Davide La Rocca / 13K ( Part 1 )
May 12, 2017 - Jun 30, 2017


 
  Sandra Ackermann / Lost in Nothingness
Mar 24, 2017 - May 06, 2017





 
  Claudia Rogge / CONCENTRATION
Jan 27, 2017 - Mar 18, 2017


 
  Christmas-Holidays: Dec 24, 2016 - Jan. 7, 2017
Dec 20, 2016 - Dec 20, 2016


 
  Christian Bazant - Hegemark / The Rise and Fall of Transformative Hopes and Expectations
Nov 11, 2016 - Jan 21, 2017


 
  Harding Meyer / The Others
Aug 26, 2016 - Nov 05, 2016


 
  Crossing Borders
Jun 03, 2016 - Jul 15, 2016


 
  Sandra Senn / Flüchtiges Getriebe
Apr 08, 2016 - May 21, 2016


 
  Iwajla Klinke / Red Sandals and a Mirror for Gabriel
Feb 12, 2016 - Mar 26, 2016


 
  Corrado Zeni / Éloge de la fuite
Nov 27, 2015 - Jan 09, 2016


 
  Claudia Rogge / PerSe
Oct 16, 2015 - Nov 21, 2015


 
  Kate Waters // Tell it like it is
Aug 28, 2015 - Oct 10, 2015


 
  Visions Of Sensory Space ( by Weightless Artists Association - SPARTNIC )
May 15, 2015 - Jul 04, 2015


 
  Sandra Ackermann / Wasteland
Mar 13, 2015 - May 02, 2015


 
  Lost Scapes
Jan 30, 2015 - Mar 07, 2015


 
  Christian Bazant-Hegemark / Calibrating Aesthetics
Nov 14, 2014 - Jan 17, 2015


 
  Frank Bauer / Back to Basics
Aug 29, 2014 - Nov 08, 2014


 
  Harding Meyer // recent paintings
May 23, 2014 - Aug 23, 2014


 
  Till Freiwald - memoria
Apr 11, 2014 - May 17, 2014


 
  Quadriennale Düsseldorf 2014 / Gallery Evening
Apr 05, 2014 - Apr 05, 2014


 
  Iwajla Klinke / Ritual Memories
Jan 17, 2014 - Apr 05, 2014


 
  Giacomo Costa // Traces
Nov 22, 2013 - Jan 11, 2013


 
  DC-Open Galleries: Matthias Danberg - Inventory by Appropriation
Sepr 06, 2013 - Nov 16, 2013


