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 (firstname.lastname@example.org).
Opening hours with prior appointment: Sunday 14:30–17:30 | Monday 17:30–21:30 and on appointment.
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).
Dear Ladies and Gentlemen,
we cordially invite you to visit our November exhibition
Henrik Jacob, Blue Balloon (solo show)
Exhibition: November 7 to December 15, 2020
Opening: Fri, September 6, 4–10 pm, only on prior appointment
At arte-tv you find a short feature about Henrik Jacob in German language. View the feature on the arte website
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.
- 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)
Real Time Composition at Wolf & Galentz
Sunday, February 23, 2020
Doors: 19:30, start: 20:15
Donation for the musicians: 12 €, 8 €
- Sebi Tramontana
- Frank Gratkowski
clarinet, alto saxophone
- Harri Sjöström
sopran & sopranino saxophone
Musician, Graphic Artist
The trombonist is well-known as a musician with a unique style of interpretation, as a composer between jazz and contemporary classical music and also as a member of the Italian Allstar ensemble Instabile Orchestra. Collaborations with, among others, Mario Schiano, Frank Gratkowski, Giancarlo Schiaffini, Joelle Leandre, Paul Lovens, and Carlos Zingaro.
He has played in Europe, Japan, the US, and Canada. Tramontana lives in Munich.
Especially as when playing solo or in small ensembles the unusual clarity of his play is audible. Gratkowski is also known as being a talented researcher of sounds, who continuously works on the expansion of his sound repertory and on the exploration of tonal possibilities of his instruments. he performs his micro-tonally oriented compositions with the Multiple Joy[ce] Orchestra.
Gratkowski plays in a number of ensembles, among these since 1999 the duo with the Italian trombonist Sebastiano Tramontana. He has played on nearly every German and on numerous international Jazz and contemporary music Festivals including Vancouver, Toronto, Chicago, New York, Seattle, Quebec, Les Mans, Muelhuus, Groeningen, Nickelsdorf, Barcelona, Lithuania, Warsaw, Zagreb, Prague, Bratislava, Sofia, Bucharest, Odessa, Huddersfield, London.
He has been teaching saxophone and ensembles at the Cologne, Berlin and Arnhem Conservatory of Music and is giving workshops all around the world.
Gratkowski lives in Berlin.
Born in Finland in 1952, he played piano and guitar in his youth and later found his voice in the music on soprano and sopranino saxophones. He studied music and fine arts in San Francisco in the 1970s, which led to participation in workshops by John Cage, Vinko Globokar, George Russell and Bill Dixon, and to study saxophone under Leo Wright and Steve Lacy. After returning to Europe in 1978 he played with Derek Bailey, Paul Lovens, Paul Rutherford, Reggie Workman (among others) and eventually started an extensive working relationship with Cecil Taylor on many projects, including five small group recording releases. He has also composed music for film and is still active today with his photography.
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
- 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)
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.
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.