DITTRICH & SCHLECHTRIEM

03/08/2024

now representing

DITTRICH & SCHLECHTRIEM is pleased to announce that we now represent Harry Nuriev .

HARRY NURIEV (b. 1984) is a New York and Paris-based artist, founder and creative director of Crosby Studios (est. in 2014). Nuriev's creative practice spans a broad range, including immersive environments, art installations, public spaces and objects. All are created through the lens of "Transformism" - a movement Nuriev invented to communicate the practices that prioritize transformation and transformative experiences that are around him to describe his world and style. Nuriev pushes his passion for experimentation with everyday objects we engage with. Through this process he aims to create extraordinary statements about today's society based upon relevant, yet conventional items and moments. Nuriev takes people out of their comfort zone and distracts their attention to feel a new feeling and pay attention to things he finds important and conveys this through his work.

The New York Times Magazine has heralded Harry Nuriev as a pioneering voice in global minimalism citing the instinctive influence of craft and architecture on his work. He has given a number of lectures and done educational programs at institutions like Harvard, Pratt, Royal College of Art in London, and several others. Nuriev has done creative collaborations and projects with leading global brands and artists including Baleinciaga, Nike, Dover Street Market, OMA, Liam Gillick, Gucci and several more.

Nuriev’s debut solo exhibition, “The Foam Room,” opens on Friday, Sept 13, 2024, from 6–10 PM, on the occasion of Berlin Art Week .
Further details to be announced soon!

Image,
Harry Nuriev, 2024
Photo, Andrew Jacobs

02/08/2024

on view
Lukas Städler
Ouvertüre
05. July–10. Aug, 2024

"The decors are real, the rhododendron (do linger), the pines born on sand, a back like a picture, seeing your back one more time as you run into the water, the tilted lake, an ocean for an afternoon, the instant in the background, time is also a decor, the chimera of a quiet encounter, a final embrace, a kiss in the morning. In the early days of photography, the apparatuses were described as akin to clocks, at least as regards their manufacture, the photo camera as a chronometer, photographs as expedients to understand time, to understand existence in time and the possibility of time travel. We travel with the pictures, with the worlds that unfurl themselves in them, the interiors hazy, a Berlin of soft notes, the intimately familiar, the expanses of Kazakhstan pin-sharp, a wave that breaks, an assemblage of big emotions." -Excerpt, Jan Koslowski , Epilogue For Overture, 2024

Images,

Lukas Städler
Nymphs
2024
Fine art print on cotton paper Hahnemühle Photo Rag Ultra Smooth, 305g
70 x 50 cm
Edition of 3 + 1 AP

Lukas Städler
The Valleys
2023
Fine art print on cotton paper Hahnemühle Photo Rag Ultra Smooth, 305g
70 x 50 cm
Edition of 3 + 1 AP

Lukas Städler, Ouvertüre, Exhibition view, DITTRICH & SCHLECHTRIEM, Berlin, 2024
© The artist, VG Bild-Kunst, Bonn, DE

01/08/2024

on view

Jonas Wendelin
with a musical composition by Evita Manji
Dual Presence, 2024
in
"New Address: EDEN"
Kim Contemporary Art Centre, Riga, Latvia
on view through 4. August, 2024

The installation comprises three arboreal tripod structures reminiscent of humanity's earliest architectural endeavors. The triptych, with its repetitions, rejuvenations, and upsurges in form and size, is lined up as evolutionary diagrams. A decaying tree, inherently part of an inseparable natural system, becomes architecturally significant when elevated, transforming from an abstract natural element into a humanized, categorized concept, illustrating our tendency to compartmentalize and redefine the world around us. Despite their differing sizes, each structure shares a common genesis – fashioned from a 3D-scanned, 3D printed, and clay-cast tree trunk, fired in ceramic, one of humanity's first technologies.

As digital technologies not only transform our perception of the natural, but drastically alter ecology itself, “Dual Presence” depicts the natural as a form of technology intricately connected to our advancements.

