Galerie Nagel Draxler (2025)

26/04/2025

Congratulations to Andrea Fraser on being announced the winner of the 2025–26 Philip Guston Rome Prize by the American Academy in Rome.

“The Rome Prize is one of the world’s most prestigious fellowship programs and provides the rare opportunity for scholars and artists across a range of subfields to collaborate with each other,” said Peter N. Miller, President of the American Academy in Rome. “Presented with the opportunity to deeply engage with their work and with that of the other fellows, Rome Prize winners return home with perspectives profoundly enriched by their immersion in an interdisciplinary community set in Rome. The winners form the heart of the Academy, embodying its ethos and extending its international impact through their work now and into the future.”

The Rome Prize winners will be honored at the Janet and Arthur Ross Rome Prize Ceremony, taking place this evening, April 23, in the Proshansky Auditorium at the Graduate Center, City University of New York.

📌 Andrea Fraser’s retrospective exhibition „Andrea Fraser. Art Must Hang“ is currently on view at Zachęta – National Gallery of Art in Warsaw.

Image: Projection, 2008; (video still)
Two-channel video installation © Andrea Fraser

22/04/2025

Luca Vitone’s solo exhibition “per l’eternità. Premise for a trilogy“ at Fondazione La Rocca, Pescara, Italy

On view until May 30, 2025
Curated by Francesca Guerisoli

Vitone’s artistic activity is characterized by a strong conceptual component and special attention to the context in which the works are made. Among his most significant works is “per l’eternità“, which he created, in collaboration with Maria Candida Gentile, for the Italian Pavilion at the 55th Venice Biennale in 2013, curated by Bartolomeo Pietromarchi.

In Pescara, the entire body of work created from this achromatic monolfactive sculpture will be presented for the first time in a single project. The subtitle “Premise for a trilogy“ refers to the fact that “per l’eternità“ was the first of three consecutive projects by Vitone based on the sense of smell, on exploring the relationship between memory, place and sensory perception in relation to power. “per l’eternità“ (2013) as economic power, “Imperium“ (2014) to represent the state, “A Tale of forked tongues“ (2017) that of military authority. Each of these focuses on the ability of smell to activate memories and deep connections, challenging the traditional boundaries of contemporary art.(…)

Twelve years after his first exhibition at the Venice Biennale, Luca Vitone once again invites us to a deep reflection on the tragedy of asbestos with his installation “per l’eternità“. (…)

The work becomes a powerful and topical symbol that questions the public about the tragedy still unfolding. The process is still ongoing and the death toll, unfortunately, persistent.

Excerpts from press release | FONDAZIONE LA ROCCA

Images
1: “per l’eternità“, 2013
3: “per l’eternità (Pescara)“, 2024
4: “per l’eternità (Milano)“, 2013
5 - 6: “per l’eternità (Casale)“, 2013
7: “per l’eternità (Genova)“, 2013
9: “per l’eternità (eternit)“, 2013
10: “Stanze (Fondazione La Rocca, Pescara)“, 2024

Installation views by IP Studio

16/04/2025

16th Sharjah Biennial 16 “to carry”
with Luke Willis Thompson

Curated by Alia Sw****ka, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala and Zeynep Öz

Luke Willis Thompson presents a new video work entitled „Whakamoemoeā“ for the 16th Sharjah Biennial 16 “to carry”, commissioned by the Sharjah Art Foundation.

Luke Willis Thompson works across moving-image, performance and installation. Filmed at Waitangi in Aotearoa New Zealand’s North Island, Whakamoemoeã (2025) imagines an official state broadcast in 2040, delivered in the Mãori language.
It announces Aotearoa’s adoption of a new constitution, transitioning from colonial Westminster-style governance to an Indigenous plurinational state. The moving-image artwork draws on the 2016 report Matike Mai Aotearoa, championed by the late Mãori lawyer and intellectual Moana Jackson.
The report envisions a constitutional transformation in Aotearoa that recognises Mãori philosophies and the rights established by He Whakaputanga o te Rangatiratanga o Nu Tireni (The Declaration of Independence) of 1835 and Te Tiriti o Waitangi (The Treaty of Waitangi) of 1840.

