• This year‘s @artbasel Online Viewing Room is coming to an end. Next to works by Tim Eitel, Neo Rauch, Titus Schade and Kristina Schuldt we are presenting sculptures and paintings by Carsten Nicolai. This elaborately produced sculpture represents acoustic waveforms of a recording of the spoken word „Sekundenschlaf“ (microsleep). It represents the attempt to materialize the sculptural characteristics of sound when flowing through space into a respective visual effigy. The artist refers to the antagonism of the word „Sekundenschlaf“, which contradicts per se. This opens up a wide field of interpretations and associations about the unconscious. Exhibited: Carsten Nicolai. Parallax Symmetry, K21 Düsseldorf, September 2019 - January 2020. Carsten Nicolai sekundenschlaf, 2018 Aluminium, rubber Length: 200 cm, diameter: 20 cm Edition of 3 courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Otto Felber, Berlin @alvanoto #carstennicolai #artbasel #onlineviewingroom
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    This year‘s @artbasel Online Viewing Room is coming to an end. Next to works by Tim Eitel, Neo Rauch, Titus Schade and Kristina Schuldt we are presenting sculptures and paintings by Carsten Nicolai. This elaborately produced sculpture represents acoustic waveforms of a recording of the spoken word „Sekundenschlaf“ (microsleep). It represents the attempt to materialize the sculptural characteristics of sound when flowing through space into a respective visual effigy. The artist refers to the antagonism of the word „Sekundenschlaf“, which contradicts per se. This opens up a wide field of interpretations and associations about the unconscious. Exhibited: Carsten Nicolai. Parallax Symmetry, K21 Düsseldorf, September 2019 - January 2020. Carsten Nicolai sekundenschlaf, 2018 Aluminium, rubber Length: 200 cm, diameter: 20 cm Edition of 3 courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Otto Felber, Berlin @alvanoto #carstennicolai #artbasel #onlineviewingroom
  • @artbasel is still going on and you can visit our Online Viewing Room until June 26, where we are showing works by five artists. Neo Rauch is one of them. Cryptic and enigmatic in their relation to causality, purpose and ambition, Neo Rauch’s paintings cleave a precarious path between the twin dangers of nostalgia and a lost idyll, an edenic world of social unity and communality, set in rural or urban landscapes against the backdrop of a charged up architecture. Herkunft is one of Neo Rauch's recent signature pieces that was exhibited in his solo exhibition Neo Rauch: Dipinti 2008 - 2019 at Palazzo Pitti at the Uffizi in Florence, Italy in 2019/20. Neo Rauch Der Ungläubige, 2018 Oil on canvas 40 x 35 cm framed: 42,8 x 37,8 x 6,5 cm courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Uwe Walter, Berlin #artbasel #artfair #neorauch #derungläubige
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    @artbasel is still going on and you can visit our Online Viewing Room until June 26, where we are showing works by five artists. Neo Rauch is one of them. Cryptic and enigmatic in their relation to causality, purpose and ambition, Neo Rauch’s paintings cleave a precarious path between the twin dangers of nostalgia and a lost idyll, an edenic world of social unity and communality, set in rural or urban landscapes against the backdrop of a charged up architecture. Herkunft is one of Neo Rauch's recent signature pieces that was exhibited in his solo exhibition Neo Rauch: Dipinti 2008 - 2019 at Palazzo Pitti at the Uffizi in Florence, Italy in 2019/20. Neo Rauch Der Ungläubige, 2018 Oil on canvas 40 x 35 cm framed: 42,8 x 37,8 x 6,5 cm courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Uwe Walter, Berlin #artbasel #artfair #neorauch #derungläubige
  • We are also presenting new works by @kristinaschuldt in our @artbasel Online Viewing Room. What architecture is to the other artist’s work in this years Basel presentation, corresponds to the role of the body in Kristina Schuldt’s (*1982) paintings, drawings and collages. Also a graduate from the Leipzig Academy of Visual Arts and a master student of Neo Rauch, her slick, melting, and twisted women’s bodies are turning into abstract and amorphous shapes whose arms and legs can hardly be distinguished from each other. She calls her portraits ghosts, faceless beings, or “Smombies”. For Kristina Schuldt, the smartphone, anatomically perfected and simultaneously a constantly glowing source of light, is akin to a fascinating new body part. Kristina Schuldt Heim, 2019 Oil and egg tempera on canvas 180 x 220 cm courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Uwe Walter, Berlin #artbasel #onlineviewingroom #artfair #kristinaschuldt Photo: Thomas Krüger @kruygere