The Installation is accompanied by a musical composition by Evita Manji heightening the experience of a dual presence. Performed live throughout the opening reception the sculptures become instruments in which light sensors capture the operated light beams and movement of the audience and inform the composition.

Curated by .onckule

Images,
Jonas Wendelin with Evita Manji, Dual Presence, Exhibition views, "New Address: EDEN", Kim? Contemporary Art Centre
Riga, Latvia, 2024

Photos, Courtesy the artist and Ansis Starks

23/07/2024

save the date
Gustav Düsing
Ephemerals
16.–31. Aug .2024
Opening, Friday, 16. Aug, 6-8 PM

DITTRICH & SCHLECHTRIEM is pleased to present a special project by architect Gustav Düsing, titled Ephemerals. Opening on Friday, August 16, from 6–8 PM and running until August 31, 2024, the presentation addresses perceptions of space and structure through Düsing’s innovative blend of architecture, natural phenomena, and environmental responsiveness. Gustav Düsing with Max Hacke are the recipients of the prestigious EU Mies van der Rohe Award 2024 for their Study Pavilion project.

In the main subterranean gallery space, Düsing presents ‚sunsight to sunclipse*, inspired by Buckminster Fuller’s concept from Operating Manual for Spaceship Earth. This dynamic installation, originally developed at Villa Massimo in Rome in 2021, explores the earth’s rotation around the sun and proposes a new form of architecture that harnesses solar energy and responds to planetary constellations.

In the second gallery space, Düsing unveils a new project titled Parasols (2024), an installation featuring versatile structures that blur the boundaries between indoor and outdoor spaces. These adaptable parasols offer endless possibilities, symbolizing the transient and mutable nature of space.

The gallery is open Tuesday through Saturday throughout the summer, and we look forward to welcoming you. More information regarding opening events and performances will be announced ahead of the exhibition.

Image,
Gustav Düsing, sunsight to sunclipse, Exhibition view, Villa Massimo, Rome, Italy, 2021
Photo, Johannes Förster

11/07/2024

on view

Lukas Städler
Ouvertüre
05. July–10. Aug, 2024

Städler’s artistic practice centers on personal and often intimate explorations of the world around him. Blending staging with spontaneous captures, his photographs offer a personal approach to documenting individual realities of life. His connection with his subjects—people from his community—allows him to convey how they love and live through his lens. The exhibition also includes images from Städler’s ongoing project Hain, for which he spent two years documenting Berlin’s cruising spots. The almost pastoral photographs capture the tension and spontaneous energy of these sexual encounters.

Image:

Lukas Städler, Joseph and Don, 2023 Fine art print on cotton paper Hahnemuhle Photo Rag Ultra Smooth, 305g, 70 x 50 cm, Edition of 3 + 1AP

11/07/2024

on view
Lukas Städler
Ouvertüre
05. July–10. Aug, 2024

Städler’s artistic practice centers on personal and often intimate explorations of the world around him. Blending staging with spontaneous captures, his photographs offer a personal approach to documenting individual realities of life.

"Overtures and epilogues, they mark the beginning and the end, they make possible a space of freedom that extends between them. The Overture you’ve just seen marks precisely this space that seems to be in the air, and it has turned you into spectators, you were invited to attend a spectacle, peering from the dark, to speculate about the luminous figures, to satisfy your voyeuristic desire, to witness a moment of intimacy without having to leave the voyeur’s safe perch. The photographs on display, they don’t put their protagonists on display; rather, they take us by the hand and invite us to participate. A second gesture that makes this a comforting encounter. If I come at you in these lines with words like spectacle, it’s because of my own profession (the theater), another thing that can’t be obscured in this epilogue; more than just a prosthesis that lets me vault over the divide between the arts, let it be an adequate tool to focus the lenses and shine light into the dark (the darkroom)."