In Whakamoemoeā, the 200-year struggle for Mãori tino rangatiratanga or self-determination is finally realised. Oriini Kaipara delivers the broadcast, tracing a history of alienation, dispossession, resistance and resilience. ‚The radical promise to the next generation is simple‘, she vows, ‚whoever you are, if you are on this land, you will be sheltered and cared for‘.

Text by Hanahiva Rose

Images: Installation view, 16th Sharjah Biennial 16 “to carry”, Sharjah Art Foundation, Sharjah UAE, 2025.

Image courtesy of Sharjah Art Foundation.
Photo: Ivan Erofev

04/04/2025

Galerie Nagel Draxler at Lempertz Brussels
Two-Person Exhibition with Zandile Tshabalala and Teresa Kutala Firmino

Exhibition: April 3 – 26, 2025

Galerie Nagel Draxler presents a selection of paintings by Zandile Tshabalala and Teresa Kutala Firmino, two South African artists representing a young generation of Black female voices, at Lempertz in Brussels. Tshabalala’s vibrant paintings challenge racial and gender stereotypes, portraying Black women in empowering ways, while Kutala Firmino addresses trauma caused by colonialism, civil wars, and ongoing struggles in her community.

Images:

1, 4 – 6, 8, 10 – 12: Installation views at Lempertz Brussels, 2025
2: Zandile Tshabalala, „Yellow Blossoms“, 2024
3: Zandile Tshabalala, „Pink Blossoms“, 2024
7: (left) Teresa Kutala Firmino, „Not out of love but fear“, 2023
(right) Teresa Kutala Firmino, „For you never travel alone, I do not know what you bring this time”, 2023
9: (middle) Zandile Tshabalala, „Untitled, sketch“, 2023

Photos by Alexandra Bertels

02/04/2025

Arjan Stockhausen
“Das Unüberwachte“
Exhibition: March 29 – May 16, 2025
Galerie Nagel Draxler, Cologne

Arjan Stockhausen was born in Alfter in 1992 and lives and works in Cologne. His work oscillates between figuration and abstraction, intertwining poetic narratives with visual art and sound. Stockhausen’s pieces exist in the tension between narration and deconstruction, questioning both their own readability and the perception of perception itself.

Images:
1. Arjan Stockhause, “Das Unüberwachte“, Exhibition view, Galerie Nagel Draxler, Cologne.
2. “Ohne Titel”, 2025
3. “Grasshopper Modules as Integrated Life Interface App“, 2025
4. Arjan Stockhause, “Das Unüberwachte“, Exhibition view, Galerie Nagel Draxler, Cologne.
5. “Ohne Titel (Nahtod)”, 2025 (detail)
6. Arjan Stockhause, “Das Unüberwachte“, Exhibition view, Galerie Nagel Draxler, Cologne.
7. “Ohne Titel”, 2025
8. “Ohne Titel (ohne)”, 2025
9. Arjan Stockhause, “Das Unüberwachte“, Exhibition view, Galerie Nagel Draxler, Cologne.
10. “Grüngürtel Timeline“, 2025
11. Arjan Stockhause, “Das Unüberwachte“, Exhibition view, Galerie Nagel Draxler, Cologne.
12. “Airport Business Park I“, 2025
13. Arjan Stockhause, “Das Unüberwachte“, Exhibition view, Galerie Nagel Draxler, Cologne.
14. “Ohne Titel (Redbull Zuckerfrei)”, 2025
15. Arjan Stockhause, “Das Unüberwachte“, Exhibition view, Galerie Nagel Draxler, Cologne.
16. “Facts Fled Before Her Like Frightened Things of the Forest“, 2025 (detail)
17. “Underpainting of a Clout“, 2025
18. Arjan Stockhause, “Das Unüberwachte“, Exhibition view, Galerie Nagel Draxler, Cologne.
19. “Gyroid I“, 2025
20. “Ohne Titel”, 2020

Courtesy of the artist and Galerie Nagel Draxler Berlin / Cologne

Photos by Simon Vogel

28/03/2025

Kader Attia “Hôte du Louvre” for 2025 at the Louvre

As the third guest in the Leçons d’artists(Lessons by the artist) series, Kader Attia shares his perspective on the Louvre and its collections. It was at the Louvre that Kader Attia (born 1970 in Dungy, lives and works in Paris and Berlin) had his artistic revelation when, as a teenager, he discovered for the first time the masterpieces of the Le Nain brothers and Georges de La Tour. Since then, Attia has developed an ambitious body of work, recognized worldwide, at the intersection of film, sculpture, theory, and collective action, with a position that spans the creation of works, reflection, and teaching.

