Opening: Friday, January 17 at 7 p.m.
Catalogue available (64 pages with a text by David Galloway).
With a cast of colorful characters who would do justice to any repertory stage, Iwajla Klinke infuses portrait photography with the magic and elegance of its early years, when one of its primary goals was to document and celebrate ritual moments in an individual’s life. The snapshot aesthetic of the last century and the ubiquity of digital images today has diminished the ceremonial aspect of picture-taking in favor of what William Eggleston once termed the “democratic camera.” In contrast, ceremony is at the core of Klinke’s approach. Her camera records subjects whose very clothing points to individuality, even to eccentricity, and where ritual is implicit. All of these studies are presented in a formal manner that sometimes recalls the conventions of the painted portrait. (The fact that Klinke’s works are printed with pigments on handmade paper further strengthens this link to classical traditions of picture-making.) With minimalist means, she achieves results of immense visual authority.
The elegant serenity of these compositions belies the haphazard circumstances that frequently surround their production in remote Carpathian villages or in Germany’s Black Forest. In 2013 alone Klinke was under way in Europe, Canada and Brazil. Her work can be seen in the tradition of the artist-traveler seeking and recording new impressions – much like those German artists who visited the New World in the 19th century in order to create visual records of vanishing tribes of Native Americans. For a single image in her own “Settimana Santa” series, Iwajla Klinke once traveled for 20 hours by bus to reach a small community in Sicily on Easter Sunday morning. By the time she located her young subject, less than a minute remained before mass began – time enough, though, to fasten a simple piece of cloth to the vestry door and photograph a young boy dressed as an angel. Such three-quarter studies, with a neutral background of black or brown, use natural light to create sepia-like effects strikingly reminiscent of a Vermeer painting. Yet what also seems to radiate here is an inner light, a kind of epiphany deeply rooted in rituals whose origins may well have been forgotten but whose spiritual energy persists.
While Klinke has also produced theatrical studies of young people with bizarre
accessories or in the contemporary “costumes” of fencers and American-style footballers, her signature pieces are studies of children dressed in elaborate traditional garb, often richly embroidered. For these studies the artist only works within the context of the religious ceremonies in which such attire is actually employed. There is no studied “posing” or extra dressing-up. This, she feels, would undermine the authenticity she seeks. Often a project may seem a race against time, since the use of a particular elaborate headdress in a single mountain village may be the last, fragile vestige of ancient ceremonies otherwise forgotten. Such work has an obvious documentary dimension, though Klinke sees this as secondary. “I don’t choose subjects for their anthropological value,” the artist insists. “I choose them for their beauty.” Nonetheless, the search for a motif may well involve considerable research and cross-cultural savvy. Serendipity, however, can also play a role – as in the recent discovery in Toronto of old-fashioned display mannequins wearing “communion suits” and lace ribbons bearing the name “Jesus” alongside a chalice.
In attempting to decode Klinke’s multivalent oeuvre, it is interesting to note that she grew up in East Germany, where her mother’s family moved after World War II for ideological reasons, hoping to fulfill the dream of a better world. Her father, a Bulgarian opera singer, died when Iwajla was only six years old. “I had no religious upbringing,” Klinke explains, “ but I was fascinated by religious rituals, especially those involving children. These always have something to do with the conquering of death, and they are often accompanied by fertility symbols like the crown.” The fascination such rituals exerted was deepened by the discovery of The Golden Bough, Sir James Frazer’s comparative study of mythology and religion. In what would prove one of the most influential texts of the last century, the author approached religion as a cultural phenomenon, not from a theological perspective. Virtually all religions, he argued, derived from fertility cults revolving around the worship and periodic sacrifice of a sacred king. As such ceremonies evolved, the figure of a child – as martyr or as bridegroom – might replace the ancient heroes.
It was in Berlin’s rough-and-tumble, multicultural Kreuzberg district that Klinke
started photographing interesting figures she encountered in local parks and bars.
She was particularly fascinated by subjects with all-over tattoos – with “magic texts,” as she called them, thus echoing a phrase from Frazer’s opus. In addition, she might ask young people to pose for her, clothed only in scraps of antique lace, necklaces of paper doilies, shuttlecocks or white mice, even with epaulets of dripping candles. More recently, she has created three studies of young men with body painting that imitates the blueand- white “Musselmalet” pattern introduced by Royal Copenhagen Porcelain in the 18th century but loosely derived from Meissen’s blue-and-white onion pattern. The slender figures of the three young men who “model” the cobalt-blue ornamentation have a touching fragility – like fine porcelain itself. (They are also a reminder that among tribalist cultures body painting frequently accompanied rites of passage, hunting and warfare.) The delicacy of the “Musselmalet” figures is even more
dramatic if compared to the rugged cadets, in full Scottish dress regalia, who make up the series entitled “White Crowned Sparrow.” (As pupils at a Canadian boarding school, the cadets depicted here suggest that the outward trappings of ritual can also be effectively “transplanted.”) What such works have in common and share, indeed, with the portraits of Deaconesses in crisp white caps and bows is that all the protagonists wear a sort of uniform. That uniform, in turn, signifies shared values and goals. Far from suppressing individual identity, here the uniform actually enhances it. In the case of Klinke’s startling portraits of “Bee Kings,” the helmet worn is not only alive but also potentially lethal.
