Triptych“ (1490-1505) in a joint exhibition with the young German painter Jonas Burgert at Akademie der bildenden Künste in Vienna. Left panel: paradise, centre: the last judgment and the seven deadly sins, right: hell #hieronymusbosch #hell #bosch #thelastjudgment #paradise #sevendeadlysins #vienna #produzentengalerie (at Gemäldegalerie der Akademie der bildenden Künste Wien)

[craft2eu]

raum Handwerk & Design - Produzentengalerie: Bremen vom September 2020 bis März 2021

raum Handwerk & Design – Produzentengalerie: Bremen vom September 2020 bis März 2021

Auch in dieser Herbst/Winter-Saison wird die Produzentengalerie ‚raum Handwerk & Design’ in Bremen von der Keramikerin Frauke Alber, dem Metallgestalter Ruprecht Holsten und dem Möbeltischler Martin Wilmesbetrieben. Vom 1.Sepember 2020 bis 31.März 2021 präsentieren sie hier ihre Arbeiten aus Porzellan, Stahl und Holz. Gut gestaltetes Handwerk und Unikatdesign, handgefertigte Alltagsbegleiter für…

[silversentinel2013]

Neuer Beitrag im Kunstblog von Kunstplaza

Es wurde ein neuer Beitrag veröffentlicht im Kunstblog von Kunstplaza unter https://www.kunstplaza.de/galerien/kunstgalerie-inspire-art-kunst-bilder-online-kaufen/

Die Kunstgalerie Inspire Art – Kunst Bilder online kaufen

Besonders junge Künstler, aber auch etablierte Kunstgalerien findet man immer häufiger, wenn man im Internet nach Kunst kaufen sucht – dabei gibt es gravierende Unterschiede zu beobachten.

Was ist beim Online Kunstkauf zu beachten?

Zunächst sollte man sich mit dem Kunst Shop beschäftigen, bevor man ein Gemälde online bestellt. Handelt es sich dabei um eine echte Galerie oder nur um einen Händler?

Kunstgalerien arbeiten häufig mit arrivierten Künstlern zusammen und die Möglichkeit der Wertsteigerung eines Kunstwerkes ist dabei deutlich höher. Gehen wir zum Beispiel davon aus, dass man nach sich nach 5 oder 10 Jahren für ein neues Kunstwerk entscheiden möchte. Natürlich ist es besonders erfreulich, wenn der Künstler nunmehr deutlich bekannter ist und seine Werke an Wert gewonnen haben.

Die in Dresden ansässige Galerie Inspire Art verfolgt diese Idee seit Beginn an und unterstützt vor allem vielversprechende Newcomer Künstler. Dabei baut sie aber zugleich auf bereits etablierte Kunstmaler mit denen sie gemeinsam und regelmäßig Ausstellungen und Beteiligungen an Kunstmessen organisiert. Der Kunstmarkt im Internet ist mittlerweile nur noch schwer überschaubar. Man mag glauben: Wer Kunst kauft, sollte sich auskennen, vor allem dann, wenn es um Preise im vier- oder fünfstelligen Bereich geht.

Kunstgalerie Inspire Art – Moderne Kunst Online kaufen

Besonders beliebt beim Online Kauf – abstrakte Kunst

Inspire Art hat sich speziell auf den Kunstmarkt im Internet spezialisiert und unterstützt dabei vor allem junge Künstler bei dem Verkauf von moderner und abstrakter Kunst. Bereits kurz nach der Gründung im Jahr 2005 fokussierte der Gründer Thomas S. eine intensive Zusammenarbeit mit weitreichenden Künstlern aus näherer Umgebung. Später kamen neue Künstler aus einem größeren Umkreis hinzu. Mittlerweile kann Inspire Art auf über 30 kreative, auch internationale Talente zurückgreifen, welche nicht nur spannende Kunst liefern, sondern, dank einschlägiger Ausstellungstätigkeiten im In- und Ausland auch von einer positiven Entwicklung ihres Bekanntheitsgrades profitieren.

