22/22
Installation view
Photo: Dirk Tacke
21/22
Thu-Van Tran
Novel Without a Title #9, 2020
Bronze
9 × 100 × 30 cm
20/22
Thu-Van Tran
Colors of Grey, 2025
Pigment and lime on linen canvas
84 × 124 × 6.4 cm (framed)
19/22
Thu-Van Tran
Colors of Grey, 2023
Pigment and lime on linen canvas
54 × 74 × 6.4 cm (framed)
18/22
Thu-Van Tran
Colors of Grey, 2023
Pigment and lime on linen canvas
119 × 154 × 6.4 cm (framed)
17/22
Installation view
Photo: Dirk Tacke
16/22
Thomas Ruff
d.o.pe.07 II, 2022
Colaris print on Velour carpet
267 × 200 cm
Edition of 4
15/22
Thomas Ruff
STE 2.14 (23h26m -60°C), 1992
Chromogenic print
260 × 188 cm
Edition: 2
14/22
Installation view
Photo: Dirk Tacke
13/22
Maximilian Rödel
yet untitled (desert), 2023
Oil on canvas
160 × 137 cm
12/22
Maximilian Rödel
Bound by Rust, 2024
Oil on canvas
200 × 175 cm
11/22
Maximilian Rödel
Edge of Momentum, 2024
Oil on canvas
300 × 175 cm
10/22
Installation view
Photo: Dirk Tacke
9/22
Leiko Ikemura
violet mountain, 2023
Cast glass
17 × 23 × 16 cm
Edition of 5
8/22
Installation view
Photo: Dirk Tacke
7/22
Stephan Balkenhol
Hund, 2025
Wawa wood, coloured
170 × 33.5 × 23 cm
6/22
Installation view
Photo: Dirk Tacke
5/22
Installation view
Photo: Dirk Tacke
4/22
Thomas Struth
Ellsworth Schist, Rockport, Maine 2021, 2021
Silver gelatin print
126.5 × 100.1 × 4 cm (framed)
Edition of 6
3/22
Thomas Struth
Dreck, CERN, Saint Genis-Pouilly 2021, 2021
Inkjet print
71.6 × 94 × 4 cm (framed)
Edition of 6
2/22
Installation view
Photo: Dirk Tacke
1/22
Thomas Struth
Hecke, Feldberger Seen-
landschaft 2021, 2024
Inkjet print
138.2 × 182.9 × 5.2 cm (framed)
Edition of 6
We are delighted to announce the group exhibition “Poetics of Nature”.
This theme-based exhibition focuses on various work cycles by Stephan Balkenhol, Leiko Ikemura, Maximilian Rödel, Thomas Ruff, Thomas Struth and Thu-Van Tran. The selected works from different media and art-historical traditions are united by a sensual approach to nature that is capable of illuminating its transformative potential, reflecting its inherent cyclicality as a fundamental principle of our tangible world or illuminating/deconstructing facets of its characterization as an archetypal place of longing and refuge. In an efficiency- and speed-optimized, technoid society, however, nature is also increasingly exposed to interference and processes of change through the Anthropocene and the perception of nature as an exploitable resource; a complex ambivalence that is also subtly revealed in the exhibition.
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