Robert Rehfeldt

Dear Ladies and Gentlemen,
we cordially invite you to visit our next exhibition
The Rehfeldt’s – A Family of Artists from Pankow


Ruth Wolf-Rehfeldt, edition
Robert Rehfeldt, painting, collage, Mail art
René Rehfeldt, printmaking
and works of the sculptor Rolf Winkler

Opening: Sunday, September 13, 3–8 pm

Introduction to the exhibition: Joachim Pohl (in German language)

Due to the current situation we ask you to announce your visit by e-mail (

Opening hours with prior appointment: Sunday 14:30–17:30 | Monday 17:30–21:30 and on appointment.

Finissage: Sunday, October 25, 4–8pm

Exhibition: September 14 to October 25, 2020

The Rehfeldts – an artist family from Pankow

In the western part of Germany his name is probably known only to a few, and yet Robert Rehfeldt from Berlin-Pankow – the ‘Fanfare of Pankow’, as artist friend Wolf Vostell dubbed him – probably had the most extensive international contacts of all GDR artists: through Mail art. (Kunstforum, Vol. 115, 1991)

The new exhibition at Wolf & Galentz is dedicated to the Rehfeldt family – Robert Rehfeldt (1931–1993), Ruth Wolf-Rehfeldt (b. 1932) and their son René (b. 1956). This is the first time ever that works by all three Rehfeldts are presented together.

Robert and Ruth are both especially known for their importance in Mail art; from about 1970 to 1990 – shortly after the fall of the Wall – they formed one of the hubs of the Mail art scene in the GDR and accordingly – due to the nature of Mail art – worldwide.

Initiated by the Fluxus movement in the 1960s, Mail art is an art form that subverts established institutions and measures of value in art distribution and is integrative and egalitarian in nature. The art lies more in the process of distribution, in sharing and communicating the works, in the network itself, than in the individual work: the network and exchange with other artists is central.

In the front room of the Wolf & Galentz Gallery, works by Robert Rehfeldt are shown: a large-format painting (3 x 2 m) of painting and collage, which deals with Mail art; a selection of Mail art and stamp paintings fills another wall, the third wall shows a medium-format assemblage and some smaller works.

Two of Ruth Wolf-Rehfeldt’s rare paintings can be seen in the back room of the gallery, along with a selection of Typewritings, the art form for which the she became famous, which were also shown at documenta 14: pictures ‘painted’ on a typewriter, consisting of letters.
In the small room between his two parents, René Rehfeldt shows a selection of his graphic art.
The exhibition is supplemented by several sculptures by a friend of Robert Rehfeldt, the sculptor Rolf Winkler (1930–2001).



Henrik JAcob
Gisa Hausmann

Dear Ladies and Gentlemen,
we cordially invite you to visit our new exhibition
Flowers – Approaches to a Contentious Motif.
Exhibition: May 30 to July 28, 2020
Opening: Fri, May 29, 2–10 pm, only on prior appointment
Closing event: Tuesday 28 from 5–10pm

Because of the current situation, we regret to not be able to have an opening with many guests all at the same time. To allow only the permitted number of visitors, please use the form on our website to announce your visit (available soon). You can also write us an e-mail or just give us a call.

You can find a digital tour of the flower exhibition on our German website.



  • Gisa Hausmann
  • Marina Koldobskaya
  • Mr. Ira Schneider


  • Mariam Azlamazyan
  • G. von Galentz
  • Brigitta Friedrich
  • Joseph Heeg
  • Alexander Horn
  • Thomas Kaemmerer
  • Philipp Mager
  • Oleg Neishtadt
  • Jürgen Wittdorf
  • and other artists from our collection

Flowers – Approaches to a Contentious Motif

‘It is unseemly for a contemporary artist to paint flowers,’ writes Marina Koldobskaya, one of the artists of the upcoming exhibition at Wolf & Galentz. Who paints flowers in spite of that, she continues, risks loosing their reputation as a serious artist.
This is because flowers are presumed to be decorative, and the decorative to be incompatible with contemporary art – such, at any rate, the discourse on contemporary art tells us, and also that art is supposed to be difficult, ugly, disrupted in some way or that it should concern itself with political issues.