Für die Kunst- und Produzentengalerie Inspire Art ist es nicht zwingend entscheidend, ob ein Kunstmaler über ein hochrangiges Kunststudium verfügt. Vielmehr entscheidend ist, inwieweit die Kunstwerke „berühren“ bzw. gefallen. Natürlich ist ein künstlerischer Hintergrund oder eine tiefgreifende Aussage hinter einem Kunstwerk besonders spannend und meistens erforderlich, um zentralen Zugang zu der Arbeit zu erhalten, jedoch verstehen das auch weltoffene Autodidakten.

Denn wie sagte bereits Joseph Beuys: „Jeder Mensch ist ein Künstler!“

Kunst im Internet kaufen bei Inspire Art

„Kunst macht glücklich“

Die Künstler beabsichtigen mit ihrem Schaffen nicht, neue Klimts oder Picassos zu werden, der Fokus ihrer Arbeit liegt darin, sich selbst und anderen mit ihrer Kunst Freude zu bereiten. Wir wissen heute, dass Kreativität im Alltag, besonders im Beruf außerordentlich bereichernd sein kann. Dies erzeugt nicht nur ein ausgeprägtes Freiheitsempfinden, sondern kann auch bereichernd, ja sogar lebenserfüllend sein.

Junge Künstler – Moderne Kunst

Neue Kunst bei Inspire Art

Wer bereits darüber nachgedacht hat, moderne Kunst ins eigene Heim zu holen oder ein ganz persönliches und liebevoll geschaffenes Kunstwerk sucht, sollte sich in der Galerie Inspire Art gut aufgehoben fühlen. Das Portfolio erstreckt sich von abstrakter Kunst, über gegenständliche und figurative Malerei, bis hin zu einzigartigen Skulpturen regionaler, nationaler und internationaler Künstler. Gut einzusehen sind auch die Hintergründe eines jeden einzelnen Künstlers und es lässt sich viel über deren Laufbahn erfahren.

Einige haben sogar bereits internationale Kunstpreise gewonnen und blicken auf eine aussichtsreiche Entwicklung zurück. Wer Kunst online kaufen möchte, findet in der Rubrik abstrakte Kunst das passende Gemälde online. Jeder muss jedoch für sich selbst herausfinden, welches Kunstwerk am besten zu ihm passt. Dabei ist der „erste Eindruck“ meist ausschlaggebend.

Adresse:

Galerie Inspire Art Hoyerswerdaer Straße 21 01099 Dresden

Öffnungszeiten:

Montag 15-19 Uhr | Dienstag 15-19 Uhr | Mittwoch 10-14 Uhr Donnerstag 15-19 Uhr | Freitag 15-19 Uhr | Samstag 10-13 Uhr

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[ruht-ernst]

Ausstellung „In Hoc Signo“ Thomas Thüring, Spalenvorstadt 11, Basel Freitag, 14 - 18 Uhr - Samstag, 11 - 16 Uhr #inhocsignovinces #thomasthüring #exhibition #ausstellung #produzentengalerie #vonlyssproduzentengaleriebasel (hier: von Lyss Produzentengalerie Basel)

[popdecks]

It's been a #beautiful #exhibition at @produzentengalerie ! #popdecks #popdecksofficial #handmade #handcrafted #wooden #fingerboards #madeingermany #miniature #skateboarding #scaled #skate #art #artwork #finissage #gallery #produzentengalerie #contemporaryart #design #show #pop #follow

[seakclauswinkler]

Servus Ultra High networth Individual Your value by investing in a painting by SEAK Claus Winkler: - Imagine how you chill in your estate, focused on yourself, directed inward, enjoying your painting by SEAK Claus Winkler. - See your self enjoying your estate while remembering all the good things with in the past, while you watch your painting by artist SEAK Claus Winkler. - You sitting on your Couch landscape watching your painting by artist SEAK Claus Winkler & enjoying the relaxed separation from the public persona, ego image they think you have, from what is really important to you. #SEAK #ClausWinkler #SEAKClausWinkler #buntesgemälde #greatpic #largepic #paintingdetails #paintingdetail #modernartwork #beautifulpiece #luxurycondos #produzentengalerie #gallery #curating #fineartgallery #galerie #modernstyle #modernerstil #modernpicture #colourfulpainting #colorfulart #colourfulart #colorfulpainting #grossesbild #artdetail #largepainting #greatpicture #greatpictures (hier: Melchtal, Obwalden, Switzerland) https://www.instagram.com/p/CqSvVO0I1xt/?igshid=NGJjMDIxMWI=

