15th & 16th December 2018
curated by Antonio Laiko
Paintings from the Vaults
3rd – 11th November 2018
Echo 2018 – works selected from the Werkhalle collection.
Lindsey Nobel, Sarah Wölker, Oliver J.T. Olsen, Sophia Melone, Jon Konkol, Ea Øland, Ivna Bruck, Per Teljer
In the Sky
5th – 14th October 2018
In the Sky
Immanuel Rohringer is a multidisciplinary artist who seeks to challenge the barriers that separate art and design, and play with the boundaries between aesthetics and functionality. Initially starting out as a painter he gravitated toward sculpture, a journey which ultimately led him to explore the concept of wearable art that blurs the interface between object and process – art and viewer.
Alfred Camp 2018
13th – 30th September 2018
Curated by Thomas Henriksson and Oliver Mark
Housed within the Gemaeldegalerie Berlin you will find a room, numbered XVII. Noteworthy for its layout and conception, this room features works by eleven 16th-17th century Italian artists, ten male and one female named Sofonisba Anguissola (*circa 1531/1532 in Cremona; † 16. November 1625 in Palermo). In contemporary response to this room, Werkhalle Wiesenburg is pleased to present abstract works by ten female and one male artist.
Olivia Berckemeyer | Maria Brunner | Sabine Groß | Isa Melsheimer | Sonja Ofen | Hannah Regenberg | Sophia Schama | Sibylle Springer | Aiko Tezuka | Michaela Zimmer | Florin Kompatscher
Eine Berlinerin war die Mutter des Gedankens…
The History of the Wiesenburg
8th & 9th September 2018
Curated by Heather Allen
Eine Berlinerin war die Mutter des Gedankens…
A special exhibition for 2 Tage Wedding and Tag des offenen Denkmals 2018.
The exhibition highlighted aspects of the rich history of this special place through its existence as a homeless shelter, film set, munitions production site and potato storage up to its current cultural activities. An architectural model of the planned development of the Wiesenburg by degewo was included in the exhibition.
There were three guided tours per day with the opportunity to enter the currently closed-off mens’ collection hall and the garden.
We would like to thank degewo for supporting this exhibition.
3rd – 26th August 2018
Marianne Wirries uses chalk to draw elaborate abstract structures in which richly built up layers of lines jostle and reverberate to create visual journeys that evolve over time. The works appear in a constant state of flux as our eyes slowly adjust to the subtlety of the process of her mark making.
Across the expanse of these large scale drawings, these lines appear carved in space. What at first seduces the eye, now draws it into a more troubled web of scarred lines, dark matter and mixed meanings. Whether these works point to a violent past, rebirth or a more troubled future is unsure, but they do challenge the act of mark-making, and how we choose the see the world around us.
Kreidezeit (Cretaceous Period in English) is the geologic period that ended with the extinction of the dinosaurs and the emergence of new life that would ultimately shape our world. Just as the title (derived from the German word for chalk, Kreide) subtly plays with the work’s materiality, so these works seek to cast off the illusions that underpin drawing by revealing structures beneath. By doing so Wirries seeks to unmask process, cast off frames, and through this dialogue understand the process of drawing itself.
6th – 29th July 2018
“When painting with the easel in the forest, it is essential to find a place with relatively flat land to stand on. Proper lighting conditions are also crucial. You do not want to have direct sunlight on or behind the canvas, but also not to stand under shady foliage that tints the light green. It is also good if it is deserted.
When I find a place that meets these criteria, I look around for a functional motif. It can be a curved branch or an attention-grabbing tree trunk, but a collection of branches will also serve my purpose.
The motif is really only secondary. I use it to find the angles for the underlying sketch and just look at it now and again in the process. However, the motif is there to refer to if necessary.
With the forest as a background, I temporarily detach myself from conscious thoughts and actions. It enables me to work bolder, without my becoming attached to individual parts of the painting. In this way, I can rearrange the composition and change the drawing and colours quickly and without hesitation until the picture works. The fast tempo makes most of the decisions happen subconsciously and creates a situation where I can allow myself to channel influences and references, mainly from modernist painting traditions in this case, so that they are incorporated within the impressions of the nature around me.
To replicate the act of going out and painting in the woods as so many have done in the past thus becomes a way for me to examine and assimilate modernist painting’s history and practice on an intuitive level.”
Supported by the Swedish Promotion Committee
Malen mit Gefühl…
Anna Christin Dumkow
27th June – 1st July 2018
Anna Christin Dumkow has devoted a large part of her life to the preservation and revival of the Wiesenburg. In the exhibition “Malen mit Gefühl” the Werkhalle Wiesenburg presents a large selection of paintings created during more than 20 years in Wiesenstraße 55. Anna is the good soul and grand lady of the Wiesenburg. Her pictures are now being presented for the first time to the public, which means a lot to her because the Wiesenburg is her home.
Her colourful and lively compositions between landscape impressions and abstract expression, create an inspiring repertoire, which convinces through its versatility.
Wilder Garten Creation Castle
1st – 24th June 2018
The Wilder Garten Creation Castle is an immersive group exhibition, interactive co-creation space, and performance hall dedicated to interdisciplinary, collaborative creation of art and music, various workshops, and performances.
Off the Grid
4th – 27th May 2018
These paintings by Ozren Olbina, a riotous mix of pictorial languages and materials, are being shown together for the first time.
Well versed in the traditions of painting, Olbina sees no point in painting only to accept its limits. For him, order is only order when it is closest to transforming into chaos. Emotion is only real when common sense is pushed to its limit, the one opening up only at the expense of the other.
The result? The paintings look as if they want to break the frame and free themselves of being themselves – or implode.
After creating these paintings between 2009 and 2011, Ozren Olbina went OFF THE GRID and has not painted since.
6th – 29th April 2018
The oil paintings of Sophia Schama shown in the Werkhalle Wiesenburg Berlin in April deal with nature and abstraction and are all the results of lengthy processes, rendering her work multi-layered and complex.
The intensity of her presence and sharpness in the marks and brush-strokes is undeniable. Everything in these paintings is considered, looked at and felt, yet her precision leaves room for happy accidents.
These masterful paintings stand firmly in the tradition of modernistic painting but are never rigid or fearful, never lack curiosity for the unknown or surprising – they are like nature itself, both bold and sensitive, familiar yet strangely mysterious.
Thomas Bo Henriksso