GoArt! visits the CCA Andratx in Mallorca

April 16, 2019

In March GoArt! visited the beautiful island of Mallorca and talked to Patricia Asbaek – founder and owner of the CCA Andratx about her art institution.

Miriam Bers (MB): Do you live in Mallorca? How does your day start?

Patricia Asbaek (PA): I live here half the time, approximately 5 months a year. I commute between Mallorca and Copenhagen and will be back again during Easter. Then I will stay for July, August and September. My husband Jacob is here all year. My day starts as you saw by making order everywhere.

Miriam Bers und Patricia Asbaek

MB: You and your husband have been owners of a gallery in Copenhagen for over 40 years. It is now run by one of your sons. You decided to found this wonderful center of contemporary art CCA Andratx in Mallorca almost 20 years ago – can you tell me more about the idea and the process behind it?

PA: We had a gallery for 45 years. It is not the same as our son’s gallery, which is called Martin Asbaek Gallery. He founded his own independent gallery and did not take over from us, but he kept three of our artists in the gallery portfolio. Martin is our middle son. My older son Thomas is an art consultant, who recently (2018) opened his own gallery together with his wife Tania – the space is called ‘Collaborations’ and is located in Copenhagen.
Martin Asbæk has the best photography in Scandinavia and Thomas’ ‘Collaborations’ is working together with Johann König, Esther Schipper, etc. He has curated shows with Alicja Kwade to name only one.
Alicja and Gregor Hildebrandt have been here in Mallorca as well. Gregor is a true film enthusiast and already saw my youngest son Pilou, who is an actor, in the Danish TV series Borgen. He was one of the first ones who – from outside of Denmark – who knew Pilou before he became world famous (today he plays in Game of Thrones, etc.)
Alicja and Gregor are some of the nicest people we have had staying with us. Recently I went to Berlin and visited Alicja’s studio. It is even bigger than CCA, and she has more staff than we ever had during all these years.

About CCA: In 1988 we bought a piece of land in Mallorca, which was supposed to be only for ourselves (an old Finca that Jacob renovated to become our summer house). But it was too beautiful to keep it for ourselves, so we wanted to share it with artists, art lovers and collectors. We wished to create a hybrid that had never been done before, which is why it is so difficult to define. CCA is both: a residency, a Kunsthalle and a gallery.
The land was termed ‘zona rustica’ but when the island heard about our plans they changed it to ‘zona social’ which roughly means that you are only allowed to build a hospital there or that the place is reserved for military or cultural sites. It still took us 5 years to get the permit to build CCA. All the locals thought it was a place to launder money. But as my accountant said: If it is supposed to launder money, it must be a very deep hole, since the money never shows up again!
We created CCA because we felt it was a necessity and it was something that had never been done before. CCA is made with a passion for art. After 35 years in Denmark, we wanted to create an international platform for artists, where different cultures and nationalities could meet, get inspired from each other and work together, instead of against each other.

CCA Andratx

MB: What was the purpose of this place before you transformed it? Who designed this beautiful building complex? There is so much space to sit, to enjoy and to pass the time watching, walking and talking – in other words: it is much more than just an exhibition space.

PA: We bought a finca and the land CCA was built on came with it. Jacob Asbæk (my husband) is the architect of CCA and he made the drawings of the construction together with a local technician. The guy who built the stonewalls is kind of an artist. He is the best on the island, but also the most expensive. In the beginning we had a lot of money, but as we started building there was no money left.
We opened CCA in 2001 thanks to a lot of good friends who supported us. From the art world Karola Grässlin and Christian Nagel helped out. Today Jochen Hempel is still supporting us.
The funny thing is that it is all the foreign galleries that have already helped us. Now, 18 years later, the local galleries finally also want to collaborate – back then they did not even come to our dinners.