Despite the impressive range of her more recent works, Klinke’s true trademark
emerges in her stunning portraits of children dressed in ceremonial garments. Many of these date to the 19th century, symbolizing beliefs “that live on in the form of rituals,” according to the artist. Despite the speed a sitting may demand, one senses a very special relationship between the artist and her models. Whatever their age, the latter seem to surrender themselves gladly to the inquiring eye of her camera, while she in turn imbues her sitters with a compelling dignity.
David Galloway
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Éder Oliveira | Oposición Jun 24, 2022 - Jul 30, 2022 |
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Fábio Baroli | Where the wind turns May 06, 2022 - Jun 18, 2022 |
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Frank Bauer | Bilder vom Verschwinden Mar 12, 2022 - Apr 30, 2022 |
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Selection Feb 08, 2022 - Mar 05, 2022 |
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Winter break Dec 21, 2021 - Jan 22, 2022 |
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Harding Meyer | known unknowns Oct 29, 2021 - Dec 18, 2021 |
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Kate Waters | It takes one to know one Aug 27, 2021 - Oct 23, 2021 |
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Summer Break Jul 27, 2021 - Aug 21, 2021 |
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Giacomo Costa | Atmospheres May 28, 2021 - Jul 03, 2021 |
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The gallery is open by prior arrangement. Apr 14, 2021 - Dec 31, 2021 |
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Idowu Oluwaseun | REVOLUTIONS PER MINUTE: a synthesis of time and sound Oct 30, 2020 - Dec 12, 2020 |
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Peter Uka | Inner Frame Aug 28, 2020 - Oct 24, 2020 |
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Harding Meyer | new works Jun 05, 2020 - Jul 15, 2020 |
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Mary A. Kelly | Chair Mar 14, 2020 - May 30, 2020 |
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Michael Tolloy | Solid Solidarity Jan 17, 2020 - Feb 29, 2020 |
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Kate Waters | Love Shacks and other Hideouts Oct 18, 2019 - Jan 09, 2020 |
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Frank Bauer | Paths of Inaccuracy Aug 30, 2019 - Oct 12, 2019 |
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Christian Bazant-Hegemark | Kindness of Strangers Jun 07, 2019 - Jul 13, 2019 |
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Sandra Ackermann | Escape into your Reality May 03, 2019 - Jun 01, 2019 |
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Kay Kaul | Cloudbusting Mar 08, 2019 - Apr 27, 2019 |
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Jurriaan Molenaar | Fermate Jan 18, 2019 - Mar 02, 2019 |
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Harding Meyer / Humanize Oct 19, 2018 - Jan 12, 2019 |
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Mihoko Ogaki / Soft Landing Aug 31, 2018 - Oct 13, 2018 |
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Iwajla Klinke / ONEIRONAUTS Jun 08, 2018 - Aug 18, 2018 |
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Peter Uka / Fragment of the Present Passed Apr 13, 2018 - May 26, 2018 |
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Daniel Heil / Monologues Mar 09, 2018 - Apr 07, 2018 |
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Düsseldorf Photo Weekend 2018 Feb 16, 2018 - Feb 18, 2018 |
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Sandra Senn / Zwischen Zwei Meeren Jan 26, 2018 - Mar 03, 2018 |
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Frank Bauer / Die Gelassenheit der Dinge Nov 17, 2017 - Jan 20, 2018 |
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Kate Waters / Whistling In The Dark Sepr 01, 2017 - Nov 11, 2017 |
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Untitled Jul 12, 2017 - Aug 02, 2017 |
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Davide La Rocca / 13K ( Part 1 ) May 12, 2017 - Jun 27, 2017 |
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Sandra Ackermann / Lost in Nothingness Mar 24, 2017 - May 06, 2017 |
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Claudia Rogge / CONCENTRATION Jan 27, 2017 - Mar 18, 2017 |
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Christian Bazant - Hegemark / The Rise and Fall of Transformative Hopes and Expectations Nov 11, 2016 - Jan 21, 2017 |
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Harding Meyer / The Others Aug 26, 2016 - Nov 05, 2016 |
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Crossing Borders Jun 03, 2016 - Jul 15, 2016 |
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Sandra Senn / Flüchtiges Getriebe Apr 08, 2016 - May 21, 2016 |
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Iwajla Klinke / Red Sandals and a Mirror for Gabriel Feb 12, 2016 - Mar 26, 2016 |
