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Galerie Barbara Thumm

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Galerie Barbara Thumm

Galerie Barbara Thumm www.bthumm.de

02/10/2024

Discover this month‘s gallery Spotlights.

SPOTLIGHT
OKT_24:

MARIA JOSÉ ARJONA
Infinite Animal
(2017)
Charcoal on fabriano paper
154 x 200 cm

Primarily known for her performance practice, Colombian artist María José Arjona has developed a series of drawings throughout her career that complement her long-duration performances, reflecting the thought processes inherent in her actions. The title of this work, “Infinite Animal”, plays on words to create new meaning, or rather, to resignify the infinity symbol beyond its logical and mathematical implications. Arjona connects these implications with what we commonly associate with the „animal“ sense—the wild, the intuitive, and the instinctive—merging two contrasting ways of perceiving the world. Through this union, she offers a potential resolution to the dichotomy between reason and intuition. This infinity symbol formally presents the structure of her artistic practice. María José Arjona is currently a fellow at the DAAD Künstlerprogramm in Berlin.

🔗bthumm.de/monthly-spotlight

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María José Arjona, *1973 in Bogotá, Colombia
lives and works in Bogotá, Colombia

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27/09/2024

Opening today!
Exhibition
MARÍA MAGDALENA CAMPOS-PONS
Behold
27 September, 2024 – 5 January, 2025
Frist Museum, Nashville

María Magdalena Campos-Pons: Behold includes over three decades of the artist’s work in photography, installation, video, painting, and performance. Hauntingly beautiful and emotionally charged, Behold shows how Campos-Pons’s layered identity as a Cuban woman with ancestral roots in the Yoruba culture of West Africa as well as in Spain and China inform her multimedia, sensorial artworks. Evoking the history of diaspora, displacement, and migration, as well as labor and race, and motherhood and spirituality, Behold invites us to join with the artist in the vital search for meaning and connectivity.
This exhibition is organized by the Brooklyn Museum and the J. Paul Getty Museum. The exhibition is curated by Carmen Hermo, former Associate Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum and Mazie Harris, Associate Curator, Department of Photographs, J. Paul Getty Museum with Jenée-Daria Strand, former Curatorial Associate, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum.

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25/09/2024

Congratulations! Antonio Paucar is shortlisted for Artes Mundi art prize.

Artes Mundi 11 Shortlist Announcement:

Artes Mundi, the UK’s leading biennial exhibition and international contemporary art prize, is delighted to announce the shortlist of six international contemporary visual artists and five nationwide venue partners for its eleventh edition, Artes Mundi 11 with presenting partner Bagri Foundation (AM11) in 2025-26.

The artists are: Jumana Emil Abboud (born Shefa’amer, lives and works in London, UK and and Jerusalem), Anawana Haloba (born Livingstone, lives and works in Oslo, Norway and Livingstone, Zambia), Antonio Paucar (born Huancayo, lives and works between Berlin, Germany and Huancayo, Peru), Kameelah Janan Rasheed (born East Palo Alto, lives and works in Brooklyn, NY, USA), Sancintya Mohini Simpson (born Brisbane, lives and works in Brisbane, Australia), and Sawangwongse Yawnghwe (born Shan State of Burma, lives and works in Amsterdam, the Netherlands).

Work by each artist will feature in the biennial exhibition AM11 taking place from 17 October 2025 to 22 February 2026 with the winner of the prestigious £40,000 Artes Mundi Prize – the UK’s largest contemporary art prize – announced during the exhibition run. Following the success of AM10, for a second time AM11 will be presented nationally at multiple venues across Wales, with Aberystwyth Arts Centre participating for the first time.

🔗artesmundi.org

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22/09/2024

Now on view at Space II
MARTIN DAMMANN
Irrlichter
—2 November, 2024

Martin Dammann’s artistic practice oscillates between photography, video, drawing, and watercolors. The artist draws inspiration from his collection of private photographs and his own recordings. From these, he creates large-format watercolors that capture certain elements of the images while challenging classic techniques, rules, and clichés associated with the medium of watercolor.

The works displayed in the Irrlichter exhibition capture the mystical interplay between light, darkness, and the permanent human state of searching. This atmospheric collection, inspired by the elusive phenomenon and legends of will-o‘-the-wisps (Irrlichter) from folk tales, is a testament to Dammann’s ability to capture the fleeting moments in photographs and translate them into timeless images.

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MARTIN DAMMANN
2.Irrlicht (2021)
Watercolor, pencil on paper
155 x 195 cm
61 x 76 3/4 in

For all details and inquiries please visit 🔗bthumm.de

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22/09/2024

Teresa Burga believed that the idea of an artwork was more prominent than the end result, following her turn to Concept and non-object-based art in the late 60s.