I built this place because I felt the passion is disappearing, you know, art is becoming more and more commercial.
When I was sitting in the Art Forum board competition was incredibly high. That was the end of the fair. I still remember trying to go to dinners and mingle, but it did not help.
So we wanted to build CCA to show that people can be together in a friendly way and work for a common purpose – also trying to transcend the borders between galleries and institutions. Galleries are the ones taking the chances with younger artists and for that they deserve respect.

CCA Andratx

MB: You are collaborating with international artists such as Shiharu Shiota and Claus Rottenbacher as well as talents from Mallorca. You also established an ‘artist in residence program’ at CCA Andratx where you have four studios at your disposition. What are your selection criteria?

PA: CCA is made a little like a cloister – the heart of the place is the artists’ studios. We receive more than 600 applications a year and we can only accept 48. Quite often 50% of the selected artists are from Berlin. As my good friend Christian Nagel used to say: Berlin is the only city in the world where you have 8000 artists, 800 galleries and 80 collectors.
Since we have a lot of applications it is not difficult to take away the first majority (500 out of 600). We only accept professional artists; but from the 100 leftovers in the end it is extremely difficult to decide. The trouble starts when people want to come back: and we love them so we want them to come back!
When I select the artists I get help from Jackie (daily leader and art manager at CCA) and Malou (curator and artist liaison at CCA). Sometimes when I have a handful of artists that I need to choose from I consult with my good friend Barry Schwabsky.
When people say art is a matter of taste I do not agree. It is simply not the case. If you talk with art professionals they will always choose one artist or work over the other. Of course not in the same order but 10 out of 100 professional people will always have the same opinion – it is therefore not about taste. We have preferences of course: I like minimalism, some are more into expressionism and some are more into conceptual art, but I can still see what is good in those genres. I do not think there is any category that is better than the other.
Another criterion for the selection process is to avoid epigones; this makes it easy to dismiss the first 500 applications, because they are ‘copies’. To be selected the artists need to have their own signature, and my knowledge of what is original and what is an epigone has become empirically inherent to me from seeing so much art during the past years.
Over all you can say that my quality criteria are a mix of intuition and study. I can feel a sensation in my neck. It is this feeling that makes me wonder: Why are the artists doing this, it is different. You can feel it, but how can you explain that to people who do not feel it?

Talking about this inherent knowledge of having seen a lot of art, Patricia mentions the Danish publisher Jarl Borgen, who was a friend of her family: ‘When I was 24 and studying he invited me to go to Prague with him. He forced me to look at everything: art, architecture, design, etc. That is how I started using my eyesand learned how to look methodically and with great thoroughness.’

MB: I very much like Arrels. Art Ceramic in Mallorca, still on view until June 2019. You exhibit concept art, painting and ceramic arts at the same time. Is this a personal statement or rather the idea to open the center to a larger audience?

PA: The artists want to go into the essence of artmaking when they are here, so they dive into drawing and ceramics. I have never met any good artist who is not really good at drawing. And even though ceramics was considered passé 10 years ago, the artists love it still today, perhaps even more than ever.
As I said before there is no bad genre of art. We have always exhibited photography, painting, sculpture, ceramics, video, installations, etc.
For many people we are a little too conceptual, but our aim is to exhibit cutting-edge contemporary art.
One of the most beautiful exhibitions I have ever seen is Oxalis. It is like a drawing in the room. The artists Shane Bradford, Benedikt Hipp, Mary McDonnell and Sissel Marie Tonn are young but they are really talented. During the creation of Oxalis they lived in the space, they inhabited the gallery and therefore got the feeling of all the possibilities it has to offer in terms of lights and shadows e.g. Probably that is why they managed to see all the different points of views and were able to use the room rather than the walls. If you want to learn how to look, it is a wonderful exhibition. There is all this harmony; there is not one line, not one shadow that is not thought through! In Oxalis you can also sense diversity, it is almost like a theatre inspired by arte povera.