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Corrado Zeni / Éloge de la fuite Nov 27, 2015 - Jan 09, 2016 |
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Claudia Rogge / PerSe Oct 16, 2015 - Nov 21, 2015 |
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Kate Waters // Tell it like it is Aug 28, 2015 - Oct 10, 2015 |
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Visions Of Sensory Space ( by Weightless Artists Association - SPARTNIC ) May 15, 2015 - Jul 04, 2015 |
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Sandra Ackermann / Wasteland Mar 13, 2015 - May 02, 2015 |
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Lost Scapes Jan 30, 2015 - Mar 07, 2015 |
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Christian Bazant-Hegemark / Calibrating Aesthetics Nov 14, 2014 - Jan 17, 2015 |
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Frank Bauer / Back to Basics Aug 29, 2014 - Nov 08, 2014 |
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Harding Meyer // recent paintings May 23, 2014 - Aug 23, 2014 |
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Till Freiwald - memoria Apr 11, 2014 - May 17, 2014 |
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Quadriennale Düsseldorf 2014 / Gallery Evening Apr 05, 2014 - Apr 05, 2014 |
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Iwajla Klinke / Ritual Memories Jan 17, 2014 - Apr 05, 2014 |
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Giacomo Costa // Traces Nov 22, 2013 - Jan 11, 2013 |
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DC-Open Galleries: Matthias Danberg - Inventory by Appropriation Sepr 06, 2013 - Nov 16, 2013 |
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Christian Bazant-Hegemark // VOW OF SILENCE May 24, 2013 - Aug 20, 2013 |
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Corrado Zeni // Generation Why Apr 12, 2013 - May 18, 2013 |
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behind the Non-Colours Mar 22, 2013 - Apr 06, 2013 |
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Sandra Ackermann // Running to stand still Feb 15, 2013 - Mar 16, 2013 |
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Düsseldorf Photo Weekend 2013 Feb 01, 2013 - Feb 09, 2013 |
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Mihoko Ogaki // Star Tales - White Floating Nov 30, 2012 - Jan 31, 2013 |
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Claudia Rogge / Lost in Paradise Oct 12, 2012 - Nov 24, 2012 |
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Harding Meyer // features Sepr 07, 2012 - Oct 06, 2012 |
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Summer 2012 - Part 2 Aug 10, 2012 - Sepr 01, 2012 |
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Summer 2012 Jul 06, 2012 - Sepr 01, 2012 |
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Maria Friberg // The Painting Series May 11, 2012 - Jun 23, 2012 |
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Mary A. Kelly // Father & Child Mar 30, 2012 - May 06, 2012 |
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Maia Naveriani // Future Wolves and Chicks so far Feb 10, 2012 - Mar 24, 2012 |
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Düsseldorf Photo Weekend 2012 Feb 04, 2012 - Feb 08, 2012 |
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Kate Waters // The Air that I breathe Dec 09, 2011 - Jan 28, 2012 |
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Frank Bauer / ...den Wald vor lauter Bäumen.... Nov 04, 2011 - Dec 03, 2011 |
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Claudia Rogge // Final Friday Sepr 09, 2011 - Oct 29, 2011 |
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Davide La Rocca - STILLS May 27, 2011 - Jul 16, 2011 |
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Giacomo Costa // Post Natural Apr 01, 2011 - May 21, 2011 |
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Harding Meyer - to be a real vision Feb 18, 2011 - Mar 26, 2011 |
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Shannon Rankin - Disperse / Displace Dec 03, 2010 - Feb 12, 2011 |
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Sandra Ackermann // I look inside you Oct 15, 2010 - Nov 27, 2010 |
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Amparo Sard / AT THE IMPASSE Sepr 03, 2010 - Oct 09, 2010 |
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Kate Waters // The Land of Kubla Khan Jun 11, 2010 - Jul 17, 2010 |
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Jurriaan Molenaar // Lessness Apr 30, 2010 - Jun 05, 2010 |
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Claudia Rogge // The Paradise of the Onlooker Mar 05, 2010 - Apr 24, 2010 |
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Ivonne Thein // incredible me Jan 22, 2010 - Feb 27, 2010 |
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Frank Bauer // Jet Set Nov 27, 2009 - Jan 15, 2010 |
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Michael Koch // forever more Oct 23, 2009 - Nov 21, 2009 |
