Works on Paper


2.12.2012 - 10.1.2013

Herbert Willems

willems 36-627GEGOSSENE BÄUME

14.10. - 28.11.2012

Katalog zur Ausstellung:
Herbert Willems - Gegossene Bäume


becker 66-648TOTAL DESASTER

7.9. - 10.10.2012

Aus dem Kölner Stadt-Anzeiger vom 7.9.2012:
Der Künstler beherrscht das Chaos
DC Open
Zum vierten Mal eröffnen Kölner und Düsseldorfer Galerien gemeinsam die Herbstsaison – Einige Höhepunkte
Galerie Heinz Holtmann: „Total Desaster" nennt Boris Becker seine Schau in der Kölner Galerie Holtmann (Anna-Schneider-Steig 13, Köln). Der Kölner, der zu den bedeutendsten deutschen Foto-Künstlern gehört, dokumentiert in seinen aktuellen Arbeiten ein „Chaos, in dem sich eine präzise Ordnung wiederfindet" (Becker).

Selected Prints

polke 47-552

15.7. - 4.9.2012

Uta Päffgen - Chinese Whispers

June 3 – July 11, 2012
Opening: Sunday, 3.6.2012, noon till 3 p.m.

Uta Päffgen - Chinese Whispers
Galerie Heinz Holtmann, Cologne

Who hasn't heard of the game to which the exhibition title refers, Chinese whispers? To play it, a message is whispered from one person to the next until, at the end of the line, the information is strangely or absurdly contorted, surprising the players. What makes the game interesting and imaginative is the inanity of the original material, the unpredictability of the change. Artist Uta Päffgen sees in this a "metaphor for the artistic process, the transformation from idea to material and then back into a new idea" (UP).

The title can also be understood in another way, in the sense of the performative act of such an artistic transformation, an act that is central to Chinese ink drawing. In the Chinese tradition, the aim is not a definitive image result, but rather artists seek to get a hold of the movement that is responsible for things passing constantly and unnoticeably from one state to another. Thus "landscape" is described in the Chinese culture as "mountain water". And the artist seeks not to capture the image as a depiction of, for instance, a landscape, but rather its essential nature as a process involving constant modification. For this to happen, the act of drawing must be preceded by a spiritual emptying with its resulting expansion and concentration, which allows the artist to leave behind any goal-oriented intention of depicting something and enables him to move through the concrete in spiritual freedom. Now the all-important first stroke will be successful, coming to the artist as if of its own volition, a stroke that in its perfection contains all possible further strokes. For Uta Päffgen, what is happening in this process is a translation or transformation into the abstract, which, in her view, is what gives this approach to painting its quality.

In her works the artist addresses the painting process itself, even if she does not directly embark on the meditative path of Chinese tradition. Päffgen's works arise from a fluid, gestural application of paint: stroke by stroke and colour layer by colour layer. At times this results in exact repetitions, at other times, in playful connections; the layers are translucent or opaque, underlining the painting's facture through an interaction of a modernist flatness and the materiality of colour. It is a mix of allowing physical movement to flow and carrying through an inner logic, and through this mix Uta Päffgen "choreographs" (UP) her images.

Anne Fäser

Kennedy-Unglaub Translations


Paul Schwer Big BaosBig Baos

Translated loosely, the title means “big Chinese dumplings.” In the exhibition, they are made of a painted synthetic material, which, thermally moulded into a baroque arrangement of folds, knows neither inside nor out, or else wraps itself around the interior space it creates, becoming packaging. Though solidified, it never ceases to reveal the process of its creation.

This is time coagulated in a high-gloss painterly shell with matte colour fields broken up into floes that drift on transparent polyethylene. It is amorphous colour turned into space, unfolding freely in space but also forcing itself into pieces of furniture like dressers or small cabinets. Or into geometrically constructed casings and architectural bodies that recall models.

Keen cuts open the space and the images. They penetrate both, like the noise or sound of the swarms of scooters and motorcycles that pierces Asian cities.

Valerie Krause


March 11 to April 11, 2012

krause 27Press release

Space, movement and movement in space – these are topics that are central to the works of artist Valerie Krause (born 1976), to her sculptures and photographs. A rod projects into a space, defining or emphasizing the dimensions of this space. A sheet of plaster that appears as light as a feather, yet is solid, is poised to take flight, as if ready to be carried off by a gust of wind. And the sheet itself shows evidence of movement. The formerly liquid, hence mobile, plaster has solidified, yet the shapes formed in its liquid, mobile state have remained and the viewer cannot but imagine that the material might start to move at any moment, might start to drip.

Lothar Quinte


29.1. - 7.3.2012

Group Show


27.11.2011 - 25.1.2012