We associate the resounding word S T E R E O with the world of sound and music. The letters are spaced out on the amplifier of the audio system, and the lowering of the needle on the record starts a crackle; a short wait, and then, the instruments and sounds coming from the left and right open up a space.

The pleasure of listening to music on a good stereo system has a lot to do with looking at David Schnell’s pictures. The quality of the stereo system plays an important role here, because a high-quality system makes the details that play the space ring out properly.

Excerpt from a text by Katharina Immekus, September 2021

„Art must emerge from thoughts and emotions - just emotions.“
Karl-Heinz Adler

In the video, which was created for his extensive solo exhibition „Metrics“ at EIGEN + ART Berlin, we are following the tracks and inspiration of Karl-Heinz Adler (1927 - 2018).

Karl-Heinz Adler is one of the most important representatives of concrete, postwar avant-garde art. His minimalist, geometrically inspired drawings, collages, folding art, and sculptural objects, but also the construction-accompanying works developed jointly with Friedrich Kracht, have for some time now been in the process of international rediscovery in art and architecture circles and are appreciated as pioneering artistic achievements. (...)
Kito Nedo

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German with English and Chinese subtitles.

Exhibition tour with artist Stella Hamberg and Jutta Mattern (Curator of Contemporary Art, Arp Museum)

On the occasion of the solo show “Corpus” by Stella Hamberg at Arp Museum Rolandseck, which is on view until February 27, 2022.

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The video shows the current group exhibition "SPACE and PLACE" at our gallery in Leipzig, in a colaboration with the curator Khanya Mashabela from Norval Foundation in Cape Town, we include 15 different artists from South Africa and Europe:

Louisa Clement, Ian Grose, Igor Hosnedl, Gabrielle Kruger, Sepideh Mehraban, Lotte Meret, Thandiwe Msebenzi, Adrian Mudder, Asemahle Ntlonti, Natalie Paneng, Madeleine Roger-Lacan, Brett Charles Seiler, Elene Shatberashvili, Hanna Stiegeler and Xhanti Zwelendaba. Their various materials and work methods certainly provide us some exciting new perspectives.

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In the video, which was created for her last solo exhibition "Tales from the Dark", Melora Kuhn talks about her working process, artistic practice, where did her inspiration come from, also, how the exhibition title came about.

Director and Cinematographer: Ethan Palmer
Composer: Jóhann Jóhannsson

Ukrainian artist Lada Nakonechna talks about her work at the ARTSVIT Gallery in Dnipro, Ukraine.

Get an impression of her latest work series and installations during this personal tour through the venue of her solo exhibition "Disciplined Vision School".

"Art is the opposite of general ideas, it describes individuals, desires only the unique. It does not classify, it unclassifies."
Marcel Schwob, Imaginary Lives, 1896

And yet this second chapter in Eitel’s collection of imaginary lives—staged three years after the first at the same gallery—achieves a marked coming-together, more in the style of Éric Rohmer, and a new proximity between protagonists. (...)

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"Phantasma can also be the result of the daydream for example, like you sit there on a park bench, you suddenly have an idea and out of this idea you develop a whole book, a movie or a painting." Martin Eder

In his new cycle of works “Phantasma,” Martin Eder introduces combinations of possible and unreal worlds whose origins lie in the depths of his subconscious. Their incorporation in the Eder cosmos’ symbolic order of intimate spaces, inhabited by chimeras, shadows, and after-images, brings Dante’s infernal scenarios to mind.

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"Close to Home is a phrase which of course simultaneously means things that are very close to us, that are physically close to us, but its also something that is kind of painfully personal." Tom Anholt

In his exhibition Close to Home at Galerie EIGEN + ART Berlin, Tom Anholt explores nothing less than the very essence of human existence. His latest works mostly feature immediate family members, through which the artist probes himself and in the process involves us, the viewers, in a refreshing way.

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In her exhibition Eigenbrötler at EIGEN + ART Lab, Cornelia
Baltes' works develop their very own presence in a partly humorously created pictorial world.

(...) The painterly gestures are so exuberant and large that they sometimes leave the canvas to land on the walls. The forms she designs are expansive and generous. Indeed, Cornelia Baltes' work is characterized by a generosity that is displayed in the depth of the colors, but also in the size of the pictures. Her pictures reject every renunciation and negate everything that smacks of modesty imploring to be seen as understatement. It is a lusty, ruthless way to deal with color and form, and it gives the viewer a calming satisfaction. Sometimes one can read a face into the forms, sometimes recognize an arm or a leg. The idea of corporeality is no coincidence: Baltes usually works with vertically oriented canvases that, if one consistently follows the narrative of the motifs, spur one to think of very boxy people. And so her pictures radiate their very own bodily presence; if they were really people, one would gladly go out with them for a drink. (...)

Laura Helena Wurth

Inside a Screensaver is Martin Groß' first solo exhibition at Galerie EIGEN + ART

Martin Groß' exhibition is designed as a large room installation like the most exhibitions he does before, like at Kunsthalle Rostock or Kunstraum Potsdam. In the Leipzig gallery a wall piece with the words “Is it still Raining” stretches across three gallery walls, illuminated by suspended neon tubes and combined with oilstick paintings. Martin Groß combines elements from language, text, drawing and painting. Cultural influences from music or literature overlap with those from urban space and what it encounters on a daily basis. The exhibition was accompanied by a catalogue, in this an essay by Anka Ziefer.

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Stef Heidhues' exhibition Backstage with the Modern Dancers shown at Galerie EIGEN + ART Berlin

“This is no game. Here there is no interlude. To disillusion you, we don’t need illusion. We don’t play fate. We don’t play any dreams. We don’t play out any plot.”

What Peter Handke introduced in 1966 in his stage play “Offending the Audience” applied equally for the space behind the stage: the backstage area. Here, too, there is no game. There is no alienation effect, no acting-as-if, no public realm. In the backstage area, the roles are abandoned. This area is more honest, more authentic, maybe somewhat dirtier and at the same time more exclusive. For her exhibition, Stef Heidhues chose the title Backstage with the Modern Dancers. (...)

Larissa Kikol

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