-Excerpt, Jan Koslowski , Epilogue For Overture, 2024

Images,

Lukas Städler
Nymphs
2024
Fine art print on cotton paper Hahnemühle Photo Rag Ultra Smooth, 305g,
Chrome frame with Artglas
70 x 50 cm / 27 1/2 x 19 5/8 in
Edition of 3 + 1 AP

Lukas Städler, Ouvertüre, Exhibition view, DITTRICH & SCHLECHTRIEM, Berlin, 2024

© The artist, VG Bild-Kunst, Bonn, DE

17/06/2024

press



Interview, Philipp Hindahl, Artist and activist Haley Mellin: I bear witness, I record, I care, Monopol Magazin, 4. June, 2024

HM: I am interested in the discipline and history of observational painting.

PH: When you say it like that, I immediately think of 19th century French plein air painting.

HM: Yes, this is an inspiring time for painting. But I also look at the gardens that Lucien Freud painted and drew, or Japanese ink drawings. There's a book by essayist Elaine Scarry, "On Beauty and Being Just." She talks about not being the center of attention. This effect occurs when you are outside in nature. When we observe nature, we are no longer the focus of our stories. We become aware of another being and that calms us.

Haley Mellin
Biodiversity and Betadiversity
through 29 June 2024

Images,
Haley Mellin
Cloud Forest
2024
Gouache, acrylic and ink on canvas
40.64 x 50.8 x 3.17 cm

Cloud Forest, 2024, details

11/06/2024

call me

Can we talk to the rainforest?
Now, In Basel, it is possible. Day and nite.

Julian Charriére .charriere
Calls for Action
on view thru 6. Oct 2024

Fondation Beyeler
and Globus Public Art Project
Curated by

Marktplatz
4001 Basel

Calls for Action, the intimate and critical intervention installed on the market square in Basel, allows us to look in real-time into a location in the rainforest selected by the artist, a Western Andean Cloud Forest in Ecuador.
And to listen.
When you answer the phone in the booth, you can listen to the live sounds of the rainforest, and you can respond and say something that is projected in real-time directly into the rainforest.

More information about this project and the live broadcast at callsforaction.net
🔗 link in bio

Image
Julian Charrière, Calls for Action, 2024
Installation Views, Globus Public Art Project, Basel, Switzerland, 2024

Copyright the artist; VG Bild-Kunst, Bonn, Germany
Photos by Mark Niedermann

04/06/2024

Interview mit Haley Mellin bei MONOPOL - Magazin für Kunst und Leben

Haley Mellin malt vor allem im Freien und investiert den Erlös ihrer Bilder auch in den Schutz von Naturflächen. Hier erzählt sie von ihrem Blick auf den Wald und warum sie trotz Klimakrise und Artensterben Optimistin ist

23/05/2024

on view

Andrej Dúbravský
GOOD BOY
11. May–25. July, 2024

Telegraph .cz .cz
Jungmannova 3,
Olomouc, Czech Republic

The exhibition GOOD BOY by Andrej Dúbravský reflects on the theme of beauty in art, both from a historical perspective and through the lens of contemporary times. We live in an era where the rhetoric of fitness lifestyle, stereotypes of perfect appearance, and fat-shaming on social media mix with the body positivity movement and plus-size campaigns of global fashion brands. As a society, we find ourselves in a time when we are obsessed with our own bodies and the urge to publicly present them, yet we also experience a traumatizing sense of powerlessness from the unauthorized entry into our intimate space.

The paradox of the present is further compounded by the historical context of conflicting tabooization and bold depiction of the "forbidden" At the center of Dúbravský's exhibition, there is an imaginary reminder of the famous scene of The Swing by Fragonard. The attentive eye of the viewer in the intricate romantic scenery of this rococo masterpiece will perceive the strong emotions of the main character. Indulging in a moment of visual delight carries no shame, but rather an invitation to playfulness. The exhibition is also complemented by ecologically themed artworks, inspired by natural motifs that surround the artist at his rural homestead in southwestern Slovakia.

Images,
Andrej Dúbravský, GOOD BOY, Exhibition views, Telegraph, Olomouc, Czech Republic, 2024
Photos, Matěj Doležel

19/05/2024

on view

Monty Richthofen
THANK GOD GOD IS DEAD
on view thru 26. May 2024

NAK Neuer Aachener Kunstverein .aachener.kunstverein

For Monty Richthofen’s exhibition unlocks the possibility of a perspective in which death is not the end but the beginning of a new insight, a new truth, one that awaits discovery.