Burga left her home country of Peru in 1968 to pursue a Master of Fine Arts at the School of the Art Institute of Chicago. There, she drifted away from painting and delved into sculpture and created some of her earliest three-dimensional works are these “Prismas”, a series of modular, geometric objects made out of plywood and painted with colorful motifs. The artist created a detailed list of instructions including scale, the motifs for the paintings, materials, and sketches to be sent to fabricators who would then produce the pieces. In Burga’s three-dimensional works, the multiplicity of possibilities is enacted by a particular arrangement of visual motifs, forms, and colors, which allow for reconfiguring the pieces in multiple ways. The images on the surface depict children, abstract and geometric shapes, and everyday objects, all in bright colors inspired by marketing material and graphic design.

“Prismas” is spotlighted in Phaidon Editors’ new book titled “Great Women Sculptors” (2024), with an introduction by Lisa Le Feuvre.

Please check out our section MONTHLY SPOTLIGHT on 🔗bthumm.de/monthly-spotlight

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SPOTLIGHT
SEPT_24:

ESTATE TERESA BURGA
Untitled / Prismas (B)
(1968–2013)
Set of 5 objects
Painted plywood
Dimensions variable

For all details and inquiries please contact the gallery

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17/09/2024

Discover our monthly selected spotlights!

SPOTLIGHT
SEPT_24:

SIMON CANTEMIR HAUSÌ
From the Past (2011)
Oil on canvas
100 x 100 cm

🔗bthumm.de/monthly-spotlight

Simon Cantemir Hausi’s artistic style draws inspiration from those of the 19th and early 20th centuries while evoking more recent realities and landscapes. For instance, Hausi depicts scenes and impressions from his childhood memories growing up in Romania during the Soviet era and under the government of Communist leader Nicolae Ceaușescu. In his painting “From the Past” the artist portrays a scene where some human figures appear sunbathing under umbrellas at a beach. The objects and characters portrayed are blurred and almost blend together as if the scene were almost diluting, resembling how memories fade into oblivion. Hausi uses soft brushstrokes and blurry lines in his paintings, translating into the canvas his feeling of past memories and imbuing his works with an acratic atmosphere.

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Simon Cantemir Hausì, *1976 in Baia Mare, Maramures, Romania, he lives and works in Cluj, Transylvania

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16/09/2024

Discover our monthly selected highlights!

SPOTLIGHT
SEPT_24:

JO BAER
Altar of the Egos (Through a Glass Darkly) – Drawing (2002)
Injekt print with colored pencil on paper
29,7 x 21 cm
11 3/4 x 8 1/4 in

🔗bthumm.de/monthly-spotlight

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American artist Jo Baer turned away from Minimalism in the 70s to explore the possibility of communicating ideas and stories through painting. In the 80s, she coined the term “radical figuration” to pin down her new artistic style but then refused the association between figuration and narrative. Instead of following a linear storyline, her “constellations” or multi-layered drawings and paintings, tell multiple stories through superimposed and intertwined motifs, symbols, and characters. In her drawing “Altar of the Egos (Through a Glass Darkly)”, she creates a unique timeline where past and present converge, alluding to the passing of time for the female character(s) portrayed. In this work, the artist depicts women in various stages of life, in addition to what seems like framed photographs, reminiscent of times past and its effects on the ego.

Additionally, her fascination with Ancient cultures and myths has been constant throughout her career, putting elements from Ancient traditions in dialogue with fragments of contemporary times. In this case, Baer includes the Ancient Egyptian symbol of the “Eye of Horus”, commonly used in offering rituals and linked to healing and protection. Accompanying the symbol, there is a silhouette of a blue peac**k, associated with beauty, rebirth, and price, adding yet another layer of meaning to the work.

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Jo Baer, *1929 in Seattle, USA,
lives and works in Amsterdam, Netherlands

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15/09/2024

We are presenting Elyla’s first show at the gallery after participating this year in the 60th Venice Biennale.

ELYLA
Ya-bunanma-m-a-ta-ta:
WHAT I SEE WHEN I DREAM
Space I
Open until 2 Nov, 2024

The present exhibition brings to view a range of installation and multimedia work by Elyla, centered around A prayer for tending death (Una oración para acompañar la muerte), and complemented by Mirroring Lengger Gallogallina (Espejo Lengger Gallogallina) subtitled “A Trans-Oceanic Decolonial Ritual for Ancestral Corpodivinities” (2024). Shot in lush color and resplendent light, “Mirroring Lengger Gallogallina” presents two protagonists engaged in a fight turned game of seduction. At first, they enter the ring with great panache, gloriously done up, flaunting their feathers, confidently armed with sharp spurs. Gradually, they abandon themselves into dance. The calculated, carefully expressed movements and poses carry deep histories however, not least as they are embodied by two q***r persons. Fire, a purifying element, brings the two parties together in an exchange of fragrant offerings, flowers, nearing an embrace.

Cockfighting remains a controversial cultural practice, with a complex history, and has been restricted or banned in several countries due to concerns around animal rights and cruelty. “Pelea de gallos” nevertheless remains common in Nicaragua, and other parts of Latin America, where it has been staged since the 16th century, brought in from Spain. The c**k is the unifying motif across the films and sculptural installations included in the exhibition.
—Ileana L. Selejan

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ELYLA
Cockfight (Fiesta de Gallosgallinas), 2024
Ceramic, chicken feathers, wood, metal bars, natural pigment paint
Plinth size: 200 cm diameter
Height: 220cm
Metal bars: 85-175cm

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12/09/2024

Discover our monthly selection of curated works and featured gallery artists.

