Künstler

Gerhard Frömel

My three-dimensional objects and installations consist of individual parts, always positioned on two and sometimes on several levels. You as the viewer can trigger optical shifts, separations and connections of planar or linear elements by changing your position, creating a variety of forms and illusionary spaces, switching between two- and three-dimensional experience. Similar experiences can be had when consciously experiencing a city, a landscape. Each step brings about an optical change: individual buildings merge and are reduced to a wall, parts of buildings and landscapes that are far apart from each other can seemingly be brought onto one level. Mountains change their face …even a minimal step – physically and mentally – can change the view of the world enormously…

IT IS WHAT BECOMES…

Gerhard Frömel

Yeunhi Kim

Transparency – Transcendence

“By deliberately avoiding the detailed nuance of color, the focus is on the nature being observed.”

Dealing with “nature” is always subjective.
So I’m concerned with the beauty of the ephemeral but ever-renewing nature that is hidden from view in everyday life.
In detail, it is the forces that produce everything that surrounds us: Water, earth, air, growth …
and last but not least, the connection to man as part of the whole, a longing for the lost paradise.

And then I would like to see my works in their appearance as a counterpart to a self-destructive consumer society in which scale has been lost. In other words, simplicity as a force against supposed diversity.

YeunHi Kim

Imi Knoebel

Klaus Wolf Knoebel spent his childhood near Dresden and moved with his family to Mainz in 1950. From 1964 to 1971 he studied with Beuys at the Düsseldorf Art Academy. He maintains close contact with Palermo (1974 joint trip to the USA).

Based on Malevich’s Black Square, 1915, and his text “The Non-Objective World” (1922), Knoebel develops a formally and colourfully minimalised painting that breaks the framework of the classical panel painting and opens up into space. In photography and video he experimented with the immaterial properties of light.

From 1975 onwards, freer forms emerged and Knoebel began to work with the whole spectrum of colours, which today form the centre of his work. Assemblages made from found everyday objects complement the multi-layered work, which operates with intermedial references and serial procedures. Knoebel is primarily concerned with the interplay and autonomous effect of colour, form, material and spatial situation.

Dr. René Hirner

Bim Koehler

Basically, Koehler is fascinated by the question of how colour happens at all. Bim Koehler does not use colour, but allows colour to emerge in his paintings. His works are manifestations of this process of creation.

Dr. Tobias Hoffmann, Berlin