In this three-part session, Kader Attia invites us to rediscover the way we look at, perceive, and interact with art, especially museums.

📅
April 3, 2025 – The body/gaze and matter
June 5, 2025 – Caresses and violence in the society of the gaze
September 25, 2025 – The body/gaze in the digital age

⏰ 7:00 PM | Free entry with reservation

📍Venue: Auditorium Michel Laclotte, Musée du Louvre, Paris

Image: © Musée du Louve, Photo: Olivier Ouadah

22/03/2025

DAS UNÜBERWACHTE

Cologne, March 15, 2025, slightly cloudy and windy

Dear Arjan,

Every image in the exhibition space seems humbled by the nature outside. They are shy, yet ethereal. Animals, bodies, and figures turn away from me, decaying and dissolving under my gaze. Behind my eyes, they become self-sufficient, transforming into an unobserved thought—spreading like an obsessive idea.

The Unsupervised is the dreamlike, the elusive, the surreal force that seeps into my mind like a parasite, endlessly evolving, shifting beyond control. It is an in-between space, where consciousness wrestles with the unconscious—a space even I cannot fully enter.

Friedrich Schlegel wrote in 1798 that the theory of the novel should itself be a novel. The images in this exhibition hover between their own autonomous existence and the articulation of their own theory. Much like Pop Art once did—though without its seriality—these works carry their discourse within them. Brilliantly blue geometric forms tear through romantic landscapes like a modern kind of pain. Bodies melt, fragment, and disturb any naive perception. Today I would have liked nothing more than to relax.

And yet, the Barsois are here, guiding me through the exhibition like Thanatos and Hypnos—messengers from a realm beyond logic. Like the early Romantic fragment, these images seem to celebrate their own incompleteness, their imperfection in relation to the world. They resist final interpretation, compelling me to return to them, to look again and again.

Again and again, I find myself walking in crossing steps along the walls of the White Cube. I rise, like Lazarus, yet each time in a new form. I am Iphigenia, longing for home. I am the fragmented Pentheus, my limbs torn apart. I am the child of Hermes and Venus, my body fused with Salmakis.

The images and I exist in relation to one another. We reference and contradict each other, or so I believe. They remain in motion, while I remain unfinished and unfulfilled—tired and imperfect, yet at least renewed with each cycle.

The Unsupervised is the uncontrolled—it emerges as form within my mind, breaking through.

Best regards,
Anne L. Kaufmann

20/03/2025

Group exhibition with Michael Beutler, Joseph Zehrer and Heimo Zobernig

„SUPERMÖBEL (Superfurniture)“ at Kölnischer Kunstverein, Cologne, Germany

Exhibition: February 21 – May 4, 2025

Curated by Valérie Knoll

Furnishing a home is not inherently political. People don’t just want to eat off the floor, so they set up a table and pull up some chairs, to give the matter a certain form. (…) But furniture isn’t just about managing your life. Furnishing is also self-presentation. If you read or at least buy books, others are supposed to see that too. On a bookshelf you are putting your taste on display. (…) How I have chosen my furniture says a lot about me – as does my choice of all products. I am pre- senting myself, and my position on the social ladder becomes clear, with all the advantages and disadvantages that entails. If you furnish in poverty, you’ll have fewer bad buys, but you rapidly start treading that fine line of the stopgap solution.

The exhibition Superfurniture does not presume to resolve these problems. Rather, I have tried to find furniture-like objects for a helpless friend. Someone who, deep in his unconscious, refuses to live the way we live. The furniture I have selected for him is supposed to tempt him and balk at the norm, just as his own psyche does. It was clear to me that the furnishings he’d agree to would have to be as sombre and complex as the reality of Germany.
Switching on Joseph Zehrer’s lamps, he’d think: Why weep, when the sky’s so close. (…)Heimo Zobernig’s mattress might perhaps reward him by leaving dirty marks on his clothing.