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    We are also presenting new works by @kristinaschuldt in our @artbasel Online Viewing Room. What architecture is to the other artist’s work in this years Basel presentation, corresponds to the role of the body in Kristina Schuldt’s (*1982) paintings, drawings and collages. Also a graduate from the Leipzig Academy of Visual Arts and a master student of Neo Rauch, her slick, melting, and twisted women’s bodies are turning into abstract and amorphous shapes whose arms and legs can hardly be distinguished from each other. She calls her portraits ghosts, faceless beings, or “Smombies”. For Kristina Schuldt, the smartphone, anatomically perfected and simultaneously a constantly glowing source of light, is akin to a fascinating new body part. Kristina Schuldt Heim, 2019 Oil and egg tempera on canvas 180 x 220 cm courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Uwe Walter, Berlin #artbasel #onlineviewingroom #artfair #kristinaschuldt Photo: Thomas Krüger @kruygere
  • From today on, the @artbasel Online Viewing Room is available to the public. Next to the works of the presented artists you will find some insights. Tim Eitel’s (*1971) paintings create analogies of reality, making use of what he has seen and experienced to construct fictitious, parallel worlds, often in the context of an exhibition or a museum. All components of his work are based on encounters, and objects captured in photographs or real spaces. Each of these experiences is boiled down to its most meaningful quintessence. The ambivalence between the pure colour as an expansive, abstract form, and the colour used as the motif, atmosphere and emotion, is a characteristic feature of his work. Tim Eitel Trois Crânes sur un Tapis d'Orient, 2020 Oil on canvas 70 x 70 cm courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Jean-Louis Losi #artbasel #timeitel #onlineviewingroom #artfair #painting
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    From today on, the @artbasel Online Viewing Room is available to the public. Next to the works of the presented artists you will find some insights. Tim Eitel’s (*1971) paintings create analogies of reality, making use of what he has seen and experienced to construct fictitious, parallel worlds, often in the context of an exhibition or a museum. All components of his work are based on encounters, and objects captured in photographs or real spaces. Each of these experiences is boiled down to its most meaningful quintessence. The ambivalence between the pure colour as an expansive, abstract form, and the colour used as the motif, atmosphere and emotion, is a characteristic feature of his work. Tim Eitel Trois Crânes sur un Tapis d'Orient, 2020 Oil on canvas 70 x 70 cm courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Jean-Louis Losi #artbasel #timeitel #onlineviewingroom #artfair #painting
  • Yesterday started this year’s @artbasel and we are happy to participating with the Online Viewing Room, where we are showing works by 5 different artist: Tim Eitel, Carsten Nicolai, Neo Rauch, Titus Schade and Kristina Schuldt. @titusschade (*1984), former master student of Neo Rauch, will be presented on Art Basel for the first time. He paints complex and enraptured pictorial worlds that seem as controlled as they are unique. Half-timbered buildings, windmills, churches, and crude buildings seem strangely flattened and cut-out as if lacking volume. They inhabit a space where conventional perspectives have become obsolete. The painted buildings — whether lined up on a shelving unit or against the darkness of an inky black surface — form a kind of magical locality that can be entered through sight, though hardly describable with words. Titus Schade Stilleben Wolkenlandschaft, 2020 Oil and acrylic on canvas 100 x 80 cm courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Uwe Walter, Berlin #artbasel #onlineviewingroom #artfair @atelier_titusschade
