Galerie Christian Lethert
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GROUPSHOW

22.01.2016 – 26.03.2016

We are pleased to announce our annual GROUPSHOW including works by all artists of the gallery. This year we are delighted to introduce to you two new artists: Leipzig based artist Christiane Baumgartner and Hamburg based artist Henrik Eiben.

The sculptor Hubert Kiecol (*1950) shows his work Zwei Häuser at the gallery entrance. The miniature houses, puristic in shape and material, develop a strong tension between their surroundings and the architectural space of the gallery.

Imi Knoebel (*1940) created the work Bild 06.03.2015 last year for the exhibition Imi Knoebel - Malewitsch zu Ehren. This minimalistic and monochrome work reflects Knoebels ongoing engagement with the Russian Suprematist, who influences his art until today.

In his work American artist Winston Roeth (*1945) explores the structure of the grid, the effect of color, and their interaction. The painting Violet Grid Dark results from this intensive confrontation.

The works by Frank Gerritz (*1964) are characterized by a geometric form language and sculptural aspects. The surface of Steady As She Goes is developed layer by layer by applying paint stick on anodized aluminum in the most precise way, thus creating a reflective surface characterized by a fascinating effect of depth.

Joe Fyfe (*1954) can be described as a nomadic artist. His colorful paintings are simple but powerful abstractions made under a wide range of influences, and strongly connected to the places where they are produced.

Rewarded with the Kahnweiler-Price for sculpture last year, Kai Richter (*1969) is represented with his work Baustütze in the second room of the gallery. Engaging with Greek architecture he developed his own interpretation of a column; a steel trestle, extended by a basis out of concrete, and a wooden capital, marks the border between architecture and installation, between art and the everyday.

The intensive exploration of color, its composition and effect, as well as an expressive painterly gesture characterize the painting by the artist Daniel Lergon (*1978). In this respect, the composition of Parisblau, which is characterized by color generously spread over the surface, is particularly fascinating.

Fergus Feehily‘s (*1968) unconventional and small-scaled paintings often have little to do with applying paint to a support in a classical sense. His sophisticated composition Found Moon, a circle of white plastic, wrinkled into reflective facets and nailed onto the wall, plays with the very idea of painting.

The angle where two walls come together contains already a high momentum of tension, which Lutz Fritsch (*1955) knows how to increase further with his work Red 66. The title refers to the famous Route 66, which was the first highway connecting the American East and West Coasts.

The work of artist Henrik Eiben (*1975) demonstrates his sensitivity for color, shapes, and materials. With Blue Triangle, created out of oak wood and glass, Eiben gives life to a fascinating interplay between light and shadow. Next April, on the occasion of the upcoming Art Cologne we will show a solo presentation of new glass works by this artist.

In the woodcuts based on her own films and video stills, artist Christiane Baumgartner (*1967) deals intensively with the concepts of time, space, and motion, as well as with the difficulty of depicting them. The work Himmelblau, printed in a fine palette of blue color shades, oscillates between figuration and abstraction.

Walking on thin ice by artist Max Sudhues (*1977) is part of a new body of work. It documents an artistic intervention, the smashing of two safety glass panels laying on an overhead projector, and can be described as a collage in real time.

Rana Begum’s (*1977) multi-perspective wall-work No. 392 is made out of folded steel and seems to hover before the wall. Its three-dimensionality invites the viewer to walk around it and observe it from multiple viewpoints.

The works folded drawing (blue and red) by Jill Baroff (*1954) unite conceptual coherence with sensitivity towards materials. Within this expanding body of work Baroff explores the physical structure of the Japanese Gampi paper.

The drawings by Dutch artist Nelleke Beltjens (*1974) results out of many fine and subtle ink strokes. From a distance the drawings entitled MacDowell #1 and #2 reveal a feather-light, cloudy charm, but upon closer look they disintegrate into an overabundance of individual information.

In the adjacent room of the gallery Gereon Krebber (*1973) presents his work Peepie, a demolition ball-like sculpture, which is laying lazily on the floor. The hole on the backside is covered with a semi-transparent polished mirror, which appears as a pupil or a lens and transforms the limp body in a fossilized "bulging eye".

From January 28 to 31 we will participate in Art Los Angeles Contemporary and also in Art Gene?ve. Furthermore, we will exhibit for the first time at Art Dubai Contemporay in March and in April again at Art Cologne. On April 15, 2016 we will also open our first solo-exhibition with Henrik Eiben.

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