Excerpts from press release | Kölnischer Kunstverein

Image 1, 2: Joseph Zehrer, „3 Monde“, 2023
Image 3: Joseph Zehrer, „Lichtskulptur türkisgrün“, 1993/2024
Image 4, 5: Michael Beutler, „Teppich (16m)“, 2013,
Image 6: Heimo Zobernig, ‚Untitled‘, 2012
Image 7: Heimo Zobernig, ‚Untitled‘, 1988
Image 8: Heimo Zobernig, ‚Untitled‘, 1988

Installation views, “Supermöbel“, Kölnischer Kunstverein, 2025.
Courtesy of artists / Galerie Nagel Draxler, VG Bild Kunst Bonn. Photo: Mareike Tocha.

14/03/2025

Glegg & Guttmann
„Still life, portrait, landscape, library“

Nagel Draxler Kabinett, Berlin

Exhibition: March 7 – April 17, 2025

The exhibition „Still life, portrait, landscape, library“ at Nagel Draxler Kabinett presents key works from Clegg & Guttmann’s body of work, encapsulating four decades of history, with works spanning from 1984 to 2019.
The centerpiece of the exhibition, „DDR Children Library, Pritzwalk (2015/2019)“, stems from Clegg & Guttmann’s interest in the library as an institution, a theme they have explored in various ways. (…)

„DDR Children Library, Pritzwalk“ offers a visual and conceptual exploration of the library as both a repository of knowledge and a space for collective memory. The work originated from an interactive library created for „Die Sieben Künste von Pritzwalk“, a project for Neuen Auftraggeber curated by Gerrit Gohlke with Clegg & Guttmann in 2014. The library, which included children’s books published in the GDR and collected from the inhabitants of Pritzwalk, was a communal effort to engage with this part of the GDR’s history. The ideological character of the literature from this period is reflected in the library, which became a historical testimony. As such, „DDR Children Library, Pritzwalk“ can be read as an emotionally charged portrait of a society that no longer exists.

Their earliest work in the exhibition, „BascoBasco“ (1984), considers the still life as one of the main genres of 17th-century painting. What particularly captures attention, however, are the bright beams of light shining on the piano’s surface. This interplay between dark and light zones is referred to as ‚chiaroscuro‘ (…) This technique also characterizes Clegg & Guttmann’s oeuvre and can be seen as the read thread running through the exhibition.

Text by Josephine Van de Walle

Image 2: “DDR Children Library, Pritzwalk“, 2015/2019
Image 3: “BascoBasco“, 1984
Image 4: “Landscape No. 27“, 1989
Image 5: “Portrait of a Photography Enthusiast“ (Rudolf Kicken), 2003
Image 6: (right) “Portrait of a Young Woman“ (Isabelle Graw), 2013 (1988)

Installation views by Simon Vogel

11/03/2025

RHEA MYERS
„The Factionalized Phallus“

Galerie Nagel Draxler in Berlin
Exhibition: March 7 – April 17, 2025

Rhea Myers‘ exhibition features new works that repurpose blockchain technologies and cryptographic
concepts to explore themes of identity, ownership, and self-determination. From NFTs that challenge
traditional notions of gender and personhood to generative art inspired by cypherpunk ideals, the
exhibition interrogates societal power structures and the anxieties they produce.

Following „The Ego, And It‘s 0wned, The Fractionalized Phallus“ deepens the transfeminine perspective in Rhea Myers’ work and transforms the artist’s own body into a fragmented relic of a past self. 3D scans, no longer tied to the body they once represented, collapse the patriarchal master signifier into the marketplace, where it is redistributed, deconstructed, and rendered mutable. This dissolution of fixed identity finds a parallel in ‚Self-Identifying‘, where generative PostScript programs create unique images embedded with their own cryptographic identity.
Here, the artwork does not just depict identity but enacts it, asserting autonomy in both form and function and interrogating authorship.

