1967 born in Wurzen/Sa. · 1997 – 2002 study of media at HfBK Dresden · until 2004 post graduate with Prof. Lutz Dammbeck · lives and works in Dresden and Frankfurt/M.

A travel scholarship of the Hessian arts council brought Martina Wolf to Moscow for a year. Similar to her earlier »window pictures« the artist was looking for suitable motifs via a video camera, which then, according to the window or other framing, produced an image of minimal motion. In »Spielfeld« (play ground), which is situated in front of the window of her Moscow atelier, the artist stirs freely arranged details of the image like houses, trees … by means of movements of the window and thus changes time and space. The unknown component of the image subject is the human walking into the picture. The movement of this person is repeating itself through window reflections in different deferments and directions and puts the film into a poetic narrative perspective although coincidence is always playing a big role. Not the window generated itself to the actual motif of the picture but the objects fixed within the image. »Tag des Sieges« (The day of triumph) is an image within an image, the central spot being a giant video screen illustrating the triumph over fascism at the 9th of May 1945, the scenario taking place within a lively street scenery.

Eckehard Fuchs’ style of painting is formally predominated by many different impulses of visual codes originating from various aspects of art history. His subjects fathom interpersonal actions, deferred communication and distorted behavioural patterns. Narrative topics and its protagonists function as replacement characters of those human behavioural patterns and are foreshadowed in encoded gestures. The viewer has to look at various elements of the image together in order to decipher whether an encounter, repel, brewing or an adherence is illustrated. Formerly strictly set forms are now dissolved into loose systems of surfaces; the increasingly architecturally constructed space is yielding a pictorially composed image space. Incrementally only one person appears within the image, mostly a soft, only barely recognisable face behind floral structures – is the (pictorial) world becoming conciliatory?

In his pictures Theo Boettger visualises the excluded, which he balances at the boundary, the boundary of failure, the one of despair and emotional explosion: a pandemonium of modern life at the edge. Free, with a lack of distance and brutally open, dark people are banished on the canvas surface, some are angry and tattooed, and others seem to be in the process of falling or are pictured at the edge of society: drawn with a lot of black and little colour, painted with abrasive strokes, aggressive, excessive and authentic.

Meanwhile the individual fortunes of the portrayed are becoming increasingly synonyms and symbols of an ill society : a world which is artificial and mainly to be experienced through media. It is a fake reality of everyday madness.

Aspirin_Kein Land_big hope_burn out_No Exit_Kill_Druck_call the police_egoshooter_Grüße von der Ersatzbank_Monster der Verjüngung_Ruhe vor dem Sturm_we are the world_Sumpf_Kredit_Sie haben mich ruiniert_I need you now_Goodbye_we love Freedom_we got the power_ mess up reality_the end_can’t wait anymore_sold out information_anti collapse_you are not on this planet anymore_no control …

Those image titles, fragments of sentences and pieces of words which are spit out by the protagonists comic-like are placed on canvas so drastically that the viewer has the feeling the problems of the others, the unknown, could become their own ones. The thought is forced upon the viewer that the human is a passive individual who is sentenced to failure in between the all or nothing. Now. During an instant moment. The scenario of the end of time is getting closer; the point of return has been crossed a long time ago.

The component of time gains in the engineered, media-prone world new qualities and structures. The past can be replayed in the presence, abstracted through slow motion, decelerated or in fast speed. Different methods of art such as reduction, looping, sequence, parallel montage, sampling and serial work are also procedures in contemporary electronic music and mirror different modes of the perception of time.

Based upon this background artists such as Stefan Lenke and Alfons Knogl produce sound collages, no illustrations or images, but a transformation of conditions and processes which take place while Stefan Lenke realises his abstract paintings.

Originating from this audio work we put an exhibition together with works which come to existence through generation or within appraisal of the artists’ work using above mentioned techniques and their dependency from the factor time. It is not the sequence of possible techniques though, but the perception of differently timed actions, for example a slowly conducted line, which ends in a condensed drawing, or else is of some durance, until the viewer captures the structures and interfuses the image and its very own individual elements after the first glance.

Not the illustration of techniques or the interpretation of music, but the cross-linking of different cognition of temporal phenomena is the concern of the exhibition. Of special attention is the relationship between art and methods of contemporary electronic music and also between conventional manual treatment and serial industrial production.

Based upon this background artists such as Stefan Lenke and Alfons Knogl produce sound collages, no illustrations or images, but a transformation of conditions and processes which take place while Stefan Lenke realises his abstract paintings.