SPOTLIGHT
SEPT_24:

MUKENGE/SCHELLHAMMER
Transmediale Landschaften (installation of 3 pieces)

[1]
Transmediale Landschaft I, 2024
60 x 50 x 57 cm and 120 x 25 x 15 cm
Fabric, absorbent cotton, VR Video 3:30 min

[2]
Transmediale Landschaft II, 2024
120 x 200 cm
Acrylic, spray paint, pigment on canvas

[3]
Transmediale Landschaft III, 2009 and 2024
Pictures from Bodensee
Dimensions variable
Photography and AR projection, 4:48 min

🔗bthumm.de/monthly-spotlight

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In their current series of works, the duo Mukenge/Schellhammer explore visual translation processes between analog and digital spaces and the possibilities of painting as a medium in the post-digital age. In their installation „Transmediale Landschaften“, the three objects overlap virtuality, painting, video, photography, and sculpture. In this case, they generate digital paintings using virtual reality programs and then project them back into analog space using augmented reality or painting directly on canvas. The duo explores the changes, additions, or even omissions that are transferred into the work during said translation process. The result is an interweaving of painterly, digital, and real spaces. The images expand three-dimensionally into the virtual field, imitating the characteristics of digital painting, such as spatial dimension, animation, and movement, in the analog scope. The installation will be on view in the exhibition „Zukunft ist.“ at the KFZ – Kunst für Zukunft in Radolfzell am Bodensee, Germany, from 7 September – 2 October, 2024.

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12/09/2024

We invite you to take a look at our monthly selection of works by gallery artists!

SPOTLIGHT
SEPT_24:

PETER BONDE
YOUR FU***NG FACE, 2024
Oil, inkjet on miror foil
130 x 15 cm

🔗bthumm.de/monthly-spotlight

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Danish painter Peter Bonde (born in 1958, Copenhagen) blends inspiration from Abstract Expressionism and Conceptual Art with a contemporary approach. His abstract and colorful compositions explore the fragility of memory and vividly evoke the strokes and color palettes of Nordic and other European artists. Bonde experiments and creates works oscillating between painting, sculpture, and installation. He uses ultra-reflective mirror foil instead of blank canvases, paints over the reflective surface with oil with fierce brushstrokes, and intentionally avoids concealing the whole piece, leaving parts of the reflective surface uncovered. In YOUR FU***NG FACE, the pink paint renders a shape that frames the viewer’s faces, so their reflections become part of the work. By doing this, Bonde encourages spectators to reflect—literally and metaphorically—on their surroundings and turn them into active participants in creating meaning.

Each of Bonde’s creations is as riveting as they are unique. No work can ever be viewed or photographed in the same way twice. This piece was recently on view at Barbara Thumm Gallery in Peter Bonde’s solo exhibition “It’s Good Enough for Nansy”.

🔗bthumm.de

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11/09/2024

We are proud to announce the upcoming exhibition opening of ARTEÔNICA, Long Beach, CA

ARTEÔNICA: Art, Science, and Technology in Latin America Today
September 22, 2024 – February 23, 2025

Opening Saturday, 21 September 2024, 6–8 pm

Organized by MOLAA as part of the Getty PST ART: Art & Science Collide

ARTEÔNICA is an exhibition project that explores the little-known Latin American art movement based on the relationship between art, science and technology, from the 1960s up to the present.

Arteônica: Art, Science and Technology in Latin America Today takes as its starting point the unparalleled contribution of Brazilian electronic art pioneer Waldemar Cordeiro (Italy, 1925 – Brazil, 1973)— one of the first computer artists in South America — to explore and analyze the state of electronic and cybernetic arts in the last 60 years. Cordeiro’s treatise on arteônica—a verbal synthesis of electronic art and the original title of the exhibition he held in Brazil in 1971—features the computer as an instrument for positive social change capable of democratizing art and culture.

In that sense, Arteônica explores this little-known Latin American art movement, creating a dialogue between a group of „pioneers“ from the 1960s and 1970s and the contemporary artists whose work responds to their legacy.

🔗molaa.org

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TERESA BURGA
Obra que desaparece cuando el espectador trata de acercarse (propuesta III)(Work that disappears when the viewer tries to approach it, Proposal III)
1970–2017

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.art

10/09/2024

MARTIN DAMMANN
Irrlichter
Exhibition at Space II
— 2 November, 2024

A few years ago, Dammann celebrated his birthday with his friends and gave them a task. On a cold January night, he handed them flashlights, took them to Treptower Park, an urban oasis in Berlin, and asked them to wander among the trees as if they were looking for something. He captured this quest on camera. But it was only during the COVID-19 lockdown that Dammann turned to these photographs for inspiration for his watercolors. Although his images undoubtedly capture the mood and atmosphere of the pandemic, Dammann refuses to link the meaning of these works exclusively to this specific context. Instead, he depicts scenes of the universal experience of searching – a fundamental human experience that transcends any specific moment in history and remains relevant at all times. The figures in his paintings seem to be on a timeless pursuit, searching for something indeterminate, be it a person, a thing, a solution, a hunting prey, or something else.