Image 1: „statement from the series Self-Identifying“,2025
PostScript program file as NFT and on floppy disk Series of 18 unique images

Image 3 & 4: „Fragments“ from the series ‚The Fractionalized Phallus‘, 2025
3D scan, GLTF file, NFT (Ethereum ERC721) Series of 30 unique files

Image 5: „Is Art (Token, Because)“, 2024
NFT (Ethereum ERC-721), A token that can be nominated as art for a particular reason by its owner, Edition of 16
Image 6: „Non“, 2025
Legal Contract, NFT (Ethereum ERC721) Edition of 11 + 2 A
Image 8: „critique“ from the series ‚Self-Identifying‘,2025
PostScript program file as NFT and on floppy disk Series of 18 unique images
Image 9: „stripes“ from the series ‚Self-Identifying‘, 2025
PostScript program file as NFT and on floppy disk Series of 18 unique images
Image 11: „Certificate of Inauthenticity: Balloon Dog“, 2021
Legal Contract, NFT (Ethereum ERC721), Edition of 11

Installation views by Simon Vogel

05/03/2025

New edition release 💥

Heimo Zobernig, “ohne Titel”, 2024
Synthetic resin varnish, cardboard
10 x 10 x 10 cm, 80 x 20 A.P.
Signed and numbered on the bottom back

This cube, like any cube, was preceded by another. The shape is familiar; there’s no need to walk around it to take it in, which is why it was already of interest to the Minimalists: an object that’s always the identical yet never the same. The abstract square suggested the end of painting; the cube implied a fresh start in sculpture.

Variation and repetition are central motifs in the art of Heimo Zobernig, who already made a small black cube as an edition for TEXTE ZUR KUNST back in 2015. That cube wasn’t the first one, either; it was a wieldy variant of the room-size cube that has been part of the artist’s vocabulary since the 1990s. Here, repeating the repetition is a creative stratagem. The cube’s pitch-black color brings to mind torments and disasters (from tarring and feathering to an oil leak). Still, it’s actually a pleasurable sensual gesture: once you’ve cast the die as successfully as Zobernig has, you can’t not whip it out again and again. Whereas Minimalism’s cubes are characterized by industrially manufactured surfaces and high-grade materials, Zobernig’s black cube disavows such pathos. The varnished cardboard box signals its value not through the material but through the amount of work that goes into making it look as exposed and uneven as a rusty steel cube. Though just because it has already been different and now it’s different yet again, it’s not the same thing: this cube has more shine than its TZK predecessor, more brilliance, and more reflection in which the beholder can contemplate their own likeness.

Purchasing via link in our bio.

01/03/2025

“BIO28 Double Agent: Do You Speak Flower?“– The 28th Biennial of Design in Ljubljana
with Anna Ridler

On view until April 6, 2025 at Museum of Architecture and Design (MAO) in Ljubljana, Slovenia

The 28th Biennial of Design (BIO28), which celebrates its 60th anniversary this year, takes place until April 6, 2025. It is organized by the Museum of Architecture and Design and the Centre for Creativity, with the curatorial concept developed by professor and curator Alexandra Midal together with Emma Pflieger, assistant curator.

This year’s biennial represents an important milestone in sixty years of development in the field of design.Political, bold, vibrant, and provocative, „Double Agent: Do You Speak Flower?“ examines the figure of floriography, a code hidden within flowers to transmit secret information. The core of this transdisciplinary and multifaceted exhibition scrutinizes the pivotal role of floriography used by women to portray their identities. In that sense, flowers pave the way for antagonistic and alternative interpretations of both the meanings and the context in which they are decrypted.

The exhibition draws on critical theory to define self-identification as an aesthetic and political act that resonates with vanquished, marginalized, forgotten, or invisible minorities. Given that flowers represent both the commodification of women into an idealized beauty paradigm and serve as a feminist, anti-colonial, gender, and q***r cryptology, the title “Double Agent: Do You Speak Flower?“ reflects this dual perspective. The Biennial displays an ongoing investigation that questions the role of the exhibition in providing answers, and instead wishes to open a series of conversations with designers, artists and the public.

“Double Agent: Do You Speak Flower?“ celebrates floriography as an autonomous language, specifically examining its cryptic nature in a prolific international body of works spanning diverse media and disciplines, such as design, applied arts, visual art, books, films, installation, architecture, etc., a perspective that has been scarcely investigated until now.

Press release | “BIO 28 Double Agent: Do You Speak Flower?“

24/02/2025

„Feral Metaverse“ by Theo Triantafyllidis

🎮 Now available on Steam Next Fest
📆 February 24 – March 3, 2025

After two years in the making, “Feral Metaverse“ by Theo Triantafyllidis, is now available to download and play on the Steam Gaming Platform during Steam Next Fest from February 24 to March 3.