Some people walk into a space, look around and say: ‘I do not like it.’ I see it as our responsibility to give people guidance when it comes to looking at art.

courtesy: CCA Andratx

courtesy: CCA Andratx

MB: How did the Majorcan react to this prestigious art hall? Is there collaboration with political players or the city of Palma? Do you receive funds and help from the island?

PA: We started in 2001. In the beginning, only the local Ajuntament Andratx supported and believed in us.
Last year we received the Golden Medal of Culture from the president, which has never happened to foreigners before, so we are extremely proud and thankful for that!
Moreover Pilou, who plays the role of the bad guy Euron Greyjoy in Game of Thrones has turned out to be a very good guy for us: Last year he was appointed the new cultural ambassador of Mallorca by the president superseding Michael Douglas. Following all this, in 2019, we received a beautiful invitation to exhibit in the Pelaires Gallery in Palma as the start of our new membership of the Art Palma Association.
The exhibition is called A Landscape of the Nature within and shows works by the German painter Carsten Fock (now living in Berlin), and the two Danes Absalon Kirkeby and Karl Troels Sandegaard. All three have stayed in the CCA studios within the past few years. The exhibition opened on Saturday March 23th and will last for 3 months.
Talking about all the good things that have happened to CCA within the last two years, Patricia says: ‘It is like a pelican: you look at it and think it cannot fly, because it is way too heavy, but then all of a sudden it flies just fine! Everyone has talked about us not making it, but we are still here!

Summing up from past to future prospects:

Now we have many more people coming than two years ago and we are selling more works as well. So it is definitely going in the right direction.
Our sons are very helpful and supportive, but they are busy with their own careers. We have to find partners before I turn 80. We are looking for someone who understands what we have built over the past years. We have never regressed in terms of quality of the exhibitions. I am thinking maybe it should be someone from Germany. Germans are better educated than Danish people when it comes to art, because of all the Kunstvereine and the Kunsthallen.

MB: Could you tell me about your upcoming projects?

PA: Our current artists in residence Kristian Kragelund, Karl Monies, Elisabeth Molin and Nathan Peter will open their exhibition on March 29. Additionally, we will have a more official opening during Easter when more people are on the island. On April 18thwe show Le hasard et la nécessicité which refers to the Nobel prize winning philosopher Jacques Monod, but is essentially about the works of the four artists all somehow dealing with the tension between change and necessity that life is all about. Indeed, we have a double opening: On the same day our exhibition ALL INCLUSIVE starts featuring our current artists in residence Ditte Ejlerskov and Johan Furåker.
In May we are looking forward to welcoming some of my favourite artists in the studios, who have all been here before many years ago. Matthias Bitzer, Sebastian Hammwöhner and Gabriel Vormstein. Our fourth artist will be Michael Sailstorfer, whom I also like a lot – for him it will be the first time in Andratx. I am very much looking forward to this group!

CCA Andratx

Tautes Heim – Living in a UNESCO World Heritage Building

February 12, 2019

The rentable museum apartment ‘Tautes Heim’ is a project started by landscaping architect Katrin Lesser and graphic designer Ben Buschfeld. Planned by Bruno Taut it is located in the Unesco World Heritage ‘Hufeisensiedlung’ and won the EU-Prize for Cultural Heritage/Europa-Nostra-Award in 2013. Katrin Lesser and Ben Buschfeld bought the 65 sqm house in 2010 and renovated it with monument conservation guidelines over a period of only two years. Visitors and architecture fans can rent ‘Tautes Heim’ for an authentic living experience.

Miriam has met the two for an interview:

MB: How does your day start?

BB: We are both freelancers and early birds, therefore – fortunately –  we need no alarm clock. Our day starts with a relaxed breakfast, shower and a fruit salad but shortly after we start working.

MB: Where is the ‘Tautes Heim’ located and how did the idea of it come up? 