Thus, Gisela Breitling writes in an article about Gisa Hausmann’s flower pictures (also in the exhibition): ‘nowadays, beauty in art is a much bigger challenge for the arts than everything we usually deem artistic provocation’.
Fortunately, contemporary art itself does not, other than the discourse, abide by this ban on flowers in the service of avoiding the beautiful, but it faces the challenge, otherwise the remarkable pictures in the exhibition wouldn’t exist and we couldn’t see them.

The three artist shown in the big main room of the gallery, Gisa Hausmann, Marina Koldobskaya and Ira Schneider, three very different positions, present a broad variety of possible approaches to flowers.

Drawings and prints reworked in watercolours by Berlin artist Gisa Hausmann (1942–2015) show hothouse flowers and other obviously non-native, but artfully bred flowers in realist detail and in a style that is reminiscent of Jugendstil.

Marina Koldobskaya (b. 1961) paints in acrylic on paper or canvas; in clear, simplified shapes her bold and expressive flowers grow alone, in small groups or even whole fields; flower beds, meadows, drug plantations, as she herself states. She lives and works in St. Petersburg, Russia.

Ira Schneider, born and raised in New York (b. 1939), video artist and one of the most important pioneers of video art in the sixties and seventies, photographs flowers, in his own small garden in Berlin Wedding among other places, with a concave mirror. The photos made thusly feature an interesting similarity to non-objective paintings, since the distortion engenders abstraction. He points out that ‘human beings are made up of 67 % water and 33 % flowers’. Ira Schneider continues to produce video works, a new one will be will be exhibited throughout the current exhibition.

In the gallery’s smaller room, the cabinet, several more artists are shown with one or two works each: Mariam Aslamazyan, Hermann Bachmann, Brigitta Friedrich, Klaus Fußmann, Archi Galentz, G. von Galentz, Joseph Heeg, Alexander Horn, Thomas Kaemmerer, Philipp Mager, Oleg Neishtadt, Nazeli Nikogosyan and Jürgen Wittdorf.
The pictures are small and of middle size, they are etchings, oil or gouache paintings and paintings made by pouring paint over the canvas. The exhibition will be transformed into a garden with a vast variety of interesting flowers.
We are looking forward to your visit!

Image: Gisa Hausmann, Seidenmohn [Shirley Poppy], 1996, 38 x 56 cm (detail)

Gallery Wolf & Galentz presents a selection of wood engravings by famous masters from Russia and Germany, accompanied by some woodcuts.

You are cordially invited to the exhibition.

Opening: Friday, 24 January 2020, 7 pm

Exhibition: 26 Jan to 1 Mar 2020 (extendet until 29 March 2020)

The Finissage is canceled because of the Corona-virus

Concert Soundscapes: Sunday 23 February 2020, 8pm
Finissage: Sunday 01 March 2020, 4pm

Wood Engraving

  • Vasili Nikolaevich Masyutin Масютин Василий Николаевич (1884–1955)
  • Karl Rössing (1897–1987)
  • Karl-Georg Hirsch (* 1938)
  • Wolfgang Würfel (* 1932)
  • Ivan Nikolaevich Pavlov Павлов Иван Николаевич (1872–1951)
  • Anatolij Andreevich Suvorov уворов Анатолий Андреевич (1890–1943)
  • Aleksej Ilyich Kravchenko Кравченко Алексей Ильич (1889–1940)
  • Pavel Aleksandrovich Shilingovskij Шилинговский Павел Александрович (1881–1942)
  • Vladimir Andreevich Favorski Фаворский Владимир Андреевич (1886–1964)
  • Georgij Aleksandrovich Ekheistov Ечеистов Георгий Александрович (1897–1946)
  • Mickail Ivanovich Polyakov Поляков Михаил Иванович (1903–1978)
  • Mikhail Ivanovich Pikov Пиков Михаил Иванович (1903–1973)
  • Ilarion Vladimirovich Golitsin Голицин Илларион Владимирович (1928–2007)
  • Henrietta Nikolaevna Burmagina Генриетта Николаевна Бурмагина (1939– 1984)
    & Nikolaj Vasilevich Burmagin Бурмагин Николай Васильевич (1932–1974)
  • Arkadij Mikhailovich Kolkhanov Колчанов Аркадий Михайлович (1925–2008)
  • Mikhail Mikhailovich Verkholantsev Верхоланцев Михаил Михайлович (* 1937)


  • Stephan Preuschoff (1907–1994)
  • Helena Scigala (1921–1998)
  • Jürgen Wittdorf (1932–2018)
  • Conrad Felixmüller (1897–1977)


  • Mitsuo Katsui (* 1931)
  • Utagawa Kuniyoshi (1798–1861)
  • Utagawa Kunisada (1786–1865)
  • Utagawa Hiroshige II. (1826–1869)
  • Ikeda (Keisai) Eisen (1791–1848)
  • Philipp Mager (* 1966)

Exhibition views


Wood engraving is deemed by many to be the acme of graphic arts; often only in the size of a stamp, printed on very thin paper, these works are extraordinarily fascinating.

