Editions 2018

• Sebastian Dannenberg

  

  

  

  

  

  

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

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  Sebastian Dannenberg takes the architecture of the room as a basis for interventions that make its peculiarities visible. His interventions are often simple, sculptural arrangements derived from painterly questions.
  Under the title It’s all about the river, he connected the Künstlerhaus with the Städtische Galerie in three parts. The first part was an intervention consisting of a precisely placed line in the gallery of the Künstlerhaus. Dannenberg then drew the line in a performative action along the Kleine Weser to the Städtische Galerie, where he ran it around the exhibition space in August. Its beginning is still visible in the courtyard of the Künstlerhaus. The edition is a trace of these interventions, which continues as painting on the wall.

  • It’s all about the river vol. 3 – portable, 2018

    Sebastian Dannenberg
    It’s all about the river vol. 3 - portable, 2018
    Lacquer on wood
    42 × 30 cm
    6 similar unique works

    Price: €800 each

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• Sofia Duchovny

  

  

  

  

  

  

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

  ×

  Vorhang auf are the titles of the watercolors that Sofia Duchovny makes available to the Künstlerhaus. Two curtains form the exposed situation of a stage, while the feet that peeked out of a bedspread mark an intimate space. In two of the watercolors, the feet are flanked by heart-shaped boxes. A psychological space is symbolically hinted at here, caricaturing the ambivalences of (artist) existence between public role and intimate relationships.
  Sofia Duchovny transfers methods of painting to media such as sculpture or watercolor, which she also combines. She was represented in the exhibition SHAME with her series Bats.

  • Vorhang auf (1-3), 2018

    Watercolor on paper
    24 × 32 cm (framed: 40 × 50 cm)
    3 unique works

    Price: €450 each with frame

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• Tim Reinecke

  

  

  

  GOA (1), 2018

  GOA (2), 2018

  GOA (3), 2018

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  The works GOA (1-3) by the Bremen artist Tim Reinecke originate from his installation Beyond Thrill, exhibited at the Künstlerhaus, in which he covered reinforcing baskets with a slimy mass of agar. The material dried, withered and, attracted by gravity, sank deeper and deeper into the structure of the reinforcements. The resulting alchemical-looking sculptures are fragile and jagged, with traces of glitter and characteristic reddish-brown rust marks from steel baskets.

  • GOA (1-3), 2018

    agar, cement, glitter
    (1) 4 × 34 × 11 cm
    (2) 7 × 33 × 12cm
    (3) 7 × 22 × 20cm
    3 unique specimens

    Price: €1.200 each with glass

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• Alina Schmuch

  

  

  

  

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

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  The magazine shows photographs of coworking spaces: still lifes of interiors that imitate familiar living environments and natural materials. Affirmative sentences or hidden personal messages can be read on the walls. A similar brochure was shown in Alina Schmuch’s exhibition The Inner Office. It was created during her research in a coworking space of a global provider that rents out flexible workspaces on a monthly basis for self-employed people or start-up companies. The format refers to forms of corporate publishing.

  • Dedicated Desk, 2018

    Magazine, offset printing
    20 pages
    29,7 × 21 cm
    Edition: 100, of which 80 for the Künstlerhaus Bremen
    Exclusively available at the Künstlerhaus

    Price: €18

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• Gernot Wieland

  

  The photo print by Gernot Wieland shows a hand holding a small, pyramid-shaped sculpture made of charred wooden sticks. What at first seems like a reflection of the first hand in the background is another photo of the hand holding the same sculpture.
  The work was created as part of Wieland’s film Ink in Milk, which was first shown in the group exhibition SHAME at Künstlerhaus. In it, he recounts memories of his childhood in an Austrian village, which are linked to moments of shame in terms of social background and disciplining institutions. The sculpture represents a memory of crystalline structures that the villagers* in Wieland’s film reproduce with their bodies. They stand for the narrative element of memories, the meaning of imitation and the psychological and physical power relations and dependencies.

  • Velocity, maybe, 2018

    Pigment print on Hahnemühle paper
    25 × 35,3 cm
    Edition: 5, 2 of them for the Künstlerhaus Bremen

    Price: €1.100

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• Susanne Katharina Willand

  

  

  Photo: Franziska von den Driesch

  Photo: Franziska von den Driesch

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  Time and process play an important role in Susanne Willand’s work. Embroidering, she traces lines or shades that both link and rasterize individual parts of the picture. The textile works in black and white often look like prints or photographs. Willand combines the traditional technique of embroidery with methods of gridding and decomposition. Lines forms a network of lines that can be reassembled again and again and allows for various combinations.

  • Lines, 2014

    Embroidery on linen
    12 unique specimens
    each 30 × 24 cm

    Price: €150 each, or as a set €1.500

    Out of print