 
  Christian Bazant-Hegemark // VOW OF SILENCE
May 24, 2013 - Aug 20, 2013


 
  Corrado Zeni // Generation Why
Apr 12, 2013 - May 18, 2013


 
  behind the Non-Colours
Mar 22, 2013 - Apr 06, 2013


 
  Sandra Ackermann // Running to stand still
Feb 15, 2013 - Mar 16, 2013


 
  Düsseldorf Photo Weekend 2013
Feb 01, 2013 - Feb 09, 2013


 
  Mihoko Ogaki // Star Tales - White Floating
Nov 30, 2012 - Jan 31, 2013


 
  Claudia Rogge / Lost in Paradise
Oct 12, 2012 - Nov 24, 2012


 
  Harding Meyer // features
Sepr 07, 2012 - Oct 06, 2012


 
  Summer 2012 - Part 2
Aug 10, 2012 - Sepr 01, 2012


 
  Summer 2012
Jul 06, 2012 - Sepr 01, 2012


 
  Maria Friberg // The Painting Series
May 11, 2012 - Jun 23, 2012


 
  Mary A. Kelly // Father & Child
Mar 30, 2012 - May 06, 2012


 
  Maia Naveriani // Future Wolves and Chicks so far
Feb 10, 2012 - Mar 24, 2012


 
  Düsseldorf Photo Weekend 2012
Feb 04, 2012 - Feb 08, 2012


 
  Kate Waters // The Air that I breathe
Dec 09, 2011 - Jan 28, 2012


 
  Frank Bauer / ...den Wald vor lauter Bäumen....
Nov 04, 2011 - Dec 03, 2011


 
  Claudia Rogge // Final Friday
Sepr 09, 2011 - Oct 29, 2011


 
  Davide La Rocca - STILLS
May 27, 2011 - Jul 16, 2011


 
  Giacomo Costa // Post Natural
Apr 01, 2011 - May 21, 2011


 
  Harding Meyer - to be a real vision
Feb 18, 2011 - Mar 26, 2011


 
  Shannon Rankin - Disperse / Displace
Dec 03, 2010 - Feb 12, 2011


 
  Sandra Ackermann // I look inside you
Oct 15, 2010 - Nov 27, 2010


 
  Amparo Sard / AT THE IMPASSE
Sepr 03, 2010 - Oct 09, 2010


 
  Kate Waters // The Land of Kubla Khan
Jun 11, 2010 - Jul 17, 2010


 
  Jurriaan Molenaar // Lessness
Apr 30, 2010 - Jun 05, 2010


 
  Claudia Rogge // The Paradise of the Onlooker
Mar 05, 2010 - Apr 24, 2010


 
  Ivonne Thein // incredible me
Jan 22, 2010 - Feb 27, 2010


 
  Frank Bauer // Jet Set
Nov 27, 2009 - Jan 15, 2010


 
  Michael Koch // forever more
Oct 23, 2009 - Nov 21, 2009


 
  Masaharu Sato // SIGNS
Sepr 04, 2009 - Oct 17, 2009


 
  Harding Meyer // blind date
Jun 19, 2009 - Aug 22, 2009


 
  Maria Friberg // way ahead
Apr 24, 2009 - Jun 13, 2009


 
  Claudia Rogge // Isolation ( aus: Segment 8 - die Blasen der Gesellschaft)
Mar 06, 2009 - Apr 18, 2009


 
  Claudia Rogge - The Opening
Mar 06, 2009 - Apr 18, 2009


 
  JoJo Tillmann // What you see is what you get
Jan 30, 2009 - Feb 28, 2009


 
  Sandra Ackermann // Die Wirklichkeit ist nicht die Wahrheit
Nov 21, 2008 - Jan 24, 2009