[hubert-hofmann]

Ausstellung Autobiografie 2016 Zeichenarbeit 394teilig 1977 bis ca. 1990Alpineum Produzentengalerie Luzern 2013

[dichotomy2]

Seeds and Holes, Alpineum Produzentengalerie Luzern  2013

[produzentengalerie]

Produzentengalerie BB

[porcileorg]

On the ‘Various Others’ initiative in Munich (2019-09-12 – 2019-10-13)

Author: Magda Wisniowska - Munich, September, 2019.

It was Munich Open Art last weekend, opening on Friday. Various Others, a much newer initiative ran alongside.

Various Others is, very simply, about collaboration and exchange. Each space - whether institution, gallery or off-space - belonging to the initiative partners with one from outside, in order to bring new art back to Munich.

For someone like myself, this is interesting. I feel that, in the spirit of Spinoza, anything increasing our power to act, is by large a good thing. And this collaboration certainly does: galleries become more active through working with new partners, the audience becomes more active by having more art to view, the artists are more active by having new exhibition opportunities in a different city. The efforts of everyone involved should be applauded and encouraged, so that this initiative may long continue. 

Content however is a different matter. Obviously no one expects nowadays the kind of complete enlightenment - the ultimate knowledge of a true God - Spinoza would wish for, but too often the conceptual aims behind the work are left unexamined. This has less to do with the art exhibited during the course of Open Art and Various Others, but more with the type of reviews this kind of event attracts. These focus almost entirely on the idea behind Various Others, that is, on how its exchange program functions, why such a program has come to being and how it might be beneficial to those involved. The few that do review the actual shows (Frieze selects five highlights) keep to a bare paragraph each.

Of course, it is not easy to review an event that comprises of, at the very least, fourteen openings on its first night, spread across a modestly sized city, with everything closing at 9 pm. On my walk on Friday I manage to see nine things, which is more than many: the performance by Gregor Hildebrand at the Ludwig Beck department store, the exhibitions at Jahn und Jahn, at Sperling, at Rudiger Schöttle and Knust und Kunz, at Jo van de Loo, at Barbara Gross, at Loggia and at Nir Altman. So what follows will be necessarily a flawed personal account.

Gregor Hildebrand @ Ludwig Beck [click here] At the first point of call, the Ludwig Beck department store, I did not see much of the performance, the store layout allowing a full view only to a privileged few. Those standing between the rows of hip-hop CDs could see more of the (admittedly very photogenic) band members on stage than what was going on with the painting in the corner. As far as I could see, Hildebrand was making one of his magnetic tape type paintings before a live audience. Which seemed to me both very brave and very obtuse, this being perhaps the point, to reveal to the buying public how simple his production process is, a magician who indeed only uses a couple of mirrors to perform his tricks. I could overhear behind me, I never thought it would be so quick and easy.”

‘Computer and Paper' @ Jahn und Jahn, with Galerie Conradi, Hamburg, and ​Kraupa-Tuskany Zeidler, Berlin [click here and here] Onwards south to 'Computer and Paper' at Jahn und Jahn, which despite its somewhat threadbare title is a potentially intriguing group exhibition of six artists. It is part of the Various Others initiative but need not be, the premise of the show strong enough to be expanded and shown in a different institutional context.