“Feral Metaverse“ is an experimental multiplayer game that immerses players in a world where survival depends on cooperation and kindness — in the absence of language. In “Feral Metaverse“ players are dropped defenseless into a disorienting wasteland, and must learn to rely on one another to survive. In defiance of traditional game tropes and tech industry’s prioritization of productivity, Triantafyllidis envisions a “feralized” world, that favors disinhibition and cooperation between users, leading them to experience the joy of synchronicity and nonverbal communication.

Theo Triantafyllidis is an astute observer of internet culture, particularly the kind of extremely online gaming communities that tend to assemble around MMORPGs (massively multiplayer online role-playing games) like World of Warcraft and Final Fantasy. His practice encompasses live simulations created with game engine software, multimedia installations, and performance.

“Feral Metaverse“ reflects a particular structure of feeling that arises from existing within hybrid realities, straddling virtual and physical worlds, in a time of social anomie and climate collapse. Taken together, Triantafyllidis’s body of work sketches a portrait of modern-day masculinity as seen through the funhouse mirror of video game subcultures—magnifying, distorting, and subverting the toxic elements that often fester there, while also recognizing gaming as a space of fluid identity, emergent rituals, and new forms of togetherness in the digital age.

🎮 Play now via the link in our bio.
trian

22/02/2025

Permanent Installation in public space

Christian Kosmas Mayer “Der verlorene Garten(The lost garden)“, 2024
Reverse glass print with ceramic ink, 11600 x 300 cm

📍Train Station Wien Meidling, Vienna, Austria

As part of the renovation of the train station Meidling, the artist Christian Kosmas Mayer has designed over 300m² of wall space in the western passage in a complex process of exchange with artificial intelligence. His speculative depictions of a historical garden give travelers an insight into an almost forgotten history and invite them to reflect on the reality of the images.

In 1817, Baron Sigismund von Prónay purchased a sprawling private garden near today’s railroad station compound in Meidling. He had a large number of rare pelargoniums planted, transforming the property into one of Vienna’s most splendid Biedermeier parks. (…) In 1839, the park was razed to make room for the Südbahn railroad, which passed by the new Meidling station.

No one remembers the garden today, and no original depictions survive. Christian Kosmas Mayer was inspired by this blank in the collective memory to explore the potentials of artificial intelligence (AI). For the station building in Meidling, the artist has developed a speculative reconstruction of the garden based on extensive historical research: he “trained” AI image generators on a large archive of visual material from the Biedermeier and the available historical sources before letting it rework his own sketches.

The creative collaboration between artist and artificial intelligence has yielded representations between reality and fiction: imaginations of the lost pictures of the garden. They prompt reflections on novel imaging technologies and the power of the visuals they generate – while bringing a forgotten piece of history back to its origin.  Press release | Kunst im öffentlichen Raum Wien | KÖR
Installation views: Christian Kosmas Mayer, “Der verlorene Garten“, 2024, Bahnhof Wien Meidling, Vienna, Austria
Photo: © MK, Bildrecht
kosmas.mayer

12/02/2025

Group Exhibition with Sarah Friend, Theo Triantafyllidis and Paul Seidler

„PROTOTYPE“ curated by Christopher Dake-Outhet

On view: Mercedes-Benz Art Collection at Studio Odeonsplatz in Munich
Exhibition: January 25 – March 22, 2025

The examination and metaphor of the prototype and its potential for innovation forms the basis of the inaugural exhibition of the Mercedes-Benz Art Collection at Studio Odeonsplatz. With the prototype as a central theme, a bridge is created between art and the automobile, emphasising the shared significance of prototypical thinking in both fields, which frequently serve as testing grounds for the latest technologies. This is explored through the works of six international contemporary artists presented here. Brought into dialogue by curator Christopher Dake-Outhet, who specialises in contemporary media practices, they each approach the phenomenon of the prototype in particularly innovative and distinctive ways.

Prototypes exist in a field of tension between creative vision and commercial standardisation — capturing moments before production transforms vision into product. (…)
The exhibition invites visitors to understand the artworks as prototypes, with artists often embodying this “prototypical essence” by challenging traditional production methods and resisting standardisation.
These artists explore systems beyond conventional consensus, suggesting that the prototypes’ resistance to practicality may be their most valuable quality.