KL: For almost 20 years we have lived in the Hufeisen settlement, just 100 meters away from ‘Tautes Heim’.  We feel very comfortable here and are both committed to historic preservation, have repeatedly published on the settlement and also offer guided tours ourselves. From my point of view, a guided tour includes visiting the interior. The reason is simple: the high quality of living behind colorful facades can only be experienced from within the building. Back then „light, air and sunshine“ was the slogan of the planners. The new housing should become a contrast to the dark tenement blocks of that time.

Tautes Heim, Außenansicht, (www.tautes-heim.de)

MB: How did you manage to let a house with world heritage status privately on a daily basis?

KL: It has a lot to do with the transformation to individual property in this area, in contrast to other settlements of the “Berliner Moderne”. It makes it more difficult ensuring a homogeniously monument preservation. From this situation we have initiated several projects that pursue a knowledge transfer relating to monuments and at the same time address neighbors, politics and externals. Thankfully we are well connected locally and know many houses of the settlement from the inside. One day we accompanied friends of neighbors during the inspection of an end-terrace house up for sale. The house – formerly inhabited by an old lady – was quite run down and in extreme need of renovation. The friends quickly rejected but we were immediately excited and have been looking for a possibility to make it accessible to third parties since.

After having tried to achieve funds unvailingly we came up with the idea of a temporary furnished living space according to museums standard. We took the risk jumping into work and now hope to refinance our private investment through renting. It is fun but also a long idealistic process which was only possible by the experience we bring along.

Hufeisen Settlement, (www.tautes-heim.de)

Hufeisen Settlement, aerial view, (www.tautes-heim.de)

MB: Your are a couple, do you split the responsibilities for this project? I know for example that you Katrin, are a landscaping architect and have caused the Hufeinsen settlement to become a garden monument. And Ben, what role do you play?

BB: I am a communication designer with focus on architecture and contemporary history, and so far consider myself to some degree a professional. The whole planning and restoration work is a real ‘couples-project’. Over a period of two years we’ve been working together almost every weekend designing and making choices. Only later we split the work. Katrin has much more competence in garden issues and is also a great site manager. I myself on the other hand was able to demonstrate my PR-skills and took care of the photos, website, networking, etc.

Tautes Heim, Living Room, (www.tautes-heim.de)

MB: Temporary residents and architecture fans can stay overnight and also work at ‘Tautes Heim’. There is a desk and a wifi connection. What about cooking, can I rent the house and invite guests for dinner?

KL: Theoretically, yes. Even though the house is full with originals of the Bauhaus era, simultaneously the kitchen is functionally fully equipped. Modern comfort in the form of a fridge and a dish washer has been achieved by hiding the devices conveniently behind the kitchen front. Also the charming „backofix“ stove does its duty. However, it is no high-end equipment and the 65 sqm house is relatively small. Insofar it is not a place for extensive culinary events. Up to four people can be comfortably catered though. Besides, in spring and summer you can enjoy sitting outside on the terrace in front of the house.

 

Tautes Heim, Kitchen, (www.tautes-heim.de)

Tautes Heim, Bedroom, (www.tautes-heim.de)

MB: How does your day end, do you enjoy cooking?

BB: Yes, I love cooking – more than Katrin actually. But we eat and cook regularly, consciously and healthy – not only for us, but also for our friends and guests. This however takes time of which we lack a bit of these days.

MB: Recipe idea?

BB: This weekend, we are invited to a birthday of a friend and are supposed to contribute something to the buffet. I think we will prepare a mousse auch chocolat and an exotic asian salat – both not typical meals of the 1920ies though.

Tautes Heim, Chamber, (www.tautes-heim.de)

Römer + Römer’s new exhibition on view at Haus am Lützowplatz

January 18, 2019

The exhibition ‚Burning Man – Electric Sky’ runs from January 18 to March 10, 2019. Nina and Torsten Römer are a German-Russian artist couple. Both studied painting in the Academy of Düsseldorf and were master students of A.R. Penck. Already during their studies they collaborated artistically. Their works were displayed in many exhibitions including Manifestina Zurich, the 56. Venice Biennial 2015, the CCA Andratx Mallorca and the Palais de Tokyo. Römer + Römer live in Berlin.

