23. November - 21. December 2019
We are showing a selection of works by various artists, e.g. Thomas Baumgärtel, Werner Berges, Petra Scheibe Teplitz, Charlotte Trossbach, Albrecht Wild and Konrad Winter.
Peter Anton: Juicy Fruits
20. November 2019 - 11. January 2020
Opening reception on November 17th, 3:00 - 6:00 pm
Guest appearance in Wiesbaden: Brachmann & Feuerstein from Berlin
26. - 27. October 2019
Fashion designer and architect Jennifer Brachmann creates under the label BRACHMANN playful minimalistic collections for men and women that exhibit the influential principles of Bauhaus. Puristic designs made with luxurious fabrics out of natural fibers focus on innovation in silhouette, details and architectural appearance.
The Berlin-based hat designer Rike Feurstein is a minimalist. The clear shapes of her headwear, for which she has received e.g. the "Red Dot Design Award", straddle the fine line between fashion and art. But most importantly, her small "sculptures" are comfortable to wear and really cool.
On the weekend of October 26th and 27th visitors are welcome to experience, try on and purchase the avantgardistic creations of these two Berlin labels at DavisKlemmGallery and meet the designers.
Michael Craig-Martin and Julian Opie: new editions
09. October - 02. November 2019
Wir zeigen in dieser Ausstellung Druckgrafik von Michael Craig-Martin und neue Editionen von Julian Opie.
Michael Craig-Martin, geboren 1941 in Dublin, gehört zu den einflussreichsten Künstlern seiner Generation. Als Dozent am Goldsmith's College in London prägte er viele angehende Künstler - u.a. Julian Opie. Seine markante Bildsprache wird weltweit erkannt und geschätzt. Wir präsentieren zwölf neue Siebdrucke und zwölf Radierungen.
Von Julian Opie, 1958 in London geboren, zeigen wir eine Auswahl seiner neuesten Editionen: "Paper Heads" and "New York Couples".
Während der Ausstellung laden wir Sie herzlich zu einer ganz besonderen Veranstaltung am 26. und 27. Oktober 2019 ein: Minimalistische High-Fashion in der DavisKlemmGallery. Die Berliner Labels BRACHMANN und Rike Feurstein präsentieren ihre Kollektionen. Am 26. Oktober ist die Galerie von 11.00 bis 18.00 Uhr geöffnet; am 27. Oktober von 11.00 bis 15.00 Uhr geöffnet.
21. August - 21. September 2019
Opening on August 18th, 3:00 - 6:00 pm
With works by Thomas Bayrle, Werner Berges, Marion Eichmann, Steve Johnson, Mel Ramos, Petra Scheibe Teplitz, Charlotte Trossbach, Albrecht Wild and Konrad Winter.
Marion Eichmann: Cash
15. May - 29. June 2019
Opening on May 12th, 2019.
Charlotte Trossbach: Liquid
10. March - 13. April 2019
Opening reception on March 10th, 2019.
For photorealists the search for images is on the one hand a constant, on the other a means to an end. The real challenge takes place on canvas with oil paint and brushes. The goal is to reveal light reflexes, surfaces, depth and structure. An egg in a pan with a bright yellow egg yolk and an egg-white not yet solidified is an open invitation to examen its glibbery surface.
New works from 2018 and 2019 are shown in this exhibition dedicted to things liquid in various states of aggregation. Whether whipped cream, chocolate ice cream, nail polish or rain drops on a window - shiny surfaces and light refractions are in the foreground.
Steve Johnson - Altered States
10. March - 13. April 2019
Exhibition in the gallery studio. Opening on March 10th, 2019.
There is a diversity of imagery and technique in ‘Altered States’, reflecting the period over which these works were made. The exhibition brings together a selection of prints made over 10 years using different forms to express different ideas and subjective states.
The title of the exhibition, chosen by the artist, refers to the way in which ubiquitous common places like domestic interiors or city parks, and basic activities like eating, are given a twist. There is an altered perspective in visualizing the ‘everyday’ and one that is intended to provoke thoughts about what lies beneath the surface of things. What’s under the floor? What’s under the pavement? What’s under the food?
Stereotypical popular meals from 6 EU member states are very precisely served up on broken plates, saucers, bowls, cups and wine glasses. Classic meals from England, France, Germany, Italy, Poland and Sweden are presented. The meals were all lovingly prepared and cooked by the artist using kitchen utensils and then the crockery and glass broken by the artist with a hammer prior to ‘plating up’.
Europe has enjoyed the longest period of peace and prosperity ever in its history. The rise of populism, nationalism and the ultra right across Europe (and the globe) has an alarming echo of the 1930’s. Brexit is symptomatic of this collective historical amnesia.
In these 6 prints the aim is to conflate abundance and plenty with destruction, and beauty with violence. The civility of white porcelain morphs into shrapnel.
In addition to various other prints with a twist on perspective in the exhibition, a video in which the artist talks about his sculptures is shown. The video corresponds with four prints of the artist's watercolour drawings. In these the artist imagines exposing deep-time as an island on which we live, work, and play. A comparison is drawn between time as we experience it day to day on the surface, and millennia. Deep-time is an archaeological term referring to the physical accumulation of material, the terra firma, created over millions of years. Time here is not an abstract idea, but observable, a lump of stuff. It is time that can be measured in centimetres and metres.
These images are a contemporary allusion to the ‘Vanitas’ Still Life painting tradition begun in Flanders and Holland in the 16th century. That tradition consisted of arrangements of objects like skulls, mirrors, flowers, butterflies, candles, hour-glasses and books, to be painted in near forensic detail. This is updated by Steve Johnson to include the built environment. The prints show pedestrian islands and road surfaces, building sites (specifically a vacant site behind a blue hoarding in readiness for a new beginning), and a park with an imbiss in winter and springtime.
The sentiment is the same. The viewer is reminded of the transience and uncertainty of life. It is implied that we make the most of our brief allotted time, and to be prudent with it.