The artist’s fascination with will-o‘-the-wisps and fairy tales is evident in the evocative nature of his work. Fairy tales often revolve around adventures in forests, full of mysticism and the search for a solution.

Discover more on 🔗bthumm.de

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MARTIN DAMMANN
5. Irrlicht (2021)
Watercolor, pencil on paper
114,5 x 114,5 cm
45 1/8 x 45 1/8 in

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10/09/2024

New exhibition

Elyla (*Nicaragua, 1989), having their first solo show Ya-bunanma-m-a-ta-ta: WHAT I SEE WHEN I DREAM at Galerie Barbara Thumm after participating this year in the 60th Venice Biennale curated by Adriano Pedrosa.
Throughout their career, the artist has researched into ancestral communal practices from their home region of Chontales (Nicaragua) and from the Pacific Coast, to explore performance and ritual through their popular manifestations and at the intersection with q***rness, seeking to activate an anticolonial and decolonial praxis.
The exhibition’s starting point is the controversial practice of c**k-fighting. The c**k, observed through its potent associations with uninhibited masculinity, becomes the symbolic and formal device through which a quasi-alchemical process is activated whereby gender and societal norms are subverted.

On view until 2 November, 2024

The gallery is open Wednesday – Saturday, 12pm – 6pm
Please visit 🔗bthumm.de for more

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ELYLA
From the series ‚Prayer for Tending Death‘ (2024)
Fine art inkjet print on Hahnemühle photo rag paper
78,2 x 130 cm / 105 x 140 cm
5+2AP

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09/09/2024

Now on view in Space I
ELYLA
until 2 November, 2024

*Ya-bunanma-m-a-ta-ta in the Matagalpa-Chontal language translates as “I see when I dream” or, as poetically interpreted by Tamara Espinoza, “What I see when I dream.”

[1]
ELYLA
From the series ‚Prayer for Tending Death‘ (2024)
Fine art inkjet print on Hahnemühle photo rag paper
86x49,9cm / 100x70cm
5+2AP

[2]
ELYLA
From the series ‚Prayer for Tending Death‘ (2024)
Fine art inkjet print on Hahnemühle photo rag paper
86x52,1 cm / 100x70 cm
5+2AP

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The present exhibition brings to view a range of installation and multimedia work by Elyla, centered around A prayer for tending death (Una oración para acompañar la muerte), and complemented by Mirroring Lengger Gallogallina (Espejo Lengger Gallogallina) subtitled “A Trans-Oceanic Decolonial Ritual for Ancestral Corpodivinities” (2024). Shot in lush color and resplendent light, Mirroring Lengger Gallogallina presents two protagonists engaged in a fight turned game of seduction. At first, they enter the ring with great panache, gloriously done up, flaunting their feathers, confidently armed with sharp spurs. Gradually, they abandon themselves into dance. The calculated, carefully expressed movements and poses carry deep histories however, not least as they are embodied by two q***r persons. Fire, a purifying element, brings the two parties together in an exchange of fragrant offerings, flowers, nearing an embrace.
—Ileana L. Selejan

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Elyla, *1989 in Chontales, Nicaragua
They currently live and work in Masaya, Nicaragua

🔗bthumm.de

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09/09/2024

Now on show
ELYLA
Ya-bunanma-m-a-ta-ta: WHAT I SEE WHEN I DREAM
07.09. – 02.11.2024
Space I

A night at a gallera, somewhere on the outskirts of a dusty, provincial town. The crowd gathers around the c**kpit, voices raised, sweaty faces flickering in the electric light, waiting for the fight to begin. It is a predominantly male, overtly masculine, scene, with each contender, and the viewers, assuming their pre-established parts. The men attend to their c**ks, preparing them carefully, gingerly even, only to suddenly release them into the ring. The c**ks jump at each other, male on male, with jolting, violent movements that nevertheless resemble a dance. It all lasts but an instant, the crowd cheering the victor on.

The protagonist approaches, disguised as one of the contenders, dressed up (or down if you prefer) as a macho, a tough guy, dragging heavily on his cigar. He picks up the fallen c**k, cradles it into his arms, tenderly. Thus begins Elyla’s film A prayer for tending death (Una oración para acompañar la muerte), a fever dream, an odyssey into the minds of men, into the patriarchal setup of a ritualized sport turned on its head. Their studied movements through the set – a metaphor for real life – end up highlighting the artifice at play, its normativity. More surprisingly, perhaps, they transform a scene of violence enthused by hypermasculinity into the domain of play.