Römer + Römer at Burning Man 2017

Miriam spoke to Römer + Römer about their new exhibition:

 

MB: How does your day start?

R+R: We open the window and deeply hope that the Duang Xuan Center in front of us does not burn again – an image we have seen once at the horizon of our Kreuzberg apartment.

MB: You are an artist couple living and working together. How do your works materialize  – do you develop everything together or do you split the procedure somehow amongst each other?

R+R: Ping pong! We develop all our projects together, already since 1998 when we still studied with A.R. Penck in Düsseldorf.  There, we also finished the Meisterschüler degree with a collaborative work. We have no division in our work and realize everything based on a dialogue: from the idea via research through the realization of the concept. The paintings as well get done side by side.

MB: Your most recent show opens right now at Haus am Lützowplatz. What is it exactly you show in „Burning Man / Electric Sky“ whose paintings are based on your participation at the Burning Man Festival in Nevada in 2017?

R+R: Apart from one, all paintings are about the night in Black Rocky City, the temporary town of the “Burning Man”. The focus of our series lies in the fire and particularly in the interaction of the burner with all these phenomena. Also, we do not intend to represent the whole festival – our painterly interest is specifically in these aspects. The paintings are mostly large scale, the biggest is a diptych of 2,30 x 6 meter.

exhibition view at Haus am Lützowplatz, photo: Eric Tschernow

MB: What fascinated you most and how do you integrate emotion in the artistic work?

R+R: Emotion talks probably the most through colors, shining out of our paintings. Indeed, many aspects were fascinating to us at Burning Man. It is no festival in the traditional sense but a huge interactive hedonistic art spectacle adventure in the desert! The ‘culture of giving’ is fantastic, there is nothing to buy (apart from ice cream and coffee) and everybody is delighted in making each other happy. It is a completely different social interaction being practiced there.

Rabbit Transit, 2017, oil and acrylic on canvas, 230 x 300 cm, photo: Eric Tschernow

House of Enlightenment, 2018, oil on canvas, diameter: 120 cm, photo: Eric Tschernow

MB: Guideline of your oeuvre is the confrontation with politically and socially relevant major events, for example the Carnival of Rio. Are your latest works based on one another, Kulturkommunismus, Partysträfling? What in particular motivates you in these exceptional situations?

R+R: From distance, the carnival in Rio seems like a big sexy Samba-Party. However, once you are there it becomes quite political. One group for example put the topics racism and slavery into an extreme action. Experiencing the get-together of participants from so many different districts and regions – also from many favelas in the prep station in front of the Sambódromo, the Concentracao – was very exciting. One image series arises from the other. After „Sambódromo“ we worked with the topic of the “Fusion Festival” for several years in which we got immersed five times.
In these collective exception states we are interested in the emerging cosmos of temporary communities. The rules are different than ‘outside’. For us this is the artistic research and therefore a combination of analysis and empathic experience.

LED-Bus, 2018, oil and acrylic on canvas, diameter: 100 cm, photo: Eric Tschernow

MB: Say a few words about your technique…

R+R: In our current works we combine spray and glaze painting on canvases, combined with thousands of hand dabbed spots.

MB: I am very interested in how you translate photography in painting: the pixels on the photograph becoming thousands of handmade dots. Is it a way of consolidating the snapshot via painting and is supposed to convey a moment of contemplation?

R+R: On the one side, the dots are a reference to the pixels and on the other our idea is to achieve a certain liveliness and shimmer by dissolving the shapes in the paintings. After that the effect of looking ‘frozen’ is gone and it becomes something cinematic. The process of painting is a very concentrated one and creates lots of energy.