 
  Kate Waters - Getting used to the 21st Century
Oct 10, 2008 - Nov 15, 2008


 
  Mihoko Ogaki - Milky Ways
Sepr 04, 2008 - Oct 04, 2008


 
  Summer 2008 // Painting
Aug 12, 2008 - Aug 30, 2008


 
  Silke Rehberg: Stationen 1,4,6,7,11,12,13,14
Jun 13, 2008 - Jul 12, 2008


 
  Maia Naveriani: At home with good ideas
May 09, 2008 - Jun 07, 2008


 
  Justin Richel: Rise and Fall
Apr 04, 2008 - May 03, 2008


 
  Davide La Rocca - Strange Object
Feb 08, 2008 - Mar 28, 2008


 
  Frank Bauer: AkikoAlinaAlinkaAndrew....
Nov 30, 2007 - Feb 02, 2008


 
  Maria Friberg: Fallout
Oct 12, 2007 - Nov 24, 2007


 
  Harding Meyer / in sight
Sepr 06, 2007 - Oct 11, 2007


 
  SUMMER '07
Jul 17, 2007 - Sepr 01, 2007


 
  Kay Kaul - Wasserfarben
Jun 15, 2007 - Jul 14, 2007


 
  Sandra Ackermann - Point Blank
Mar 02, 2007 - Apr 28, 2007


 
  Tamara K.E.: pioneers -none of us and somewhere else
Jan 19, 2007 - Feb 24, 2007


 
  Till Freiwald
Nov 17, 2006 - Jan 13, 2007


 
  Claudia Rogge: U N I F O R M
Sepr 01, 2006 - Nov 11, 2006


 
  Frank Sämmer: Die Stunde des Zaunkönigs
Jun 23, 2006 - Aug 22, 2006


 
  Kate Waters: Killing Time
May 05, 2006 - Jun 17, 2006


 
  Katia Bourdarel: The Flesh of Fairy Tales
Mar 31, 2006 - Apr 29, 2006


 
  Mihoko Ogaki
Feb 10, 2006 - Mar 18, 2006


 
  Silke Rehberg: RICOMINCIARE DAL CORPO
Jan 27, 2006 - Feb 26, 2006


 
  Sandra Ackermann
Dec 08, 2005 - Jan 15, 2006


 
  Corrado Zeni
Dec 04, 2005 - Jan 11, 2006


 
  Frank Bauer
Nov 18, 2005 - Jan 15, 2006


 
  Harding Meyer
Oct 07, 2005 - Nov 12, 2005


 
  AUFTAKT
Sepr 02, 2005 - Oct 01, 2005


 
  Claudia Rogge: Rapport
Jun 17, 2005 - Jul 20, 2005


 
 
May 13, 2005 - Jun 11, 2005


 
  Kate Waters: Solo-Exhibition in the Gallery Thomas Cohn, Sao Paulo
Apr 16, 2005 - May 20, 2005


 
  Vittorio Gui: FROZEN MOMENTS
Apr 08, 2005 - May 07, 2005


 
  Kay Kaul - ARTSCAPES
Apr 03, 2005 - May 29, 2005


 
  SEO Geheimnisvoller Blick
Mar 04, 2005 - Apr 02, 2005


 
  Claudia van Koolwijk at Museum Bochum
Feb 26, 2005 - Apr 17, 2005


 
  Corrado Zeni - Six Degrees of Separation
Nov 26, 2004 - Jan 15, 2005


 
  Maia Naveriani: What' s the difference between ME and YOU?
Oct 15, 2004 - Nov 20, 2004


 
  Tamara K.E.: MAD DONNA AND DONNA CORLEONE
Sepr 03, 2004 - Oct 09, 2004


 
  Davide La Rocca: Real Vision Reflex
Jun 12, 2004 - Jul 17, 2004


 
  Kay Kaul COLLECTORSCAPES
Apr 23, 2004 - Jun 05, 2004


 
  Frank Sämmer MUTABOR
Mar 12, 2004 - Apr 17, 2004


 
 
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Sandra Ackermann // Die Wirklichkeit ist nicht die Wahrheit
Nov 21, 2008 - Jan 24, 2009





Catalogue available

Reality is not truth
By Thomas W. Kuhn

Human reality is a many-layered structure formed by the sum total of myriad perspectives and interpretations of the facts; it continually alters with the constant current of change. Communal considerations and individual musings combine, suggesting the idea of a complex society. Art possesses the potential of allowing an awareness of this complexity to emerge in the beholder, without reducing the meaning in a simplifying manner.

In her pictures, Sandra Ackermann traces and investigates such complex mixtures of social and personal concepts. In the last few years she has, by placing pictures within the pictures and by the playful juxtaposing of foreground and background, developed a visual language in which meaning is intensified by an exciting rendition. Along side this, we find her continuing interest in surfaces such as skin, textiles and hair; from these her painting draws its suggestive force.

Women serve as a guiding theme , who, more often than not, are adaptations of fashion photography and possess a specific, unique pathos. They serve as orientation for the viewer, perhaps even as identification figure, and operate similarly to a personification in an allegory. These elegant women embody society’s self-image, serving not merely as vicegerents of the beautiful, but as condensates of desires.

Other elements, too, originate from the collective pictorial memory, though from other sources. Pictures like those of a tank, a high-rise apartment building, a globe, or a burning human are not mere amendments, narrative anecdotes, or attachments to the actual paintings. These visual themes become dynamic counterparts of the women, and, as such, at times undermine and question the original function of depicting beauty. Fashion itself is familiar with shock elements and the transformation and integration of violence. Military clothing, for instance, was one of the most important sources of inspiration for the fashion art of the 20th century. Camouflage patterns adorn not only warships and tanks but embellish t-shirts and wallpaper. The question whether this transference charges the design with an aggressive moment or, rather, softens the design of power, remains unanswered.