Please read more on 🔗bthumm.de

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$Now on view at Space IIMARTIN DAMMANNIrrlichter7 September – 2 November, 2024Please visit 🔗bthumm.de for more \Martin Da...$

09/09/2024

Now on view at Space II
MARTIN DAMMANN
Irrlichter
7 September – 2 November, 2024

Please visit 🔗bthumm.de for more

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Martin Dammann’s artistic practice oscillates between photography, video, drawing, and watercolors. The artist draws inspiration from his collection of private photographs and his own recordings. From these, he creates large-format watercolors that capture certain elements of the images while challenging classic techniques, rules, and clichés associated with the medium of watercolor.

The works displayed in the Irrlichter exhibition capture the mystical interplay between light, darkness, and the permanent human state of searching. This atmospheric collection, inspired by the elusive phenomenon and legends of will-o‘-the-wisps (Irrlichter) from folk tales, is a testament to Dammann’s ability to capture the fleeting moments in photographs and translate them into timeless images.

The artist’s fascination with will-o‘-the-wisps and fairy tales is evident in the evocative nature of his work. Fairy tales often revolve around adventures in forests, full of mysticism and the search for a solution. Dammann recreates this atmosphere, where light and shadow play against each other and the natural world merges with urban elements, with the city lights flickering in the background. The series also explores the relationship between forest and city, between nature and urban landscape. Although the lights in his paintings are reminiscent of will-o‘-the-wisps, they often come from modern sources such as smartphones or lanterns.

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Martin Dammann, *1965 in Friedrichshafen/Bodensee,
lives and works in Berlin

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06/09/2024

We are featuring works by Kaloki Nyamai and Anna K.E. in this year’s edition of Hallen 05, from 7 – 15 September, 2024. The event will take place at Wilhelm Hallen in Berlin. See you there!

🔗hallen.art

Hallen 05 is an official partner of Berlin Art Week 2024

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03/09/2024

During her art studies in the 1960s, Teresa Burga (1935–2021) and five other artists rebelled against the European influence on the Peruvian art scene: they founded one of the first avant-garde artist groups in Peru, the “Grupo Arte Nuevo”! Today, Teresa Burga is regarded as a pioneer of Latin American feminist conceptual art. Her work focuses on the construction of identity and femininity, the bureaucratization of work and mass culture. Elements of pop art and advertising can also be found in her work “Siempre”. She saw her work as a counterpart to dramatic, emotional expressionism.

Teresa Burga
Siempre, [Immer]
1966
Museum Ludwig, Köln ©Teresa Burga und Courtesy Galerie Barbara Thumm, Berlin, Rheinisches Bildarchiv Köln, Britta Schlier

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HIER UND JETZT at Museum Ludwig
Und gestern und morgen
9 March – 13 October, 2024
🔗museum-ludwig.de

Exhibition view .photo

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01/09/2024

In the wake of hip hop’s 50th anniversary, the Cincinnati Art Museum is hosting a groundbreaking exhibition exploring the genre’s extraordinary influence on contemporary society over the past two decades.

The Culture: Hip Hop and Contemporary Art in the 21st Century showcases more than 100 works of art by some of today’s most important and celebrated artists—such as Jean-Michel Basquiat, Roberto Lugo, Carrie Mae Weems, William Cordova, Hassan Hajjaj, Hank Willis Thomas—and fashion brands, with looks from Cross Colours and Vivienne Westwood. A range of music ephemera will also be on display.

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CARRIE MAE WEEMS
The Culture: Hip Hop and Contemporary Art in the 21st Century
Cincinnati Art Museum, Cincinnati, OH, USA
28 June, 2024 – 29 Sept, 2024

The show travels to Art Gallery of Ontario, Ontario, Canada
23 Nov, 2024 – 23 March, 2025

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30/08/2024

EL HADJI SY
at Kestner Gesellschaft Hannover

Me, Myself, I Dance Too.
Summer-Dream – Prélude to Hannah Arendt
10 August – 13 October 2024

El Hadji Sy is part of the exhibition „Me, Myself, I Dance Too. Summer-Dream-Prélude to Hannah Arendt“ honoring the German theorist and philosopher, presenting his colourful kites.

„Humbled words and invisible faces recall souls in the void and suspense, both solid and vulnerable, unstable and enclosing, liberating like El Hadji Sy’s kites, floating in the galaxy of a future universe, dancing in and out of painting in a frenzy of a gestural abstraction, chimes of freedom.“
—Adam Budak, curator

Installation view ©Kestner Gesellschaft

🔗bthumm.de

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27/08/2024

This September, Phaidon press and Lisa Le Feuvre will publish ‚Great Women Sculptors‘, highlighting the work of over 300 trailblazing artists from more than 60 countries across 500 years of history. Each of these artists has made significant contributions to the contemporary art canon, pushing the limits of sculpture through innovative materials, mold-breaking processes, and thought-provoking narratives.