In the upcoming exhibition, gallery Wolf & Galentz will present selected works by more than twenty artists in different juxtapositions. Among these are works by the German masters Karl Rössing (1897–1987) and Karl-Georg Hirsch (b. 1938) and also some by Russian Aleksej Kravchenko and Vladimir Favorski, to name only the most famous. Furthermore, Mikhail Verkholantsev, member of the Russian Academy of the Arts, has kindly contributed eight pieces from his private collection.
Woodcut and wood engraving, the latter having been developed from the former, count among the relief printing techniques. Woodcut is one of the oldest methods to produce multiples on paper. In Europe, first known examples of woodcut were produced in the 14th century, at first used for single sheets, block books and finally book illustration. After the invention of letterpress printing, woodcut became a widespread technique, while still used for pamphlets and flysheets, for example during the Reformation.

Woodcut: Precise and Intricate Technique

In publishing, the woodcut was replaced by copperplate engraving in the 17th and 18th century, while this in turn was replaced by lithography and wood engraving in the second half of the 18th century, wood engraving being an invention of British Thomas Bewick. Both woodcut and wood engraving became artistic techniques for graphic artworks, independent of the printing of books, in the 19th century.
Wood engraving has since its invention been an especially precise and intricate technique among the historical printing techniques, in which the picture is cut into the homogenous fibre-structure of the end grain of the wood, using carvers’ tools (instead of wood cutting tools), often with so miniscule lines as to make optical devices of enlargement necessary in the process. Engraved wooden plates allow for high numbers of prints made from them, in high quality; they are markedly more durable than copperplates.

Aleksej Kravchenko

Together with a number of catalogues with the works of the exhibited artists, in the exhibition we also show several books with original illustrations.
Fortuitously we were offered the chance to present two series of wood engravings by famous Russian artist Aleksej Kravchenko – ‘From the Life of a Woman’ (1928) and ‘New York’ (1929).

Selection of classical woodcuts

In the exhibition, the presentation of the wood engravings is supported by a selection of classical woodcuts. We will show several works by Conrad Felixmüller (1897–1977), Stephan Preuschoff (1907–1994), Helena Scigalla (1921–1998), Jürgen Wittdorf (1932–2018) and Philipp Mager (b. 1966).
Furthermore we will show some Japanese woodcuts from our collection. Japanese colour woodcut uses the side grain of the wood (predominantly wild cherry), but its precision is still comparable to some wood engravings, and larger areas on the wood blocks allow for masterly composed colour gradations. We present some works of the Ukiyo-e genre from the 19th century with re-prints for comparison. And finally we show works by the contemporary Japanese artist Mitsuo Katsui.

Archi Galentz

Artists from Novi Sad (Serbia) present their works at gallery Wolf & Galentz and in the project spaces Prima Center Berlin and Spor Klübü.

Opening: Friday 8 November  2019, 7pm
Open: Sa. 9.11. – Di. 12.11. from 2–6pm


Mileta Poštić, Radovan Jokić (Galerie Wolf & Galentz | Wollankstraße 112A, 13187 Berlin)

Monika Sigeti, Ana Novaković (Prima Center Berlin | Biesentalerstr. 24, 13359 Berlin)

Đula Šanta, Rade Tepavčević (Spor Klübü | Freienwalder Straße 31, 13359 Berlin)

Exhibition views:


Accompanying Program

German-Serbian Artist Exchange on Migration

Talk and get together: Sunday, 10 November 2019, 8pm
The who and what of the artist exchange
Three short addresses / greetings from community at the
Panke (Protestant), Museum of Modern Art Novi Sad and
Colony Wedding
Sparkling wine, juice, water and chips (Soldiner Kiez e. V.)
Location: Fabrik Osloer Straße 12, 2. Backyard Uptake B 1st floor