By bringing seemingly disparate elements together, Sandra Ackermann triggers a series of associations that might lead each of the different onlookers to relate what they see to his or her own specific life and situation. The sometime quizzical constellations of the pictures raise more questions than they offer answers to with their myriad meanings. Here Sandra Ackermann reminds one of the notoriously famous “Songs of Malador” by Lautrémont and the metaphor of a random meeting between an umbrella and sewing machine on a dissection table. Applied to painting the dissection table would be the canvas, on which the play of the various levels of reality is performed. The realities have much of the reality of dreams, in which, likewise, the most astounding encounters and turns of plot are made possible.

At times, the closed eyes of the protagonists, as is the case in the pictures ‘Die Springer’ or ‘Im Regen,’ allude to dreams, or to the act of dreaming. Closed eyes pose the question of the internal picture, or the inner perception of a situation. What sensation, what vision is prompted by the raindrops streaming over the body of a woman? Are the onlookers given possible insight into the phantasms of the kneeling women, who, as is the case in ‘Springer,’ conceal their eyes with their hand?

The subject‘s clothing becomes a kind of portal that opens the view on another picture, and although these pictures within the picture do not align with the curves of the women, as would be the case if the motives were printed on the clothing, it is nevertheless near impossible not to connect the motive of a burning person or that of workers on a high wire mast with the clothing, and thus with the person wearing the clothing. These examples alone serve to show how the pictures within the picture contrast with one another. If clothing really were to be imprinted in such a way, one would rightly speak of a perverted society, in which a human drama such as the burning of a human is turned into décor. In connection with the Benetton campaign by Oliviero Toscani, and after extensive protest, precisely this question was discussed. Fashion possesses a seldom acknowledged critical dimension and explosive power; Sandra Ackermann’s paintings feature such dimension and power, and ask just these questions.

At times, stylistic elements of clothing or other motives have a nostalgic character. Obvious historical elements, such as an old aviator’s cap from the thirties or a cocktail dress in the style of the sixties, not only add a certain facet of recollection to the paintings of Sandra Ackermann, but are literal representatives of the theme of remembrance alluded to by the term ‘Bildgedächtnis’ (collectiv visual memory). This, though, is not historically correct. The human awareness of time, particularly that of past time, is prone to change in such a way that every time a differing picture of reality emerges. Fashion, too, recovers past stylistic elements. One might even refer to this form of remembering as ‘recycling’ – as it is, the present appears to be a continual act of bringing the past to mind, and this, in turn, blends with the more recent events.

The sustained and continual experiencing of time are themes found in the allegorical character of Sandra Ackermann’s women, whose composure appears at rest, even in moments of high pathos. The permanence of composure almost removes them from the here and now, they become timeless, much like saints in more traditional painting. A parachutist or an ascending space shuttle are, on the other hand, entirely caught up in a temporary process, that manifests the passing of time, and impermanence as such. And, again, the combination of motifs reveals a contrast. The pictures stand with one foot in the past and with another, due the choice of motif, in the perpetual present.

As we consider the work, we also discover a similar fusion of the past and the present in a series of adapted portraits of past masters that Sandra Ackermann completed in 2006. One of these is ‘Dorothea Kannengießer.’ The picture refers to a study by the younger Hans Holbein of his so-called Madonna of Darmstadt. Sandra Ackermann’s rendering of the mentioned study is done in a particularly for painting exceptionally exciting way, in that she paints the face, which is tightly wrapped in bands, in an illusionistical manner, while the contour of the clothing is not so much painted as hinted at. The sketch or the tracing for the ‘final’ picture is here made permanent. This pattern Sandra Ackermann has since transferred to a series of recognizably more contemporary women and, by so doing, formally places them in a timeless community with Dorothea Kannengießer.

Sandra Ackermann’s painted collages are an entwined combination of intuitive and controlled pictorial elements that, as a whole, offer, potentially, both poetical and critical meaning. The highly stylized composition of form and motif reveal not a turning from reality, but, instead, present a contextual exaggeration and reduction therein that often clash and drift apart. Sandra Ackermann herself refers to her pictures as mirrors “as beautiful as advertisements, yet truer in emotion; for they are in possession of no immediate value outside themselves. They exist to give the feeling I have of the world, in which I live, an illustrated expression.” And it is this feeling that generates meaning.





./ Participating Artists


Sandra Ackermann