with
Teresa Burga
Untitled / Prismas

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🔗bthumm.de

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Öffnungszeiten

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Videos

Now on show MARÍA MAGDALENA CAMPOS-PONS Behold Sep 27, 2024–Jan 5, 2025 Frist Art Museum, Nashville María Magdalena Campos-Pons: Behold spans nearly four decades of the artist’s work in photography, installation, video, painting, and performance. Her practice embraces the eye of the artist as a tool for witnessing the world with beauty, care, and empathy. Born in Matanzas, Cuba, in 1959, the year Fidel Castro came to power, Campos-Pons draws from her family story to examine the global histories of enslavement, indentured labor, motherhood, and migration. Using these legacies as her lens, she visualizes the interconnectedness between people and their environments. The artist, who was educated in Cuba during a time of artistic freedom and experimental promise, relocated to the United States in 1991 after Cuba’s political environment hardened due to tensions between the two nations, which continue to impact Cubans today. In her work, she depicts the routes she has taken-through Boston, Italy, and Nashville (her current residence)-and shines a light on her lineage, having been nurtured in a family that upheld the cultural resilience, respect for ancestors, and cosmological connection central to the West African Yoruba-derived Santería religion. Campos-Pons’s calling as an artist foregrounds performance and the act of beholding to create encounters that are expansive, incisive, and sensorial, and, in her words, „a poetic, compassionate reading of our time.“ All artworks in this exhibition, unless otherwise stated, are by María Magdalena Campos-Pons. 🔗fristartmuseum.org \\\ #MariaMagdalenaCamposPons #artshow #installation #sculpture #performance #video #conceptualart #photography #mixedmedia #contemporaryart #artcollector #galeriebarbarathumm

Impressions from last night‘s opening performance by María Magdalena Campos-Pons at Frist Museum, Nashville MARÍA MAGDALENA CAMPOS-PONS A Mother‘s River of Tears Thursday, 26 September 2024 @fristartmuseum María Magdalena Campos-Pons collaborates with Kamaal Malak to bring back A Mother’s River of Tears, an immersive performance rooted in Yoruba ancestral rituals. This powerful piece, which debuted at the Brooklyn Museum, reflects the healing themes of Behold and honors the lives of Black men and women whose stories were tragically cut short by injustice. \ Exhibition MARÍA MAGDALENA CAMPOS-PONS Behold 27 September, 2024 – 5 January, 2025 Ingram Gallery \\\ #FristArtMuseum #AMothersRiverOfTears #MariaMagdalenaCamposPons #contemporaryart #artshow #mediaart #womeninart #performance #installationart #conceptart #artcollector #galeriebarbarathumm

Opening next Friday 6 September, 6–9 pm MARTIN DAMMANN Irrlichter 7 September – 2 November, 2024 Space II All works displayed in the Irrlichter exhibition capture the mystical interplay between light, darkness, and the permanent human state of searching. This atmospheric collection, inspired by the elusive phenomenon and legends of will-o‘-the-wisps (Irrlichter) from folk tales, is a testament to Dammann’s ability to capture the fleeting moments in photographs and translate them into timeless images. A few years ago, Dammann celebrated his birthday with his friends and gave them a task. On a cold January night, he handed them flashlights, took them to Treptower Park, an urban oasis in Berlin, and asked them to wander among the trees as if they were looking for something. He captured this quest on camera. But it was only during the COVID-19 lockdown that Dammann turned to these photographs for inspiration for his watercolors. Although his images undoubtedly capture the mood and atmosphere of the pandemic, Dammann refuses to link the meaning of these works exclusively to this specific context. Instead, he depicts scenes of the universal experience of searching – a fundamental human experience that transcends any specific moment in history and remains relevant at all times. The figures in his paintings seem to be on a timeless pursuit, searching for something indeterminate, be it a person, a thing, a solution, a hunting prey, or something else. Such a perpetual state of searching is depicted through eerie scenes that evoke both familiarity and mystery. The phenomenon of these ghostly lights, often seen in swamps or forests and known in folklore for leading travelers astray, serves as a perfect metaphor for this. Find out more on 🔗bthumm.de \ Martin Dammann, *1965 in Friedrichshafen/Bodensee, lives and works in Berlin \\\ #contemporaryart #drawing #watercolor #artexhibition #opening #Irrlichter #MartinDammann #conceptart #abstractart #fineart #visua

