PPC Philipp Pflug Contemporary

03/09/2026

01 — New Forms of Life
New forms of life, and the life of forms, have been a continuous focus throughout Sebastian Stöhrer’s practice.
His latest works begin with fruits and vegetables—not as subjects to be depicted, but as points of departure for a process of mental and material transformation. With his eyes covered and only the scent of the chosen fruit or vegetable as a sensory reference, Stöhrer allows his hands to shape the clay through an interplay of imagination, perception, and movement.
The resulting forms emerge somewhere between intention and unconscious gesture: neither representations nor abstractions, but traces of an internal image translated into matter.
stoehrer
Photo credit: .rademacher

03/09/2026

03/09/2026

stoehrer
Photo credit: .rademacher

27/08/2026

Photo credit: .rademacher

10/08/2026

Two painters. Two very different ways of looking.
Louis Vivin painted Paris as if it were already becoming a memory — quiet streets, façades, gardens and winter landscapes held in a world of their own.

Michael Krebber approaches painting from the other side. His canvases hesitate, withdraw, interrupt themselves. A few lines, a fragment, an almost absent image — enough to make us question what we expect a painting to be.

One holds on to reality.
The other doubts the image.

And yet, their works meet in an unexpected place: in the refusal of certainty.

Vivin’s paintings are attentive, intimate and strangely timeless. Krebber’s are hesitant, ironic and deliberately unresolved. Both resist the heroic gesture. Both make space for vulnerability.

Wirklichkeit erschlägt Kunst (vielleicht) brings these two seemingly distant positions together and asks a simple but persistent question:

What can painting still do in the face of reality?

Perhaps more than we think.
Perhaps less.

Maybe that uncertainty is precisely where the exhibition begins.

Wirklichkeit erschlägt Kunst (vielleicht)
&

10/08/2026

does not make painting easy.
Since the 1980s, Krebber (*1954) has worked against the expectations attached to painting: against virtuosity, composition, expression, even the idea that a painting should fully present itself.

A few lines. A fragment of text. Raw canvas. A gesture that seems almost deliberately insufficient.

And yet, this refusal is never empty.

Krebber’s paintings operate in the space between making and withholding. They question what a painting is supposed to do — and what remains when the image no longer promises resolution.

There is a particular kind of embarrassment at work here: a hesitation before the grand gestures and certainties of art. Krebber does not overcome this uncertainty. He makes it productive.

In Wirklichkeit erschlägt Kunst (vielleicht), his work enters into dialogue with Louis Vivin, whose paintings could hardly appear more distant.

Vivin holds on to the world.
Krebber questions the image.

One paints what might disappear.
The other asks whether painting can still make anything appear at all.

Wirklichkeit erschlägt Kunst (vielleicht)
Michael Krebber & Louis Vivin

10/08/2026

28/07/2026

A look back at

For four days, the FRIESER fruit and vegetable stall in Frankfurt’s Kleinmarkthalle became a temporary site for contemporary art. This reel, beautifully captured by Artbeats Berlin, documents the unique encounter between everyday market life and the works of 21 international artists, revealing moments of exchange, discovery, and unexpected perspectives.

Featuring works by Bettina von Arnim, Anselm Baumann, Thomas Bayrle, Dominika Bednarsky, Jagoda Bednarsky, Frank Brechter, André Butzer, E.M.C. Collard, Jiří Georg Dokoupil, Johanna Dumet, Aldo Freund, Lena Grewenig, Felix Kultau, Alicja Kwade, Elad Lassry, Markus Sixay, Sebastian Stöhrer, Marcel Walldorf, Grace Weaver, Stefan Wieland, and Sislej Xhafa.

Video by

PublicArt Exhibition