Monty Richthofen
WHAT WAS MEANINGLESS NOW IS SACRED
2024
Acrylic on canvas
300 x 190 cm
Unique

Exhibition views, Monty Richthofen, THANK GOD GOD IS DEAD, NAK Neuer Aachener Kunstverein, 2024
Photos, Simon Vogel

20/04/2024

REVIEW Soufiane Ababri at Barbican Centre on Art Basel

Erotic and political, the artist’s colored-pencil drawings conjure an imagined gay community – and (...)

20/04/2024

art fair

art brussels
25.–28. Apr, 2024
Booth 5C-12

Julian Charriére .charrière
Andreas Greiner .greiner.berlin
Haley Mellin

VIP Preview,
Thurs 25. Apr, 11–4 PM
+Vernissage, 4–9 PM

Brussels Expo
Halls 5 & 6
Place de Belgique, 1
BE-1020 Brussels

DITTRICH & SCHLECHTRIEM is pleased to return to ART BRUSSELS for its 40th Anniversary edition.

JULIAN CHARRIÈRE presents new medium-format heliographs from the series "Buried Sunshines Burn" and photographs from "Controlled Burn," parallel to his current exhibition in Mexico City at LagoAlgo and in anticipation of his forthcoming solo show at Palais de Tokyo, Paris, this October 2024. Charriére addresses pressing matters of ecological concern and both geological and human time scales; his work invites reflection on our traditions of perceiving, representing, and engaging with the natural world.

ANDREAS GREINER proposes a variation on the kinetic wall-work “The Game,” featured in our Berlin exhibition "Game of Life," and a series of AI-generated images printed on custom-sized PCB Computer Graphic Cards, depicting various images of exodus. Greiner’s work has recently been exhibited at Kunsthalle Mannheim and Hamburger Kunsthalle in Germany.

HALEY MELLIN presents observational paintings and drawings of landscapes, both gestural and detailed, of the ecosystems she works to protect. Primarily working on location for inspiration, Mellin uses gouache and charcoal mediums for their non-toxic properties. Mellin founded the nonprofit organization Art to Acres to support large-scale land conservation; to this day, it has supported 11 million hectares of new protected landscapes focusing on biodiversity conservation. Her debut show “Biodiversity and Betadiversity” opens April 24th on the occasion of Gallery Weekend Berlin.

Image,
JULIAN CHARRIÈRE
Controlled Burn | Open-Pit Mine G.4, 2023
©The artist; VG Bild-Kunst, Bonn, Germany

18/04/2024

talk

Biodiversity and Betadiversity
Friday, 26. April @ 4PM CEST


Moderated by, Klaus Biesenbach
with
Lisa Botti
Enuma Okoro
Andreas Greiner .greiner.berlin
Haley Mellin

Complementing the exhibition Biodiversity and Betadiversity, the gallery will host a panel conversation on Friday, April 26, 2024, at 4 PM, offering a diverse understanding of current thoughts on climate, balance, the natural world, and environmental narratives and histories.

The panel is moderated by Klaus Biesenbach. He is the director of the Neue Nationalgalerie, Berlin. Before that, he directed MOCA in Los Angeles and MoMA PS1 in New York. He also served as chief curator at large at the Museum of Modern Art, New York, for two decades. In the nineties, Biesenbach initiated KW, Berlin, and the Berlin Biennale.

Participating invited panelists include Lisa Botti, assistant curator to Klaus Biesenbach at Neue Nationalgalerie, recent co-curator of Isa Genzken 75/75, and co-curator on upcoming exhibitions of works by Andy Warhol and Nan Goldin; Enuma Okoro, writer, curator, and Financial Times columnist, whose recent exhibition The Flesh of the Earth was on view at Hauser & Wirth, New York; Andreas Greiner, gallery artist and professor of media art at Muthesius Kunsthochschule, Kiel, whose recent solo show at the gallery, Game of Life, focused on AI, hybrid-techno sculpture, and speculative Exodus strategies for planetary life; and Haley Mellin, exhibiting artist, land activist, and founder of Art for Acres.