Art, 2017, oil on canvas, 100 x 130 cm, photo: Eric Tschernow

7:30 between GlamCocks and Contraptionists, 2018, oil and acrylic on canvas, 230 x 300 cm, photo: Eric Tschernow

MB: How does your day end? Do you enjoy cooking and have a recipe idea for us?

R+R: Yes, a simple version of Okonomiyaki:

Mix 100 g flavor, 100 ml water, 1 egg and 10 cm of a peeled and grated yams root, cut 100 g cabbage in thin strips and cut some slices of scallions separately. Add 100g of shrimp and mix everything well. Fry two omelets and eat it with mayonnaise and soy.

Hexagon Lounge, 2017, oil on canvas, 150 x 180 cm, photo: Eric Tschernow

Regina Maria Möller at Michael Janssen Gallery Berlin

November 16, 2018

Regina Maria Möllers’ exhibition ‚The Moth’ runs until November 17, 2018 at Janssen Gallery Berlin. Born in Munich Möller firstly took up her studies at the Philosophical Faculty of Ludwig Maximilians University. She spent a large part of her career as a professor/visiting professor as well as artist (since 1993) amongst others in New York, Stockholm, at the NTNU Trondheim, Singapore as well as MIT in Cambridge. Today she lives in Berlin. With ongoing and often interdisciplinary projects such as ‚regina’ or ‚embodiment’ Möller focuses on socially relevant topics that partly autobiographical. She consistently works at the interface between culture and everyday life.

GoArt! meets Regina Maria Möller.

MB: Regina, how does your day start?

RMM: When I am in Berlin I usually go to the SSE – I swim.

MB:  At first glance, the gallery showcase is covered with a heavy black curtain. Entering the front space the visitor is confronted with a stage-like set of historical theatre curtains. Only after passing through does he reach the props warehouse, which is in the backspace of the gallery, exhibiting more of your works. Consequently, it becomes an indirect stage direction for the viewer – what role does the moth play in this production?

RMM: During the exhibition visitors pass the gallery through the main curtain and thus become participants. There is a shadow play in the center of the “stage” and by moving the curtains it reveals a new perspective to the viewer. Dramaturgy and orientation move circular – similar to the behavior of moths orbiting round the light while simultaneously being attracted by darkness. In this case I am referring to the ‘clothes moth’. An unwelcome visitor in our wardrobes, but at the same time it is a quality guarantee in digitally and plastic dominated ages: their larvae live on keratin, a protein that is a component of an animals fur and horn. Therefore fibres of high quality like wool and silk are a desirable resource for larvae.

Generally speaking, a heavy theatre curtain is often associated with something dusty in which thousands of moths larvae are romping about. It is penetrated, eaten and if it is not conserved in a theatrical prop it consequently lands in an old stuff bag. Moreover, the fabulous creature ‘The Mothman’ is an allegory for the Grim Reaper and so do the clothes moths remind of the Ephemeral.  For me, this is a memento mori to our senses and to material as a tangible body.
In addition, the porcelain vases come into play: For the first time they are endowed with a moth motif and produced together with Uli Aigner One Million as well as with the porcelain manufacturer Nymphenburg. Handcraft and porcelain production have taken on a new significance in our technological world. All the more I love its delicacy and imperfection. Like so many materials I work with porcelain has its own character – a life – that provides surprises. So does the moth.

MB: Originally, you have a theoretical background, and among others studied art history. 1994 you also emerged as an artist with works like the magazine ‘regina’ and the label ‘embodiment’ – designing dresses, wallpapers and furniture as well as art works. Noticeable are the biographical components, for example, ‘Reproduktionen’ or other photo works, even the robes in it function as requisites. Do you place yourself in the genre of the self-portraying artist?