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    Yesterday started this year’s @artbasel and we are happy to participating with the Online Viewing Room, where we are showing works by 5 different artist: Tim Eitel, Carsten Nicolai, Neo Rauch, Titus Schade and Kristina Schuldt. @titusschade (*1984), former master student of Neo Rauch, will be presented on Art Basel for the first time. He paints complex and enraptured pictorial worlds that seem as controlled as they are unique. Half-timbered buildings, windmills, churches, and crude buildings seem strangely flattened and cut-out as if lacking volume. They inhabit a space where conventional perspectives have become obsolete. The painted buildings — whether lined up on a shelving unit or against the darkness of an inky black surface — form a kind of magical locality that can be entered through sight, though hardly describable with words. Titus Schade Stilleben Wolkenlandschaft, 2020 Oil and acrylic on canvas 100 x 80 cm courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Uwe Walter, Berlin #artbasel #onlineviewingroom #artfair @atelier_titusschade
  • Our #homealone series comes to an end. The Ukrainian artist Lada Nakonechna shared with us her current situation and her video marks the end of our series. Thank you so much for watching, following and supporting us. . #stayhealthy @eigenart_lab @bpigs #ladanakonechna . “... In these works, Nakonechna takes recourse to themes she has been concerned with for several years: the political dimension of landscapes, the arbitrary shifting of borders and the conflicts associated with that, but also our relative distance from pictures from unknown contexts and the attempt to approach them through analytic questioning. Two black-and-white transfer prints with the identical motif, a residential building concealed by thickly foliaged trees and bushes, were processed once with blue and black paint and once with blue, black and red paint. Black, blue, and red are the colors of the flag of the proclaimed, but internationally unrecognized “Donetsk People's Republic”; black and blue are the basic colors of the Ukrainian administrative district, Donetsk Oblast. While here the colors of the respective flags are laid over the landscape like a filter, other works are devoted to the territory in its cartographic representation. For example, the contours of the occupied regions of Donetsk and Luhansk are cropped as a fragment of a landscape photo, or a white sheet of paper folded like a map is shown spread in the hands of several people. The territory is apparently being negotiated here, whereby it remains unclear if the tree assigned by a number in the drawing is really a tree or perhaps rather an explosion.” . . . Lada Nakonechna Marking 1, 2019 Transfer print, crayon and graphite on paper Sheet: 140,7 x 213 cm, image: 122,7 x 197 cm courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Uwe Walter, Berlin
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    Our #homealone series comes to an end. The Ukrainian artist Lada Nakonechna shared with us her current situation and her video marks the end of our series. Thank you so much for watching, following and supporting us. . #stayhealthy @eigenart_lab @bpigs #ladanakonechna . “... In these works, Nakonechna takes recourse to themes she has been concerned with for several years: the political dimension of landscapes, the arbitrary shifting of borders and the conflicts associated with that, but also our relative distance from pictures from unknown contexts and the attempt to approach them through analytic questioning. Two black-and-white transfer prints with the identical motif, a residential building concealed by thickly foliaged trees and bushes, were processed once with blue and black paint and once with blue, black and red paint. Black, blue, and red are the colors of the flag of the proclaimed, but internationally unrecognized “Donetsk People's Republic”; black and blue are the basic colors of the Ukrainian administrative district, Donetsk Oblast. While here the colors of the respective flags are laid over the landscape like a filter, other works are devoted to the territory in its cartographic representation. For example, the contours of the occupied regions of Donetsk and Luhansk are cropped as a fragment of a landscape photo, or a white sheet of paper folded like a map is shown spread in the hands of several people. The territory is apparently being negotiated here, whereby it remains unclear if the tree assigned by a number in the drawing is really a tree or perhaps rather an explosion.” . . . Lada Nakonechna Marking 1, 2019 Transfer print, crayon and graphite on paper Sheet: 140,7 x 213 cm, image: 122,7 x 197 cm courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Uwe Walter, Berlin