Guided tour through Mosque in Soldiner Kiez: Monday, 11 November 2019, 8pm
Praying, education and social work and arrival in a foreign country
German with English translation
Place: Mosque Haci Bayram, Koloniestr. 128

Lecture: Tuesday, 12 November 2019, 7pm
The history of the Soldiner Kiez
Immigration from the beginning
Diana Schaal (Soldiner Kiez e. V.) in English
then Balkan party
Location: Prima Center Berlin, Biesentaler Str. 24

In cooperation with:

Soldiner Kiez e. V, Kolonie Wedding e. V. , Museum Museum of Contemporary Art Vojvodina, Serbia and all artists

artwork by Mileta Poštić

Wolf & Galentz presents the Berlin artist Gisa Hausmann.

Vernissage: Friday 15 November 2019 7pm

Exhibition: 15 November – 18. December 2019

Exhibition views


“The artist Gisa Hausmann is one of the unknown celebrities of Berlin. She’s an insiders’ choice.” (Gisela Breitling)

In the course of her life, Gisa Hausmann (1942–2015) worked with a considerable range of artistic forms of expression, large-format drawing and etching, painting – with many allusions to the old masters; sculpture, and works in the technique Hapix-Set, which she developed herself.

One element that can be found throughout her oeuvre is the grotesque; distortion and exaggeration of lines and shapes, bordering sometimes on caricature.

As opposed to the two posthumous exhibitions, where the accent was placed on the last decades of the artist’s life, this show emphasizes her earlier work from the 1960s and 70s.

This exhibition in the Gallery Wolf & Galentz is the first of a series of shows which will explore the artist’s legacy. It will feature works never shown before as well as those seldom seen.

More informations: (German)



Nine artists on figuration

Opening: 27. September, 7pm

27 September – October 2019

“The Look on Us” shows a small selection of contemporary artists’ interpretations of the human body. Diversity of materials used is a special focus of the exhibition: ceramics, watercolours, acrylic, wood, clay, wool, spray paint, silkscreen, and glas. In some of the works the mode of application of the materials directly supports the subject. With the exception of the video by Fritz Stier, all of the works show non-moving figures, humans are depicted in repose, there is no immediate temporal aspect to the works.

Most of the presented works have in common that they do not show interactions between people, they feature single individuals (or parts of the human body) without action or communication. Rather, they invite the viewer to engage in a direct and intimate dialogue with them – the artworks seem to speak to us as their respondents.



  • Jovan Balov, paintings
  • Marc Haselbach, sculpture
  • Henrik Jacob, clay, watercolours
  • Ute Lindner, silkscreen-prints on glass
  • Edvardas Racevicius, sculpture
  • Fritz Stier, video
  • Kata Unger, tapestry, paintings
  • Ekkehard Vree, watercolours
  • Veronika Witte, sculpture

Curator: Andreas Wolf


Photo: Videostill In Between, Fritz Stier


We are very glad to announce that Susanna Gyulamiryan, curator of this year’s Armenian Pavilion at the Venice Biennale, has accepted our invitation to present the project “Dialogues about Revolution and Power. The Voice of Queer Feminist Activists and Scholars in Conjunction with Feminist Art from Armenia” at Wolf & Galentz Gallery in Berlin.

Archi Galentz, Andreas Wolf

Opening: 14. August, 7pm

Curator: Susanna Gyulamiryan

14 August – 15 September 2019

Dialogues about Revolution and Power

The Voice of Queer Feminist Activists and Scholars in Conjunction with Feminist Art from Armenia


  • Narine Arakelian
  • Gayane Ayvazyan
  • Ruzanna Grigoryan
  • Lousineh Navasartian
  • Anna Nikoghosyan
  • Tamar Shirinian
  • Lusine Talalyan
  • Anna Zhamakochyan

Curator: Susanna Gyulamiryan

The project “About Revolution and Power” is dedicated to all the women who have been participants, initiators and organizers of political and civil protest, struggles and resistance in Armenia for more than two decades, the ones who have shaped and directed women’s movements, initiated queer feminist discourses and defined the developmental paths of the critical thinking in the country, where there is still no public recognition of women’s achievements. What women do and contribute to the country’s welfare is buried under patriarchal ideology and masculine hegemony, based on the idea of male supremacy.