RMM: Generally, I do not consider myself an art piece and do not stage myself as an artist. But as an author, an artist, I naturally identify with my works and in this sense each piece leaves an imprint, an image of myself. On the one hand important issues of ‘regina’ and ’embodiment’ is the question of identities showing themselves in everyday life – intercultural and medial – for example via ‘clothing’ (dresses, textiles, interieur). But also the attribution and penetration of role models are of particular relevance. In our fast pace digital age people use multiple identities. Like this biographies become a mirror of a entertainment society. Nevertheless ‘regina’ and ‘embodiment’ go back to the 90ies where these issues were still quite different. Today they have a new relevance – their physical (embodiment) and analogue (regina) presence.

MB: To me, objects in the show awaken protagonists of the cultural life like the Brechtian curtain, a time travel through different epochs and genre. Is the moth synonym for a pioneering spirit of researchers, for artists, even for you, in your artistic context?

RMM: No. But it is part of it.

MB: Besides, a topic that interests me a lot is food – also part of ‘regina’ -of course in a vital way. The social importance of food, of nutrition, up to recipes. What place does food/cooking have in your artistic context?

RMM: The Eat Art concept of Daniel Spoerri has taught me early on how closely art and cooking are interlinked. To me the kitchen is a meeting place. Communal cooking and eating create the climate for fruitful exchanges between cultures. I myself enjoy cooking and I like carefully prepared tables – simple as well as magnificent – but always elaborate ones. Besides, there is king Louis II of course – the fairy tale king of Bavaria – with the fabulous ‘Wishing Table’…

MB: Recipe idea?

RMM: Re-educating our senses and sensors.

Berlin Art Week 2018

October 5, 2018

With the Berlin Art Week 2018 happening from September 26th-30th the Berlin art scene prepares for the upcoming fall season. Visitors from all over the world had the chance to see a vast range of internationally established as well as emerging artists in various Berlin institutions, private collections, galleries and project spaces.

‘Open House for Open Minds’ is the slogan of the Deutsche Bank Kunsthalle in its new spaces of Palais Populaire in the former Prinzessinnenpalais Unter den Linden. Already at the beginning of the year, the recently appointed director of the Martin Gropius Bau, Stephanie Rosenthal, announced a focus on contemporary and experimental tendencies in the 2018 program. Consequently, “Crash” (on view until Januar 13th 2019) is the first solo show there of Lee Bul, Korean-born artist living in Berlin. The show includes sculpture, paintings, prints, drawings and spatial installations.  

Other focal points of this year’s Berlin Art Week 2018 is the opening of EMOP – European Month of Photography at C/O Berlin and Agnieszka Polskas solo show at Hamburger Bahnhof.

Evidently, art berlin and Positions Berlin are two of the pinnacles in those September days.  Lately located in the hangars of the former Tempelhof airport neighboring the well frequented Tempelhofer Feld galleries found a prime location for the numerous art lovers from Berlin and abroad.

What GoArt! clients liked during their Berlin Art Week 2018 hopping: a new revival of ceramic and glass works in the context of fine arts. A gallery owner who has been in the business of the genre for over 25 years now is the trendsetter Geer Pouls: For the first time he participated with Brutto Gusto Fine Arts at the art berlin.

GoArt! Berlin consulting

 

Paloma Proudfoot @Soy Capitán, Art Berlin

Carole Feuerman @Galerie Hübner+Hübner, Positions Berlin

Ashley Scott & H.M. Davringhausen @White Square Gallery, Positions Berlin

Brutto Gusto Fine Arts, Art Berlin

Julius Weiland @Lorch+Seidel Contemporary, Positions Berlin

Jelena Bulajic's painting is mirrored in the work by Tarik Kiswanson @carliergebauer, Art Berlin

Šejla Kameriç @Galerie Tanja Wagner, Art Berlin

Karin Sander @Esther Schipper, Art Berlin

Eva & Adele in front of the booth of Galerie Neu with works by M.C. Chaimowicz, Art Berlin

Christian Hoosen @Tore Süssbier, Art Berlin

Zilla Leutenberger @Palais Populaire

Alicja Kwade @Galerie König

Alexander Golder @Fuchs Galerie

Matthew Brandt @C/O Berlin