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Selected works from the
38th Annual Fine Arts Exhibition
Galerie Prinzessin Michaela Nikolajewna Wolkonsky
Gallery Prinzessin Michaela Nikolajewna Wolkonsky is a young german gallery
established in Munich 2008 and represents national and international contemporary
artists who are working in a wide range of medium. As part of their strategy they
focus on artists whose works, in an individual and critical language, reflect the
contemporary spirit based on the mythological evolution of human history. They are
stimulating and encouraging the perception and experience of our time.
Their artists change pre-conceived notions of nationality, cultural identity creating an
environment in which established norms became absolute and characterizations
from seemingly contrasting cultures occupy the same visual space.
Karl Albert is a Free Working Artist from Munich, Germany. He sold his first painting at the age of 16. It was a monotype. Later he studied arts at the university of Saarbrücken and Göttingen and in 1981 opened his studio. Over the years refractive materials and pigments as well as plated gold, silver and Swarovski cristalls have become his favourite materials. His work can not be associated with any of the styles of art known today. Like that the material he employs has, according to our knowledge, not been used in fine arts. Often Karl Albert’s works are artistic commentaries on scientific findings from quantum physics and the unified field theory.
The bright depth inherent to Karl Albert’s works originates from the experience of the unboundedness and beauty of inner space. The striking fact about his paintings is that a picture as such does actually not really exists. There is rather a given structure which, depending on the angle viewed from and the source and nature of light, gives innumerable varieties of his pictures. The vividness thus created is characteristic of Karl Albert’s work and makes the viewer pause.
I enjoy creating, no doubt, but the reason I do all this is: I have a story to tell and it wants to be told. When I don’t, I start to feel like a boiling cattle with a closed lid and suffer. When I do, it fills me with bliss. My pictures tell the story of light, of love and creative intelligence in action; of subtle laws of nature that are hidden from our view, but structure all life and its dynamics in the universe; of the fact that we are cosmic, that the entire universe lies within us and how it moves from unity to diversity and from diversity to unity. A key aspect is that nothing is ever constant. You can’t really pin-point anything - with changing the position, the entire reality changes. Most of my pictures are like that: when you move your position, the light or just its incoming angle, the entire picture changes its nature and expression. It’s magical and it’s reality.
My works display the junction point of total silence and total dynamism deep inside. They are visions of inner space and its experience, which is bliss. From this bliss everything rises, is maintained and nourished and eventually goes back into. The purpose of my paintings is to move the viewer a little closer to this reality, which is his own very inner reality. They give him a strong and positive inspiration amidst all the circumstances he may be dealing with in life.
Born 1948 in Bühl near Günzburg. Since 1980 independent painter, exhibition organizer and video artist. Exhibitions and participations in exhibitions, e.g. Berlin, Essen, Frankfurt a.M., Hamburg, New York, Washington and Shanghai. Present publication: “colour theory - diction landscape - video container and beboxx”, Wissenschaftliche Buchgesellschaft, Darmstadt 2010.
Willi Bucher lives and works in Darmstadt.
“Willi Bucher catches the whole range of all the art forms with his works: Drawings, Paintings, Video, Installation, Sculpture.” (Elmar Zorn)
For example: “In ‘Zivilisationsrest’ (relic of civilization), foreground and background interlock to form a stage situation with a transparent light curtain, folded by vertically arranged tiny red letters of the title word, and with a block giving the impression of a mountain ridge that seems to lie behind.” (Elmar Zorn)
„In contrast to other videoinstallation artists like Nam Jun Paik and Fabrizio Plessi, Willi Bucher does not use traditional TV-Screens as interface, but develops an innovative surface to project images in an surprisingly simple way: Individual glass cubes forming sculptures of their own or several cubes combined into walls.” (Dieter Ronte)
“The main components of Willi Buchers 3D-Video-Installations are light, colour and space. We see colour through light rays and experience it within the room. Not in 2D as on common screens, but in 3D virtually radiating into the room.” (Andreas F. Beitin)
German sculptor Tilmann Krumrey comes from a ‘Bauhaus’ family and began his career as an abstract, modernist artist. Two decades ago, he embarked on an intensive dialogue with the classical figure and made the human form subject of his creative adventure. Through researching existential philosophical topics, Krumrey became familiar with Campbell’s archetypal Monomyth model. His ongoing investigation of ‘the hero’s journey’ yielded numerous artworks and provided the impetus for the Monomyth series. Krumrey studied art history and economics. He worked as a professional sculptor for 23 years. He was first mentored by his father Immo Krumrey, a master student of Max Bill, and then by the renowned sculptor and silversmith Prof. Hartwig Ullrich. He is profoundly influenced by notions of physicality in antiquity as much as by Michelangelo and Rodin. The mirror-image multiplication of Cain and Abel may be considered an innovation in the field of figurative sculpture.
Myth contains the spiritual body of society, it’s a "collective dream". Art, once serving the shaman or priest, became - as secularisation moved on - one of the few professions interacting with the emotional kingdom of the public subconscious mind. Therefore art is a principal path to transformation of society. I see the naked human body as an expression of the mythological symbol. The intuitive comprehension of body language and gesture unlocks spontaneous access to the mythological moments of life. The alchemistic power of sculpture and environment transubstantiates the spectator. I am building bridges between the inner and the outer world. As preferred material I choose stone, wood, plaster, wax, bronze, silver and gold. I work in the stone quarry of human subsistence and have the heart of a poet.
Bader Mahasneh was born in Jerash, Jordan in 1977. He wasn’t always this dedicated to art-he began by studying law at Yarmouk University. “At that time I was reading about art and philosophy,” he explained. “I believed that art could not be taught in an academy. It was a big mistake. At law school I would always have my headset on until the professor came. I was sketching in lectures. The day I had an exam, instead of studying I was reading William Faulkner. I graduated late, and began painting full time at home, and reading a lot.”
After graduating with a bachelor's degree in law from Yarmouk University in 2002, he took part in designing the décor for theaters in 2002-2004. In the year 2006, Bader participated in several print making workshops at the national gallery in Amman. Since then he has become an international recognized artist.
It’s clear that Mahasneh works very hard, even frenetically. Bader couldn’t have got less formless, less diffuse, if he had tried. Stuck in the philosophical conundrum as to whether humankind is spirit or machine, he seems to have finally swayed.
It's extremely difficult to explain his work faithfully, but one thing is certain-it can't quite be described as "photography." It's something else. We can describe it as "part sculpture, part painting, merging the psychological questions and thoughts of an artist who continues to explore the depths and convolution of being."
“I believe the human being has become a kind of machine. Now the machine represents authority, and authority is social, economic, political and I don’t know who can really escape from all these.” (Bader Mahasneh)