  • Today the Italian artist Nicola Samorì took us into his studio - thank you for the insight! Due to the current situation we have postponed his solo exhibition to September. . . Samori's works often refer to Italian 17th century painting. His still lifes, portraits and landscapes develop through enormous technical skills over a long span of time and through numerous layers of paint on copper, wood or canvas. But Samori withholds the „finished painting from us and purposely destroys the image surface and attacks it with palette-knifes, diluent or his bare hands. Physicalness and the body are most important for Samori's paintings. By focusing on the materiality and artificiality of the image, Samori negates classical represenation and questions painting itself. Nicola Samori was born in Forli, Italy, in 1977 and studied at the Accademia d'Arte in Bologna. . #homealone #nicolasamorì #stayhealthy @eigenart_lab @bpigs . . Nicola Samorì Il fuoco, 2020 Oil on onyx 40 x 30 cm courtesy Galerie EIGEN + ART Leipzig/Berlin
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    Today the Italian artist Nicola Samorì took us into his studio - thank you for the insight! Due to the current situation we have postponed his solo exhibition to September. . . Samori's works often refer to Italian 17th century painting. His still lifes, portraits and landscapes develop through enormous technical skills over a long span of time and through numerous layers of paint on copper, wood or canvas. But Samori withholds the „finished painting from us and purposely destroys the image surface and attacks it with palette-knifes, diluent or his bare hands. Physicalness and the body are most important for Samori's paintings. By focusing on the materiality and artificiality of the image, Samori negates classical represenation and questions painting itself. Nicola Samori was born in Forli, Italy, in 1977 and studied at the Accademia d'Arte in Bologna. . #homealone #nicolasamorì #stayhealthy @eigenart_lab @bpigs . . Nicola Samorì Il fuoco, 2020 Oil on onyx 40 x 30 cm courtesy Galerie EIGEN + ART Leipzig/Berlin
  • Kristina Schuldt (born 1982 in Moskau) studied at the Academy of Fine Arts Leipzig, until 2012 she was a Master student under Professor Neo Rauch. She still lives and works in Leipzig. In the pictures of Kristina Schuldt faceless women's bodies lie, fall, loll languorously, or bend themselves, as two-dimensional tubes. She unashamedly makes use of the pictorial forms of Classic Modernism, but creates her own new pictorial language, for example from the wavy hair of a Fernand Léger painting and powerful, schematized bodies that recall the avant-garde pictures of the 1920s. Works by Kristina Schuldt were on display in many national and international shows in Europe. Her first solo exhibition was 2016 in the “Museum für junge Kunst” in Frankfurt / Oder. In autumn 2019 Kristina Schuldt was part of the group exhibition “Jetzt! Junge Malerei in Deutschland” (engl. “Now! Young paintings in Germany”), which was already shown in different cities like Bonn, Chemnitz, Wiesbaden and currently works by her can be seen in the group exhibition at Deichtorhallen Hamburg. . . #homealone #stayhealthy @kristinaschuldt @deichtorhallenhamburg @eigenart_lab . . Kristina Schuldt Change, 2020 Oil and egg tempera on canvas 80 x 70 cm courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Uwe Walter, Berlin