16/04/2024

don't miss

Julian Charriere .charrière
Earth Listens When You Speak
o view thru 30. Jun 2024

Lago Algo
Bosque de Chapultepec Pista El Sope
S/N, Alc. Miguel Hidalgo, 11100 CDMX
Mexico

Julian Charrière seeks to re-establish an emotional link between human beings and the Earth. Digging deeper than our philosophical relationship to the rockiness of our planet, it reveals the physical relationship which underpins it – represented by a mineral kinship between the bones in our bodies and the bedrock beneath our soil. In a world fractured by political and socio economic divides, it foregrounds a connection and physiognomic kinship not only to other species beyond our own, but to the planet itself – precursory even to our most nascent conceptualization and co-opting of ‘nature’.

Images, Julian Charrière, Earth Listens When You Speak, 2024, Exhibition views, Lago Algo, CDMX, Mexico. Photos: Alum Galvez
© The artist; VG Bild-Kunst, Bonn, Germany

28/03/2024

save the date

Monty Richthofen
THANK GOD GOD IS DEAD
07. Apr–26. May 2024

OPENING Saturday 06. Apr, 7–11 PM

NAK Neuer Aachener Kunstverein .aachener.kunstverein

In THANK GOD GOD IS DEAD, his upcoming first institutional solo exhibition, at NAK Neuer Aachener Kunstverein, MONTY RICHTHOFEN invites visitors on a journey through the depths of consciousness. Born from the lines of his biography and shaped by the strata of global current affairs, his work not only strives to blur the boundaries between text and image, it also endeavors to lead the beholder into an introspective sphere in which death is seen not as taboo, but as an inescapable part of shared human existence. In 2022 Richthofen co-curated an extensive group exhibition at NAK on the subject of language.* Now he presents most recent works, including a new multimedia site-specific installation.

The installation, from which the exhibition takes its title, an unmistakable Nietzsche send-up, is not just an homage to impermanence, but also a manifesto against the alienation from death in Western culture. Snippets of text — one might call them unholy mantras —permeate the body as the most immediate resonance chamber, encouraging the listener to grapple with the finitude of all existence. “Thank God consumerism is dead,” “Thank God religion is dead,” “Thank God God is dead,” phrases like these echo in what is also a reflection of the disruptions and upheavals of our time.

- Luisa Schlotterbeck, Artistic Director, Neue Galerie Gladbeck

Image,
Monty Richthofen
If This Is You Who Am, 2022
Acrylic on seven light boxes with two-channel sound installation with
Yasmina Dexter, light design by Elias Asisi,
190 x 190 x 10 cm, each
Unique

Exhibition view, Monty Richthofen, CHEAP HEDONISM, 2022, DITTRICH & SCHLECHTRIEM, Berlin
Photos, Jens Ziehe

26/03/2024

on view

Bernhard Martin
Probleme war gestern
thru 13.4.2024

Once again, Martin proves himself to be the spirit who affirms. Everything. The rubber flip-flops as much as an armada of champagne corks. The perennial conflict between cowboy boot and high heel. Olives, vongole, Swarovski crystals. Smartwatches and splayed fingers, virtually always in an affected contrapposto, somewhere between loathing and mannerism.

Needless to say, one senses a rage in these pictures, sensitive viewers might call them frenzied. The beautiful, sublime, tasteful, valuable bursts, mutates, or steps into a pizza. But reading critique, protest, or rebellion into it would be by far too unequivocal for this radically multibinary painter: even fallen angels used to live in heaven, and Martin wouldn’t stand it there for a second.