Taking an art historical approach, it gathers a small number of works - many, but not all, on paper - to explore the relation between the physical and the digital, as it stands in our post-internet world. At least two sets of paper works, Laura Owen’s small intimate collages and Albert Oehlen’s more formal abstractions, are from the 90s, both artists being some of the first to question their painterly practice in relation to developments in new digital technologies. The work recaptures that moment in time when photoshop was still rare and exotic, a wondrous tool just ready to be discovered. But it does not, indeed it cannot, anticipate the developments that followed: broadband, the rise of social media, smartphones, apps. This task is left to younger and equally prominent artists like Avery Singer. In the large airbrushed paintings she presents at Kraupa-Tuskany Zeidler in Berlin, she considers the impact of new technologies and social media on her own artistic subjectivity. Here at Jahn und Jahn we are offered only small glimpse into her practice with two small early works on paper. A more considered investigation requiring a deeper engagement, comes from Hamburg artist, Thomas Baldischwyler, who presents one installation piece and two collages behind glass. One work uses the Victor Burgin poster, “What does possession mean to you?” together with its double message “7% of our population own 84% of our wealth;” another is inscribed with the graffiti-like slogans “We still control computers, when will computers control us?” and “Rehearsal war and peace. They calculate stock market prices and write poems.” The installation includes the short narrative of how the artist covered his laptop camera with a sticker, and is accompanied by a wooden panel made to look like an enlarged sheet of stickers, complete with its plastic hang tag. There are clearly other references at work, and you want to know how these might connect in some overall critique of capitalism through digital culture, but the work remains - despite repeated viewing - steadfastly opaque.  More accessible, but also simpler in aim, are the utopian/dystopian drawings of Soyon Jung, a mix of etching and Letraset type transfer depicting future ruins of corporate and political headquarters. Equally direct in his critique is Felix Thiele, who showed with Jung as part of the exhibition 'Death Hoax' at Hamburg’s Westwerk. He presents three shiny iPhones replicas with crudely painted apps, a desirable consumer object made useless, but equally desirable as art. 

Augustus Serapinas and Malte Zenses @ Sperling, hosting Emalin, London [click here and here] Up the road at Sperling is the two-person show of Augustas Serapinas, who shows with Emalin, London, and Malte Zenses from Berlin. Serapinas is an exciting young artist, who deals with displacement in a very literal and unambiguous way.  For this exhibition he transported an entire derelict greenhouse from Vilnus back to Munich, and reinstalled it in the Sperling gallery. There is a socio-political element to the work, its attempt to confront the growing gentrification of Vilnus, as well as the need to preserve an ongoing process of destruction, also visible in Serapinas’s smaller framed works, in which plants are preserved in glass at the moment of their turning into ash. In this, his Munich exhibition recalls his earlier one 'February 13th,' where he famously managed to transport several still-frozen snowmen, more or less intact, from Vilnus to Emalin’s London space. In this case too, the work was about the saving of snowmen from destruction, again acting out a kind of preservation by removal. However, the London show seemed more vivid, more visceral in its impact. It makes sense that the press release referred to Julia Kristeva’s definition of installation as something on the verge of the sacred, where it asks us “not to contemplate images but to communicate with beings.” Something is missing from the Munich installation that would allow us to make such a claim of communication with being and I am not sure if it is the lack of smell (surely the greenhouse should smell of weeds and wood rot?), the very uniform indoor lighting or the lack of isolation (the other exhibited work is very close by). In comparison, Zense’s paintings are more difficult to pin down, though their abstract language is also clearly a consequence of a similar process of transposition from one context to another. They trade in displacement, both in a linguistic and Freundian sense of the term, their marks harbouring only an arbitrary relation to what they might stand for as a sign, unconscious desires put to use in the  symbol. They also allude to the process of destruction. The work consists of many layers, each erasing and obscuring a previous one, their final state again preserved in glass. Taken together, the combination of the two practices works on a conceptual level. It is pleasing to consider how one idea, such as that of destruction, shifts from one context and medium, to another, very different one.

Rüdiger Schöttle [link], Jo van de Loo [link], Barbara Gross [link] More centrally, Galerie Rüdiger Schöttle cooperated with ShanghART to show the abstract paintings of Chinese artist, Ding Yi with their signature 'x' and '+' crosses. Jo van de Loo presented the work by one of its gallery artists, Lorenz Strassl together with Monika Michalko from Produzentengalerie in Berlin. Both artists share a certain surrealist, dreamlike sensibility. At Barbara Gross, there were woodcuts and etchings by Andrea Büttner, shown concurrently with the artist’s London gallery, Hollybush Gardens.