The important feature of the project articulates Armenian female artists’ activism that moves in stride with political, civil, social and feminist movements. Meanwhile, political and feminist activism in turn borrows methods from artistic practices and applies them in its multimedia arsenal of performance, action art, manifests, graffiti, and so on.

Thе impulse towards politicization paved the way for highly motivated female artists, who gained strength and momentum to break out of the limited spaces designated to the field of art, and the ideas of autonomy, political commitment, and enthusiasm for appropriating streets and public spaces were promoted and nurtured. A fresh direction lies in the cooperation of the political and the aesthetic, female artists and feminist activists who, together, do not hesitate to act and campaign against injustice and inequality in the country and who develop concepts and actions to encourage political and social reforms in Armenia.

One part of the project presents the video series entitled “Dialogues about Revolution and Power,” which consists of critical reflections and artistic manifestations by female experts, scholars, and queer feminist activists from Armenia – Gayane Ayvazyan, Ruzanna Grigoryan, Anna Nikoghosyan and Anna Zhamakochyan – on the topic of the 2018 Armenian revolution, which, according to one of the participants, was rather a regime change than a revolution.

In pair with the video documentation of artist Narine Arakelian’s reenactment of the notorious women’s civil disobedience action “Cast Iron Pots and Pans” in the public spaces of Venice, engaging over 50 women volunteers, the above mentioned “Dialogues” make up the most important part of the Armenian Pavilion of the 58th International Art Exhibition, La Biennale di Venezia (2019).
The entire project of the pavilion curated by Susanna Gyulamiryan is an artistic and analytical representation of the Armenian revolution of 2018. It brings together artists, scholars, and activists to reproduce the revolutionary events and reflect on them.
The dynamics of the development of women’s and feminist movements starting from the early Soviet period until the post-Soviet 1990s, reviewing the role of these movements in the context of their “negotiations” with the authorities and state institutions is presented by Tamar Shirinian – scholar and specialist on Women’s and Gender Studies.

Artist Lusine Talalyan presents her feminist call that “woman is owner-less,” as well as the arm-less image of monumental statue of Mother Armenia during a shame-less orgasm. (The statue of Mother Armenia in Yerevan is an image of a masculine woman with a sword in her arms. This kind of patri-archaic presentation through certain formal and stylistic attributes is a symbol of power, and some researchers call this kind of creature “matri-archaic”).

The two graphic works by Lusine Navasardyan are about the consequences and “wounds” of the ideological and physical struggle of the Armenian civil activists.

Alongside the exhibition, Soviet Armenian painter Armine Galentz’s series of women’s portraits will be presented. Including this series is, among other things, a tribute to Armine Galentz’s life and artistic path, in which a variety of gender conflicts was closely intertwined with gender struggles. In contrast to other Soviet Armenian woman artists, Armine Galentz did not hesitate to describe in her memoirs the dominating posture of masculinity and its methods of subjugating women in art.

The project does not claim to demonstrate the whole power of women’s movements in Armenia nor the complete history of feminist manifestations in art and activism. It however articulates the viewpoint that in recent political life of Armenia, women’s movements and queer feminist activism in conjunction with feminist art have been among the most dynamic, decisive, and effective processes in the country.


Narine Arakelian (Russia –Armenia) is an artist, whose works represent a synthesis of visual and performing arts, using the newest digital technologies. Social justice and gender issues are key subjects of her artistic research. She has graduated from the Fine Arts Department of the Surikov State Institute in Moscow. For the period of 2015-2016, Arakelian received an internship at the Digital Arts Department of Los Angeles Academy of Fine Arts. Arakelian has participated in different international exhibitions within the 57th International Art Exhibition, La Biennale di Venezia (2017), Manifesta XII (2018) as well as had a series of personal exhibitions in Moscow, New York, and Venice. Arakelian’s public performance titled “Cast Iron Post and Pans” is part of the Pavilion of Armenia at the 58th Internatioal Art Exhibition, La Biennale di Venezia (2019).
She is a general member of the Russian Union of Artists. Her works are kept in private collections in England, France, Greece, USA, Switzerland and Russia.