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    Kristina Schuldt (born 1982 in Moskau) studied at the Academy of Fine Arts Leipzig, until 2012 she was a Master student under Professor Neo Rauch. She still lives and works in Leipzig. In the pictures of Kristina Schuldt faceless women's bodies lie, fall, loll languorously, or bend themselves, as two-dimensional tubes. She unashamedly makes use of the pictorial forms of Classic Modernism, but creates her own new pictorial language, for example from the wavy hair of a Fernand Léger painting and powerful, schematized bodies that recall the avant-garde pictures of the 1920s. Works by Kristina Schuldt were on display in many national and international shows in Europe. Her first solo exhibition was 2016 in the “Museum für junge Kunst” in Frankfurt / Oder. In autumn 2019 Kristina Schuldt was part of the group exhibition “Jetzt! Junge Malerei in Deutschland” (engl. “Now! Young paintings in Germany”), which was already shown in different cities like Bonn, Chemnitz, Wiesbaden and currently works by her can be seen in the group exhibition at Deichtorhallen Hamburg. . . #homealone #stayhealthy @kristinaschuldt @deichtorhallenhamburg @eigenart_lab . . Kristina Schuldt Change, 2020 Oil and egg tempera on canvas 80 x 70 cm courtesy Galerie EIGEN + ART Leipzig/Berlin Photo: Uwe Walter, Berlin
  • Mirjam Völker normally works on canvas or paper. For our #homealone series she worked on an animation video for the first time. . Völker (born 1977 in Wiesbaden) studied at Akademie für Bildende Künste (Academy for Visual Arts) at Johannes-Gutenberg Universität Mainz and at Hochschule für Grafik und Buchkunst (Academy of Visual Arts) in Leipzig. She was a master student of Neo Rauch's from 2008 to 2010. She lives and works in Leipzig. In her works, Mirjam Völker deals with dwellings, standing in abandoned nature. Cabins, shacks, refuges that have lost their original purpose—to give shelter and protection.Her drawings and paintings are characterised by their materiality. At some points the dwellings and their overgrowth appear transparent and the materiality seems to disperse. This interplay of overlapping materiality and dissolution leads, together with the combination of the extreme perspectives, to an impression of discomfort and instability. . . #homealone #mirjamvoelker #stayhealthy @eigenart_lab . . Mirjam Völker Signal, 2019 Silkscreen (ten-colored); handmade background 22.4 x 15.3 in Edition of 35
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    Mirjam Völker normally works on canvas or paper. For our #homealone series she worked on an animation video for the first time. . Völker (born 1977 in Wiesbaden) studied at Akademie für Bildende Künste (Academy for Visual Arts) at Johannes-Gutenberg Universität Mainz and at Hochschule für Grafik und Buchkunst (Academy of Visual Arts) in Leipzig. She was a master student of Neo Rauch's from 2008 to 2010. She lives and works in Leipzig. In her works, Mirjam Völker deals with dwellings, standing in abandoned nature. Cabins, shacks, refuges that have lost their original purpose—to give shelter and protection.Her drawings and paintings are characterised by their materiality. At some points the dwellings and their overgrowth appear transparent and the materiality seems to disperse. This interplay of overlapping materiality and dissolution leads, together with the combination of the extreme perspectives, to an impression of discomfort and instability. . . #homealone #mirjamvoelker #stayhealthy @eigenart_lab . . Mirjam Völker Signal, 2019 Silkscreen (ten-colored); handmade background 22.4 x 15.3 in Edition of 35
  • Maix Mayer works as a media- and conceptual artist in Leipzig. In his projects he examines different narrative models of fiction and reality. As a matrix that is always recomposed, he uses the interplay of media/arts and architecture. Referring on his scientific education, his arrangements build up a context to perceive time and space and history. Under special regard he deals with the transformations of our society, the given examples based on urban spaces and the related aspect of symbolization of architecture as social utopia. . . #homealone #stayhealthy @eigenart_lab @galerie_eigenart #maixmayer #barosphere1 . . Maix Mayer baro_1.52, 2018 C-Print 40 x 58 cm
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    Maix Mayer works as a media- and conceptual artist in Leipzig. In his projects he examines different narrative models of fiction and reality. As a matrix that is always recomposed, he uses the interplay of media/arts and architecture. Referring on his scientific education, his arrangements build up a context to perceive time and space and history. Under special regard he deals with the transformations of our society, the given examples based on urban spaces and the related aspect of symbolization of architecture as social utopia. . . #homealone #stayhealthy @eigenart_lab @galerie_eigenart #maixmayer #barosphere1 . . Maix Mayer baro_1.52, 2018 C-Print 40 x 58 cm