'Dark Latern' @ Knust x Kunz hosting Attercliffe™, Sheffield, UK [click here and here] Beautifully selected by Paul Morrison is group exhibition 'Dark Latern' at Knust x Kunz. Among the crowd, one could find the minimalist geometry of Jan van de Ploeg; a black and white graphic drawing by Riette Wanders; a long-exposed, bleak photograph by Dan Holdsworth; slick works by artists with a Goldsmiths connection, such as Glenn Brown, Gerald Hemsworth or Glasgow based Michael Stubbs; Koen Delaere’s texture heavy black canvas; Saul Fletcher’s intriguing little photograph of a row of sticks leaning against a roughly plastered wall; a playful abstraction of Caroline McCarthy; or baroque image of a candle flame by Ralf Brög. All of the work is small and simply hung at eye level, demonstrating that an exhibition could be interesting without any grand curatorial gestures. Tim Etchells slogan, placed centrally in the space, could be the title for the show, and very good title it is: “objects in nightmare arrangements.”

Tramaine de Senna and Nicholás Lamas @ Loggia hosting MÉLANGE, Köln, and Sabot, Cluj-Napoca [click here and here] Another intriguing show could be found close by at Loggia, one of the few off-spaces in Munich that is also part of the Various Others initiative. This too is a deceptively simple two-person exhibition, featuring the work of young sculptors Tramaine de Senna and Nicholás Lamas, in collaboration with Mélange from Cologne and Sabot, Cluj. On first glance the show is almost conventional in its arrangement, a tightly grouped collection of art objects on plinths, even if the plinths are not of the square, white variety. The design qualities of Senna’s work lends the exhibition an arty feel, so that it looks a little like an abandoned surrealist installation, but in combination with Lama’s objects and their mix of the natural and artificial, the overall impression is of a modernist cabinet of curiosities - if such a cabinet was run by a dyslexic alien with a moderate interest in art and a well-established shoe fetish. Objects lose their everyday meanings in the unusual combination produced by Lamas: what looks like fossilised coral, bursts out of a neon blue sneaker, carefully placed on a gently modulating, bent car radiator grill. Cutting across familiar systemic structures in a strongly dialectical way, nature seems to imitate the unnatural, human items, planetary processes.  Senna’s work is more artful in comparison, in that it references other art, design and fashion, with a high heeled shoe at the end of an epoxy clay pedestal or bright leopard print across shaped cardboard hanging on the wall. Hers is the more familiar strategy of recovering unfamiliar meanings from very familiar everyday.  

Eva Grubinger, Timo Seber and Johannes Tassilo Walter @ Nir Altman hosting Galerie Tobias Naehring, Leipzig [click here and here] The last event of the night is Nir Altman’s, another group exhibition where gallery artist, Johannes Tassilo Walter, is partnered with two artists from Leipzig’s Tobias Naering, Eva Grubinger and Timo Seber. Walter presents a new series of paintings, while Naering and Grubinger show older work: Seber, his Slave to the Biorhythm from the Not Fair, Warsaw, 2017 and Grubinger, one piece from her 2018 exhibition 'Steam,' Untitled (Petropawlowsk, Stepan Petrischenko). The combination of artists is clearly a challenging one, as the connections between them are not immediately apparent. Walter’s paintings are very formalist and process based, demanding careful scrutiny and deep engagement. Made with many layers, one has to pay attention to how the different gestures react and overlap each other and then reappear on different grounds. Grubinger’s sculptural work uses formalist devices, but has a much more pronounced conceptual, if not to say political aim. Untitled (Petropawlowsk, Stepan Petrischenko) is one work from a series of four, which imbues its seemingly modernist structures with industrial references to present little-known facts of nautical cultural history, a series of mutinies that resulted in the destruction of a dominant power, in a celebration of individual dissent. Known for his investigations into communication mechanisms of video game culture, Seber presents a set of mirrors suspended from ceiling by thick leather straps, our reflection obscured by prints of germinating seeds and block-like red marks. If there is a reference to mass culture, it is  an obscure one, this work seemingly focussing on the cultural, social and biological construction of the viewer’s self image. Together, the artists not only share a certain formalist sensibility - certainly some of the pairings of red, blue and yellow are very aesthetically  pleasing - but also an interest in the processes of construction, whether this is related to the cultural artefact (Walter), political engagement (Grubinger) or identity (Seber). 

The night ends abruptly, with everyone rushing to the Various Others dinner. I head home too, past the cemetery.