In the exhibition «I mean, if it’s real, where’s the crease?» at Bistro 21, Fredrik Åkum exhibits new works that investigate repetitions within the painting and an abstract approach to the copying machine. I mean, if it’s real, where’s the crease? is Åkum’s first solo exhibition in Leipzig. Fredrik Åkum’s artistry has its foundation in
Mason Saltarrelli New York, United States. Tell us about yourself. How did your work in art begin? Hello, one weekend day when I was very young my dad set me up on the front steps of the house to work, so I spent the morning making a landscape painting on a large poster
Martin Lukáč Prague, Czech Republic. Tell us a little about yourself, where did your work in the art world begin? I guess that it was a long time ago, probably when I was a child. I first started to draw my favorite stuff – like Michael Jordan, Pokemon characters, Batman and Ronnie Coleman (my parents
Jana Schröder’s large-format paintings are developed through a performative practice between conscious composition and deliberate coincidence. Abstract images are accumulations of signs that refer to the artist’s personal gesture, unfolding into productive lives of their own. A constant theme is a line. Whether being a trace of a movement, a hasty doodle, or a script-
Søren Sejr Aarhus, Denmark. Could you tell us a little about yourself? How did your artistic career begin? I grew up in a small village next to the sea at the west coast of Denmark. A really beautiful place with a lot of nature just outside our house. Art was not really a part
On May 4 Gallery Jacob Bjørn presented a group show of such artists: Graham Collins, Wolfgang Voegele, Maiken Bent, Ted Gahl, Francesca Capone, Humberto Poblete-Bustamante.
Michael Wall London, United Kingdom. Tell us a little about yourself? How did your work in the art world begin? I grew up in a small rural town on the South East coast of England, my family moved there from Liverpool before I was born, as my Dad was working on oil rigs in
VNH Gallery presented the screening of Leo Gabin’s new film titled ”No Panic Baby” along with a presentation of recent works. Leo Gabin is a collective created in 2000 from the association of three artist – Lieven Deconinck, Gaëtan Begerem, and Robin De Vooght – all graduates of the Royal Academy of Fine arts of Ghent
Kenneth Alme Oslo, Norway. Tell us about yourself, how did your artistic career begin? I went to different art schools for a couple of years before I got admitted to the National Academy of The Arts in Oslo. I did both my bachelor and master’s degree here, with a stay at Städelschule in Frankfurt.
Josef Zekoff’s paintings occupy a shimmering interstitial space. They seem like hybrids of ornaments, maps and stick figures. They are probably easiest to identify by the labyrinth symbol, but this is a keyword that only increases the open questions. The term has long separated from its origins; it is said to have been coined for
Yvonne Robert Zürich, Schweiz. Tell us a little about yourself. Where did your passion for art begin? My passion for art began at such a young age that I can’t exactly remember. I grew up in an artistic family. My mother studied painting in Detroit and Munich and my father painted as a hobby. He worked principally as
Rod Barton is pleased to announce Instant Excess featuring artists Kristian Touborg (Denmark) and Moritz Wegwerth (Germany). A juncture has been reached in the contemporary moment of our society. The advent of fake news, information warfare, a web held hostage and the commodification of politics have left us in a maelstrom of images that conflict, saturate and construct