Originating from this audio work we put an exhibition together with works which come to existence through generation or within appraisal of the artists’ work using above mentioned techniques and their dependency from the factor time. It is not the sequence of possible techniques though, but the perception of differently timed actions, for example a slowly conducted line, which ends in a condensed drawing, or else is of some durance, until the viewer captures the structures and interfuses the image and its very own individual elements after the first glance.

Not the illustration of techniques or the interpretation of music, but the cross-linking of different cognition of temporal phenomena is the concern of the exhibition. Of special attention is the relationship between art and methods of contemporary electronic music and also between conventional manual treatment and serial industrial production.

Our artists invite:

Theo Boettger - Cornelia Renz · Hannes Broecker - Mathias Droste · Jan Brokof - Christof Mascher · Stefanie Busch - Stefan Fischer · Eckehard Fuchs - Dan Trantina · Sebastian Hempel - Andreas Fischer · Andreas Hildebrandt - Oliver Stäudlin · Stefan Kübler - Sophia Schama · Stefan Lenke - Guido Reddersen · Martina Wolf - Monika Brandmeier

Hannes Broecker is interested in the semiotics and aesthetics of public space. He translates and abstracts from the ordering systems and urban structures that dominate there, usually in a series of paintings he calls a fragment and numbers sequentially or in objects, which run through the possibilities colors and materials.

Broecker is become more narrative, more representational, more concrete. Already in »42 Tage unter Tage … «(Forty-two days among days), he presented elements and symbols from social groups that are willfully overlooked by society. The recipient is forced to develop a feeling for the life of a subculture previously familiar only through the media.

In »House of Pain«, viewers are forced into distressing confinement, their freedom cut off, so that they strive for safer distance.

The entrance to this exhibition is bright, airy, and friendly. But a closed gate reveals the hopelessness of a dead-end street. A familiar corridor suddenly becomes confining, threatening. The large space of a rear courtyard: lively but perhaps only at night—shattered panes, beer cans, torn shirts … tell stories of various milieus.

With his aesthetically constructed images, Broecker offers us a more direct narrative than painting does. The artist uses materials that contain a statement even without the product of the image. He builds objects such as windows, gates, and facades and treats them in accordance with their function. At first glance, Hannes Broecker appears to be employing an aesthetic of fragments in the tradition of the historical avant-garde but he counters their staged unfinished quality with a consciously constructed and decisive form. His frame of reference is the changing and superseding language of signs and images in political and pop cultural movements, though they are not lost in the cosmos of the postmodern quotation.

The subjects of Stefan Krauths images are made up, fantastic, mystical, strange. The portrayed places seem like crime scenes of past times. He is reminded of stories of well known pirates, distraught people who have chosen Wales as their adopted country, lost cities. Often people are missing from the artist’s photographies but still the images leave a lot of room for fantasies about those missing people’s fears, their feelings, their yearnings. The uncanny, the fairy-tale-like in the pictures of Stefan Krauth lies not in the motif of the image itself but in their stylized artificiality thanks to the staging of the chosen part of the image and the use of light and reflexes which are full of facets. »Linda Sullivan’s journey« therefore seems like a trip from film still to film still, far away from a real starting point.

The exhibition »Quiet and peace?« brings four young artists together, who work with a contemporary view on still life, interior and landscape.

Gabriela Jolowicz (born in 1978 in Salzgitter, 2007-2010 master student with Thomas Müller at HGB Leipzig) describes in her wood- and lino cuts funny, laconic scenes of a metropolis. The spaces in which young people act and react are portrayed by the artist as places which are distorted in perspective and structurally overloaded.

Robert Seidel (born in 1983 in Grimma, since 2009 master student with Neo Rauch at HGB Leipzig) arranges fragments of folk and pop culture in a new reduced order on his canvases. His playful miniatures of street views are fragmented within their focus on the main important parts of the image.

Different to his works on canvas the collages of Tino Geiß (born in 1978 in Jena, master student with Ingo Meller and Neo Rauch since 2009 at HGB Leipzig) made of adhesive tape mirror a hasty view of interior situations as if these were going to change within the next moment. The materiality of the collage and the energetic use of colour bring the formerly “still” images to a special liveliness.

The still lives of Stefan Kübler (born in 1969 in Balingen, 2001-2003 master student with Ralf Kerbach at HfBK Dresden) are behind-glass paintings. The even image skin has no haptic traces; the surface seems like a poster with irritating brush strokes. The images form themselves often directly at one place, this time also at the gallery itself.