-Excerpt, Adriano Sack , Pizza Tutti : Bernhard Martin’s Ball Pit of Possibilities, 2024

BERNHARD MARTIN
Accident of Glory
2024
Oil on raw canvas
45 x 55 cm / 17 3/4 x 21 5/8 in
Unique

25/03/2024

UP NEXT:

Am 06. APRIL eröffnet im NAK Neuer Aachener Kunstverein die Ausstellung THANK GOD GOD IS DEAD. In seiner ersten institutionellen Einzelausstellung präsentiert der Künstler MONTY RICHTHOFEN (aka Maison Hefner) auf beiden Etagen des Vereins raumgreifende multimediale Installationen sowie ausgewählte neue Malereien und Textbilder. SAVE THE DATE.

23/03/2024

on view

Julius von Bismarck
and Julian Charrière .charrière

High Five. The Collection in Motion
21. Mar–05. Apr 2024

Kunstpalais
Erlangen, Germany

With High Five, the Kunstpalais invites visitors to new encounters with the Städtische Sammlung Erlangen, as this exhibition is designed for movement: The hanging will be repeatedly and excitingly changed during the exhibition. In smaller and larger conversions, works of art are added, exchanged, regrouped and even entire rooms are filled with installations, for example by Mary-Audrey Ramirez, Böhler & Orendt, Gerrit Frohne-Brinkmann, Verena Issel and Claudia Holzinger.

True to the concept, not all 60 artists are represented in the exhibition right from the start - a good reason to keep coming back. On the occasion of our proclaimed celebration, we are setting off a firework of events for High Five right from the start - we are looking forward to your visit to two concerts at the opening, talks with artists, yoga in the exhibition, new workshops for children, teenagers and adults, readings, guided tours in many different languages, dance workshops and much more.

Image,
Julius von Bismarck and Julian Charriere
Gobelin Valley, We Must Ask You to Leave (panoramic viewpoint)
2018
Archival pigment print on Hahnemühle Photo Rag Baryta
99.5 x 177 cm
Edition of 3 + 2 AP
@ the artists; VG Bild-Kunst, Bonn, Germany

22/03/2024

save the date

Haley Mellin
Biodiversity and Betadiversity
26. Apr-29 June 2024

Gallery Weekend Berlin
Preview, Wed, Thur, Fri
24.–26. Apr, 11 AM–6 PM

Panel Talk, Friday
26. Apr @ 4 PM
+
Opening Reception, 6–9 PM

DITTRICH & SCHLECHTRIEM are pleased to present our first solo show by artist and dedicated conservationist Haley Mellin (born in Northern California, works in New York). The exhibition, entitled “Biodiversity and Betadiversity,” opens during the festivities of Gallery Weekend Berlin, Friday, April 26, 2024, and is on view through June 29, 2024. The exhibition is open for previews on Wednesday through Friday, April 24–26, from 11 AM to 6 PM.

In “Biodiversity and Betadiversity,” Mellin’s paintings and drawings underscore her lifelong commitment to environmental justice and the conservation and sustainable evolution of diverse ecosystems. In the body of work to be presented at DITTRICH & SCHLECHTRIEM, she focuses on a series of observational paintings and drawings of landscapes, both gestural and detailed, of the ecosystems she works to protect. Primarily working on location for inspiration, Mellin uses gouache and charcoal mediums for their non-toxic properties.

The resulting images are in conversation with the concepts of “legacy” and “permanence,” depicting conserved ecosystems through the various conceptual frameworks of the gallery/institution. Mellin’s practice intimates that just as one can be moved by a Goya centuries later, future generations will witness and learn from old-growth ecosystems who presence continues forward through conservation declarations and again in paintings and drawings.

Image,
Haley Mellin
Northern Highlands
Gouache and ink on canvas
45 x 62 cm
Unique

21/03/2024

on view

Soufiane Ababri
Their mouths were full of bumblebees but it was me who was pollinated
13. Mar–30. Jun 2024

Barbican Centre
The Curve Gallery, London

When I saw the architectural plans for The Curve, its emblematic crescent reminded me of the curling shape of the letter ‘zayin’. An artist is always in tension with the space offered to them, and I hope to use the structure of The Curve to reflect on social determinism – how my own experiences of harassment and the insult ‘zamel’ have shaped my response to this space. I asked myself: is suspicion a necessary element in a critical discourse? How could I use this commission to question relationships of power and domination, whilst making space for joy and a celebration of intimacy?
– Soufiane Ababri, artist