Opening next Friday 6 September, 6–9 pm ELYLA Ya-bunanma-m-a-ta-ta: WHAT I SEE WHEN I DREAM 7 Sept – 2 Nov 2024 Space I \ A night at a gallera, somewhere on the outskirts of a dusty, provincial town. The crowd gathers around the cockpit, voices raised, sweaty faces flickering in the electric light, waiting for the fight to begin. It is a predominantly male, overtly masculine, scene, with each contender, and the viewers, assuming their pre-established parts. The men attend to their cocks, preparing them carefully, gingerly even, only to suddenly release them into the ring. The cocks jump at each other, male on male, with jolting, violent movements that nevertheless resemble a dance. It all lasts but an instant, the crowd cheering the victor on. The protagonist approaches, disguised as one of the contenders, dressed up (or down if you prefer) as a macho, a tough guy, dragging heavily on his cigar. He picks up the fallen cock, cradles it into his arms, tenderly. Thus begins Elyla’s film A prayer for tending death (Una oración para acompañar la muerte), a fever dream, an odyssey into the minds of men, into the patriarchal setup of a ritualized sport turned on its head. Their studied movements through the set – a metaphor for real life – end up highlighting the artifice at play, its normativity. More surprisingly, perhaps, they transform a scene of violence enthused by hypermasculinity into the domain of play. The piece connects to Elyla’s long-term research into ancestral communal practices from their home region of Chontales and from the Pacific Coast of the territory referred to as Nicaragua, exploring performance and ritual through their popular manifestations and at the intersection with queerness, seeking to activate an anticolonial and decolonial praxis. — Ileana L. Selejan For further details please visit 🔗bthumm.de \ Elyla, *1989 in Chontales, Nicaragua They currently live and work in Masaya, Nicaragua \\\ #multimediaart #contemporar

Coming up! Art Basel in Basel 11–16 June, 2024 Booth P24 Hall 1.1 Private Days (by invitation only): June 11–12, 11am – 8pm Public Days: June 13–16, 11am – 7pm We are delighted to participate in this year’s edition of Art Basel in Basel. Our selection of works will feature pieces by Fiona Banner aka The Vanity Press, Teresa Burga, María Magdalena Campos-Pons, Valérie Favre, Anne-Mie Van Kerckhoven, Roméo Mivekannin, Kaloki Nyamai, Anna Oppermann, and Carrie Mae Weems. For the complete dossier of the booth, please contact the gallery 🔗bthumm.de \\\ #artbasel #artcollector #contemporaryart #conceptart #painting #mediaart #photography #fineart #africancontemporaryart #femaleartist #figurativeart #abstractart #galleryart #galeriebarbarathumm

With Dolorem Ipsum, K.E. has created new, all-encompassing installations for the two exhibition halls of the Kestner Gesellschaft, where she continues the central concerns of her kinetic and body-orientated works in the fields of video, sculpture, performance, drawing, and collage. The forum Silence in my Pocket includes a central tiled square with a flowing fountain. Contorted dog sculptures covered in marzipan linger next to brutalist bus stops and ominous sound domes. On a newly designed wooden shelf in the arcades, K.E. displays older works and personal artifacts that reflect her artistic practice with references to remains, the human physique, dance choreographies, and architectural design, as if placed on the workbench of a studio archive. Simultaneously, the domed hall engages in a dialogue with the rehearsal space Dolorem Ipsum, with its poetic ballet bars and monolithic video installation. The space is charged with profound thoughts about feminism, ballet, and the obsession with the digital self. In a poetic way, K.E. reflects flows of movement and at the same time examines spatial constellations of bodily and psychological boundaries that stage and anchor social experiences of power, violence, and freedom in architectural environments. Anna K.E. Dolorem Ipsum Mar. 23 - June 30, 2024 @kestner_gesellschaft \\\ #contemporaryart #architecture #conceptart #femaleartist #installation #mediaart #sculpture #artcollectors #galeriebarbarathumm

20 years Gallery Weekend Berlin! Gallerists Max Hetzler, Guido Baudach, and Barbara Thumm reminisce about 2005 when 21 galleries came together for the first time. Twenty years later, as many as +50 young and established galleries are joining forces every Spring. Hear the insights of Antonia Ruder, new Gallery Weekend Berlin director; Elke Buhr, Editor-in-Chief of Monopol Magazin; Till Fellrath, Director of Hamburger Bahnhof and Thomas Girst, Head of BMW Group Culture, about Gallery Weekend’s story of success. And consider following Klaus Biesenbach’s, Director of Neue Nationalgalerie, advice: „Take two days off (…) make a map – and go, go, go! Don’t talk too much, look at art!“ We would like to express our gratitude to every participating gallery, whether they’ve been part of this from the beginning or are just new in the program, for contributing to making it this such a unique experience. \ We are proud to be part of the Gallery Weekend, and celebrating with the opening of interdisciplinary artist María Magdalena Campos-Pons’ solo show at the gallery! OPENING: Friday, 26 April, 6–9 pm 🔗bthumm.de \\\ #galleryweekendberlin #galleryweekend #contemporaryart #galleryart #artcollector #artcurator #artshow #conceptart #painting #video #abstractart #modernart #multimediaart #performance #galeriebarbarathumm

Now on view at Glasstress by Berengo in Venice MARÍA MAGDALENA CAMPOS-PONS Reservoir for Love 2024 Mouth blown Murano Glass, stainless steel \ María Magdalena Campos-Pons, *1959 in Matanzas, Cuba, lives and works in Nashville, Tennessee \ Please contact the gallery for further details 🔗bthumm.de \\\ #contemporaryart #glassart #sculpture #installation #conceptart #abstractart #womenartists #muranoglass #glasstress #artcollector #artshow #galeriebarbarathumm