Press release | Mercedes-Benz Art Collection & Studio Odeonsplatz by Mercedes-Benz

Image 1: Sarah Friend, „Key Exchange“, 2025 (Detail)
Image 2 & 3: Theo Triantafyllidis, „Feral Metaverse“, 2024
Image 4: Paul Seidler, „Temporal Scessionism (Timezone 5)“, 2024
Image 5 & 6: (opening day)

© Courtesy the artists and Galerie Nagel Draxler, Photo: Alex Schmitz

trian odeonsplatz

01/02/2025

🖼 Print Fundraiser for LA Artists & Art Workers affected by the Fires

Support LA’s creative community by purchasing prints through the Grief and Hope fundraiser Grief and Hope, led by White Label Editions. Your contribution directly aids artists and art workers who have lost their homes or workspaces in the Eaton, Palisades, Sunset, and other fires.

Featured Print: Sayre Gomez, Dark Comedy, 2025 High-quality Giclée print, 18 x 24 inches (45.72 x 60.96 cm) for 100 USD.
________

40 artists of several generations - from LA or with deep connections to it - joined White Label Editions to release prints in support of the Grief and Hope fund, created by LA artists and art professionals Kathryn Andrews, Andrea Bowers, Olivia Gauthier, Julia V. Hendrickson, and Ariel Pittman to give urgent aid to artists.

An amazing opportunity to get a print by great artists and to help the LA art community to rebuild and to keep working.

 🗓 Purchasing until February 24, 10 AM PST via the link in bio!

25/01/2025

Coming soon: Panel Discussion & Film Screening
Art and Conflict
„The Jenin Horse“ by Thomas Kilpper

📅 Saturday, February 15th, 2025
🕗 8 PM
📍 Roter Salon, Volksbühne am Rosa-Luxemburg-Platz, Berlin

Thomas Kilpper’s solo exhibition “Das Sein bestimmt das Bewusstsein“ opens until 7:30pm on the day of the event at the Berlin gallery.

Speakers:
Stephanie Bart, Tomer Dotan-Dreyfus, Thomas Kilpper and Angelika Stepken

What is the relationship between art and society, or art and social conflicts? Without societal resonance, there is no art, and conversely, without an artistic voice, society remains voiceless.
This question, among others, accompanied Thomas Kilpper when he traveled to the Israeli-occupied territories of Palestine in 2003 at the invitation of the Goethe Institute. For two months, he worked there with young people to create a public art project that challenged the regime of curfews, military operations, and terrorist attacks. Despite numerous reservations and restrictions, the project was an attempt to create beauty out of destruction—an act of social resistance and a gesture of solidarity with the people on the ground.
_____

Angelika Stepken lives in Berlin and Italy. She is a curator and author and directed the Badischer Kunstverein Karlsruhe from 1998 to 2006 and the Villa Romana in Florence from 2006 to 2022.
 Stephanie Bart lives in Berlin and is a writer. Her third novel, Erzählung zur Sache, was published in 2023 by Secession Verlag.

Tomer Dotan-Dreyfus, born in Haifa (Israel), studied philosophy and comparative literature in Berlin, Paris, and Vienna and has been living in Berlin since 2010. He is a writer and translator, and his debut novel, Birobidzhan, was published in 2023.

Thomas Kilpper is an artist living in Berlin. He studied painting and sculpture in Nuremberg, Düsseldorf, and Frankfurt and was a professor of art specializing in graphic arts at the University of Bergen, Norway, from 2014 to 2020.

🎟 Tickets available via the link in bio!

Image 1–4: Thomas Kilpper, “Al Hissan – The Jenin Horse“ (stills), 2003 © Thomas Kilpper
Image 5: The sculpture on view in Jenin, photo: Wikimedia Commons

Tuesday	11:00 - 18:00
Wednesday	11:00 - 18:00
Thursday	11:00 - 18:00
Friday	11:00 - 18:00
Saturday	11:00 - 18:00

Galerie Nagel Draxler

26/04/2025

22/04/2025

16/04/2025

04/04/2025

02/04/2025

28/03/2025

22/03/2025

20/03/2025

14/03/2025

11/03/2025

05/03/2025

01/03/2025

24/02/2025

22/02/2025

12/02/2025

01/02/2025

25/01/2025

Address

Opening Hours

Telephone

Website

Alerts

Contact The Museum

Shortcuts

Share

Locations