Ababri’s commission connects the crescent shape of The Curve gallery to the curling form of the Arabic letter Zayin (ز). This is the first letter of the word ‘Zamel’, a derogatory term for gay men deriving from ‘Zamil’, meaning close or intimate friend. In the Mahgreb, the buzzing of this consonant is used insidiously, insinuating the slur without explicitly voicing it. Ababri takes the transformation of Zamil into Zamel as his starting point to investigate the ways in which language has been coded and weaponised. In doing so, he reveals how homophobia continues to threaten not only same-sex sexuality but undermines the possibility of intimate, non-heteronormative relationships based on radical forms of friendship.

Images,
Soufiane Ababri: Their mouths were full of bumblebees but it was me who was pollinated
Installation view, The Curve, Barbican, 2024 Photos, Eva Herzog / Barbican Art Gallery

20/03/2024

REVIEW unsere aktuelle Ausstellung von Bernhard Martin besprochen im Tagesspiegel von Hilka Dirks

Tagesspiegel Plus
Berliner Maler Bernhard Martin

Obszöne Verschwendung und die Lust am Profanen
Der kleinste gemeinsame Nenner unserer Gesellschaft ist Pizza, meint Bernhard Martin. Seine aktuelle Ausstellung nennt er frech „Probleme war gestern“.

Der kleinste gemeinsame Nenner unserer Gesellschaft ist Pizza, meint Bernhard Martin. Seine aktuelle Ausstellung nennt er frech „Probleme war gestern“.

13/03/2024

REVIEW Soufiane Ababri at Barbican Centre in London Evening Standard

This atmospheric installation won’t give up all its secrets to everyone, but it’s evocative nonetheless

06/03/2024

NEWS Soufiane Ababri in The Guardian

Soufiane Ababri is so against the notion of painters at their easels that he always makes his erotic, irreverent and riotously colourful drawings lying down. Ahead of a major UK show, he reels off the many advantages

05/03/2024

on view

Bernhard Martin
Probleme war gestern
March 1–April 13 2024

DITTRICH & SCHLECHTRIEM are pleased to present our second solo exhibition of Bernhard Martin (b. Hannover, DE, 1966) in our gallery. Ttitled ‚Probleme war gestern‘ the exhibition is on view through April 13, 2024. Martin’s signature genre-crossing painting style continues to develop, using contemporary portraiture, language, current social and political issues, and absurd scenarios to mirror the world we experience.

„Probleme war gestern (“Problems are so yesterday”), the title he has given his exhibition, hits the DIY superstore ad campaign sound with dead aim. “I chose pizza, telecommunication, and hedonism, which is to say, the smallest common denominator,” he says about his motifs. Once again, Martin proves himself to be the spirit who affirms. Everything. The rubber flip-flops as much as an armada of champagne corks. The perennial conflict between cowboy boot and high heel. Olives, vongole, Swarovski crystals. Smartwatches and splayed fingers, virtually always in an affected contrapposto, somewhere between loathing and mannerism.

Needless to say, one senses a rage in these pictures, sensitive viewers might call them frenzied. The beautiful, sublime, tasteful, valuable bursts, mutates, or steps into a pizza. But reading critique, protest, or rebellion into it would be by far too unequivocal for this radically multibinary painter: even fallen angels used to live in heaven, and Martin wouldn’t stand it there for a second. His mind and his painting are defined by frantic curiosity, he consumes, stores, processes, and outputs information with the effortlessness of a genuinely free person, driven solely by his own speed.“ – Adriano Sack , Pizza Tutti : Bernhard Martin’s Ball Pit of Possibilities, 2024

Images,
Bernhard Martin
Probleme war gestern
Exhibition views, DITTRICH & SCHLECHTRIEM, Berlin, 2024
@ The artist, VG Bild-Kunst, Bonn, Germany, Photos, Jens Ziehe