We love to share a first glance of the artists we will show at the gallery in 2024. More details soon! Sarah Entwistle ZIPP/KABUL Mukenge/Schellhammer George Bolster María Magdalena Campos-Pons Peter Bonde Romeo Mivekannin 🔗bthumm.de \\\ #contemporaryart #painting #sculpture #installationart #mediaart #conceptart #mixedmedia #performance #visualart #artcollector #galleryart #galeriebarbarathumm

As the year draws to a close, we at Galerie Barbara Thumm want to extend our warmest wishes to you and your loved ones and would like to thank you for your continued dedication and support. The gallery will close for a winter break starting 22 December. We will be back after the holidays with two new exhibitions by Sarah Entwistle and by the artist duo FAMILY OF PRIME (Zipp/Kabul). Please join us for the opening on 12 January from 6 pm! SAVE THE DATE main space Sarah Entwistle What was I aiming for? In my next life to be a great singer and the life after to be a writer and so on and so on…. 13 January – 24 February 2024 Opening 12 January 2024, 6–9 pm \ @project space FAMILY OF PRIME (Zipp/Kabul) ASTRO DARK & BLINDING NICE AFGHANISTAN 1998 13 January - 24 February 2024 Opening 12 January 2024, 6–9 pm 🔗bthumm.de \\\ #contemporaryart #artshow #mixedmedia #sculpture #painting #artcllectors #opening #galeriebarbarathumm

We are pleased to announce Galerie Barbara Thumm’s participation in Art Basel Miami Beach 2023. Discover remarkable pieces by Fiona Banner, Estate Teresa Burga, María Magdalena Campos-Pons, Anna K.E., Mukenge/Schellhammer, Kaloki Nyamai, El Hadji Sy, and Carrie Mae Weems at our booth B07. Art Basel Miami Beach December 6-10, 2023 Booth B07 Private Days (by invitation only): Dec 6–7, 11am – 7pm Public Days: Dec 8–10, 11am – 6pm For inquiries please visit 🔗bthumm.de or contact the gallery. \\\ #artbasel #artbaselmiami #contemporaryart #painting #drawing #photography #artcollector #abstractart #femaleartist #ElHadjiSy #galleryart #galeriebarbarathumm

We are happy to present a very special New Viewings show curated by Torsten Lesszinsky: ARTISTIC ACTIVISM brings together four young artists: Jula Bellmann, Annalu Grunwald, Fiete Prüfer and Mathilda Fee Sánchez are taking on questions surrounding the climate crisis. 🔈Sound on! Online now 🔗newviewings.de What is happening out there in the face of an outsized threat and the social and political reaction somewhere between ignorance, repression and pessimism on the one hand, and activism that is either smiled at or criminalised on the other? Can we respond with great creative freedom and imagination? Can we develop experimental communicative formats that act between the fronts and mediate, activate and shake things up? \ All works in this show were created at the University of Applied Sciences Potsdam, during a design-research seminar addressing one of the greatest communicative and artistic challenges of our time: the climate crisis. Somewhere between society, politics, science and activism there seems to be a huge blank space which we wanted to explore, understand and play on. To quote the Center for Political Beauty: „This battle won’t be won with hashtags, fairy lights, and online petitions, but with imagination.“ —Torsten Lesszinsky \\\ #contemporaryart #mediaart #artshow #artisticactivism #soundart #drawing #mixedmedia #artshow #newviewings #galeriebarbarathumm #JulaBellmann #AnnaluGrunwald #FietePruefer #MathildaFeeSanchez

Performance by MUKENGE/SCHELLHAMMER on Opening Night of their show Undigested Images at the gallery on June 30th, 2023. 🔗bthumm.de MUKENGE SCHELLHAMMER Undigested Images @project space On view until 29 July 2023 \\\ #contemporaryart #artshow #installation #mediaart #video #painting #sculpture #abstractart #africancontemporaryart #artcollector #galeriebarabarathumm

New Viewings proudly presents our new show Jeffrey and David by David Thorp. Discover the complete installation online now here 🔗newviewings.de \ Bligh’s correlations between image and indecipherable text are a comment on the unreliability of memory and the partiality of language. He often prints photographs many years after they were first taken contrasting memory with the present. The paintings and photographs form a kind of absurd autobiography of correlations forming layered metaphorical and actual textures that record and re-evaluate memories. A personal hauntology of fleeting encounters and intense moments. Jeffrey Bligh’s use of words and poems are part of an exploratory journey. The images arouse the memory and create the texts inwardly. His indecipherable words are the sound of internal speech vibrations made visible as they dictate how the final image appears. The cycle of life experience and creation doubles up as a referential dialogue between David and Jeffrey. A conceptual journey through fragments of captured time that spans over forty years. Jeffrey Bligh was born in London in 1947. Jeffrey was adopted shortly after birth. From then on he was known as David Thorp. Sound on! \\\ #contemporaryart #conceptart #artonline #digitalart #photography #painting #mixedmedia #installation #artcollector #galleryart #soundart #newviewings #galeriebarbarathumm