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Masaharu Sato // SIGNS Sepr 04, 2009 - Oct 17, 2009 |
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Harding Meyer // blind date Jun 19, 2009 - Aug 22, 2009 |
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Maria Friberg // way ahead Apr 24, 2009 - Jun 13, 2009 |
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Claudia Rogge // Isolation ( aus: Segment 8 - die Blasen der Gesellschaft) Mar 06, 2009 - Apr 18, 2009 |
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Claudia Rogge - The Opening Mar 06, 2009 - Apr 18, 2009 |
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JoJo Tillmann // What you see is what you get Jan 30, 2009 - Feb 28, 2009 |
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Sandra Ackermann // Die Wirklichkeit ist nicht die Wahrheit Nov 21, 2008 - Jan 24, 2009 |
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Kate Waters - Getting used to the 21st Century Oct 10, 2008 - Nov 15, 2008 |
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Mihoko Ogaki - Milky Ways Sepr 04, 2008 - Oct 04, 2008 |
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Summer 2008 // Painting Aug 12, 2008 - Aug 30, 2008 |
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Silke Rehberg: Stationen 1,4,6,7,11,12,13,14 Jun 13, 2008 - Jul 12, 2008 |
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Maia Naveriani: At home with good ideas May 09, 2008 - Jun 07, 2008 |
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Justin Richel: Rise and Fall Apr 04, 2008 - May 03, 2008 |
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Davide La Rocca - Strange Object Feb 08, 2008 - Mar 28, 2008 |
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Frank Bauer: AkikoAlinaAlinkaAndrew.... Nov 30, 2007 - Feb 02, 2008 |
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Maria Friberg: Fallout Oct 12, 2007 - Nov 24, 2007 |
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Harding Meyer / in sight Sepr 06, 2007 - Oct 11, 2007 |
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SUMMER '07 Jul 17, 2007 - Sepr 01, 2007 |
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Kay Kaul - Wasserfarben Jun 15, 2007 - Jul 14, 2007 |
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Sandra Ackermann - Point Blank Mar 02, 2007 - Apr 28, 2007 |
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Tamara K.E.: pioneers -none of us and somewhere else Jan 19, 2007 - Feb 24, 2007 |
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Till Freiwald Nov 17, 2006 - Jan 13, 2007 |
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Claudia Rogge: U N I F O R M Sepr 01, 2006 - Nov 11, 2006 |
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Kate Waters: Killing Time May 05, 2006 - Jun 17, 2006 |
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Katia Bourdarel: The Flesh of Fairy Tales Mar 31, 2006 - Apr 29, 2006 |
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Mihoko Ogaki Feb 10, 2006 - Mar 18, 2006 |
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Silke Rehberg: RICOMINCIARE DAL CORPO Jan 27, 2006 - Feb 26, 2006 |
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Sandra Ackermann Dec 08, 2005 - Jan 15, 2006 |
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Corrado Zeni Dec 04, 2005 - Jan 11, 2006 |
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Frank Bauer Nov 18, 2005 - Jan 15, 2006 |
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Harding Meyer Oct 07, 2005 - Nov 12, 2005 |
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AUFTAKT Sepr 02, 2005 - Oct 01, 2005 |
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Claudia Rogge: Rapport Jun 17, 2005 - Jul 20, 2005 |
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May 13, 2005 - Jun 11, 2005 |
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Kate Waters: Solo-Exhibition in the Gallery Thomas Cohn, Sao Paulo Apr 16, 2005 - May 20, 2005 |
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Vittorio Gui: FROZEN MOMENTS Apr 08, 2005 - May 07, 2005 |
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Kay Kaul - ARTSCAPES Apr 03, 2005 - May 29, 2005 |
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SEO Geheimnisvoller Blick Mar 04, 2005 - Apr 02, 2005 |
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Claudia van Koolwijk at Museum Bochum Feb 26, 2005 - Apr 17, 2005 |
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Corrado Zeni - Six Degrees of Separation Nov 26, 2004 - Jan 15, 2005 |
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Maia Naveriani: What' s the difference between ME and YOU? Oct 15, 2004 - Nov 20, 2004 |
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Tamara K.E.: MAD DONNA AND DONNA CORLEONE Sepr 03, 2004 - Oct 09, 2004 |
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Davide La Rocca: Real Vision Reflex Jun 12, 2004 - Jul 17, 2004 |
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Kay Kaul COLLECTORSCAPES Apr 23, 2004 - Jun 05, 2004 |