Gayane Ayvazyan (Armenia) graduated from Dep.rtment of History at Yerevan State University (Bachelor, Master’s, PhD). In 2010-2011 Ayvazyan worked at the Chair of Armenian History at YSU. Since 2011 till now she works as senior researcher at the Institute of Ancient Manuscripts “Matenadaran.”
Ayvazyan worked as a researcher at Blagoevgrad Neofit Rilski (Bulgaria), Shehir (Istanbul, Turkey), Graz (Austria), Bilkent (Ankara, Turkey), Louvaine Catholic (Belgium) Universities. She participated in a number of conferences in Yerevan, Aghveran, Batumi, Graz, Thessaloniki, Michigan, Alma Ata, etc.. Ayvazyan is a national coordinator of the project “Knowledge Exchange and Academic Knowledge in the Black Sea Region” and “Traveling to the Black Sea Region” (Horizon 2020). She is author of a numerous articles and textual analysis.

Susanna Gyulamiryan (Armenia) is a curator and art critic who has initiated and implemented numerous exhibitions, research and educational programs in Armenia and internationally. Sussana Gyulamiryan has been a member of the International Association of Art Critics (AICA– Armenia) since 2006, and currently serves as President of the non-governmental organization Art and Cultural Studies Laboratory, which she co-founded in 2007. In 2008, she also initiated the “Art Commune” International Artist-in-Residence Program in Yerevan. She has over a decade of experience as a lecturer in Cultural Studies, Gender Studies and Feminist Art (Theory and Practice) in the Fine Arts Department at the Armenian Open University (Internatioal Academy of Education). She also implemented a master’s program in Gender Studies in the Department of Cultural Studies at Yerevan State University.
Gyulamiryan has made substantial contributions to the academic and curatorial literature surrounding feminist art, Soviet-Armenian women’s art, art and power, and the art of social and political engagement. From 2007 to 2009, she served as a contributing editor at CinemArt, a journal on cinematography and contemporary art. Most recently, she edited and published a collection of texts titled “Dialogues with Power” (2019).
She is the winner of the award for the best curatorial project of the Pavilion of the Republic of Armenia at the 58th International Art Exhibition, La Biennale di Venezia (2019).

Anna Nikoghosyan (Armenia) is a queer feminist scholar and activist. She holds an MA on “Gender, Sexuality and Culture” from Manchester University, UK. Nikoghosyan is a lecturer at Yerevan State University where she teaches “Gender and the Media” module. She co-founded a feminist library called “FemLibrary Armenia” which is a place for feminist knowledge production, education, organizing and resistance. Nikoghosyan is the author of several academic and journalist articles about feminism, queerness, critique of neoliberalism and militarization which have been published on regionally and internationally and translated into several languages.
Lousineh Navasartian (Armenia – Iran) is an artist and graphic designer. She graduated from the Yerevan State Academy of Fine Arts and studied a course on theory and practices of contemporary art the Institute of Contemporary Art (ICA), Yerevan from 2010 to 2012.
In 2014, 2017 and 2019, she has participated in the Annual Festival of Alternative Arts initiated and organized by the Armenian Center for Contemporary and Experimental Art in Yerevan.
Navasartian has co-curated and designed a number of art exhibitions in Armenia.

Tamar Shirinian (USA-Armenia)
Tamar Shirinian is currently a Postdoctoral Fellow in the Department of Anthropology at the University of Tennessee in Knoxville, Tennessee, United States. Her current book project, Survival of a Perverse Nation: Queer Transformations in Postsocialist Armenia, investigates the widespread rhetoric of sexual and moral “perversion” in everyday life. She has edited a special issue of Armenian Review entitled “Queering Armenian Studies” and published on issues such as queer geopolitics, queer spaces and practices in Armenia, and fake news as an emergent form of radical possibility.

Anna Zhamakochyan (Armenia) is a sociologist and media discourse researcher for whom the studies and criticism on media and ideology is useful tool for social changes.
Professional interest of Zhamakochyan also encompasses the field of contemporary art and curatorial activism in Armenia where she experienced in several exhibitions and art events.
Zhamakochyan is the president and co-founder of the non-governmental organization Socioscope. The working team of the organization designs and implements research and educational projects on civil society processes and activism, sexuality and gender.


Berlin-LA Connect

International Artists Collaboration Exchange Project Berlin – Los Angeles

As part of the exchange program BERLIN-LA CONNECT, Gallery Wolf & Galentz is hosting Lava Projects from Los Angeles, 7–23 June, 2019.

Opening: Friday, June 7, 5pm  |  opening hours: Monday–Thursday 2–6pm

Read more