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Group show: NEW ENTRIES (over)

15 January 2011 until 19 February 2011

Linienstrasse 155
10115 Berlin
Germany (city map)

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tel +49 (0)30 - 695 04 142



New Entries – Magdalena von Rudy, Jenny Michel, Daniele Buetti and Aaron van Erp. The show presents the new artists of Galerie KUNSTAGENTEN and gives at the same time an outlook for the year program. With exception of Aaron van Erp, whose works were already seen in his autumn 2010 solo show, the gallery will dedicate a solo exhibition to all new artists in 2011.

Behind the seductive beauty of Daniele Buetti’s works (* 1955 Fribourg, Switzerland) lurks sarcastic ambiguity and melancholy. His light boxes show photographs of female models, whose surface the artist perforates with pinholes and modifies with color. In their pristine beauty the women add to the contemporary ideal of beauty and become a silent screen for the wishes and aspirations of our time. At the same time the pinholes forming texts and ornaments give them a voice – the light passing trough the perforations breathes life into Buetti’s models. The contrast of consumable goods and the self-determined individual, the interplay between the destruction of surface and the generation of content, critical reflection on the quest for eternal youth and desirability, trendsetting (self-)representation, consumerism and the seductive pover of images, fears and doubts hide behind formal perfection.

Since 2004 Daniele Buetti has been professor of photography at the Art Academy in Münster. His works have been exhibited worldwide in numerous museums, galleries and Kunstvereinen, including solo shows at the Museum Henie Onstad in Oslo (2004), the Swiss Institute New York (2008) and at Haunch of Venison in Zurich (2008). Most recently he participated in exhibitions at the Wallraf-Richartz-Museum Cologne (2010), Museum für Gestaltung Zürich (2010) and the Museum der Moderne in Salzburg (2010). Buetti is represented in prestigious collections such as the Kunsthaus Zurich, Museo Nacional Centro de Arte Reina Sofia, Madrid, La Maison Européenne de la Photographie, Paris, and the Thyssen-Bornemisza Contemporary Art Foundation in Salzburg.

Jenny Michel (* 1975, Worms) explores in her works the interface between science and fiction. Since 2003, the artist has developed a complex series of works from objects, drawings, photographs, collages, texts, videos and performances, tearing (scientific) phenomena or conceptualities from their correlative meaning and placing them into a new context. Following a period of intensive study for each case, the systems grow out of several individual modules together into a mazelike overall structure – a network whose individual components can be mixed together. In the exhibition "New Entries" Jenny Michel presents her "Dust Manifesto" (2005-2010), a module from the "Dust" series. The manifesto proclaims a life with the dust, this inconspicuous appearance, which is much more than a soulless relic: "Dust is flowering right through the universe. Dust joins itself to matter and is the result of its ruin. Like small, failed universes, lumps of dust lie under our beds. We carry dust as personal auras with us. Dust lives with us and outlives us – a cultural successor," says the artist. In 500 drawings, she combines philosophical and scientific considerations on the phenomenon of dust with their own theories and fictional ideas. The imagined is presented as a reliable empirical reality, as "real" science, whose methods Jenny Michel uses on the one hand, however she ironically infiltrates its claim to absolute right on the other hand.

Jenny Michel studied at the Kassel Art Academy and the Academy of Fine Arts in Vienna. She received several grants and awards, including fellowships from the Studienstiftung des Deutschen Volkes (2003-2005), the EHF Fellowship of the Konrad-Adenauer-Stiftung (2008) and the HAP Grieshaber Prize of VG Bild-Kunst (2010) for outstanding artistic achievements. The comprehensive “Dust” series was already extremely positive reviewed, when the Gallery Gillian Morris presented it in a solo exhibition in 2008 and at the Art Cologne 2009.

Lobsters, which are locked in a tight aquarium with bound claws, people who become violent abusers, sparse, eerie rooms without windows, inhospitable landscapes – in Aaron van Erp’s (* 1978 Veghel, Netherlands) paintings, imagination and reality thwart themselves. His imagery is rooted in the inwardness of the subconscious, while engaging the cruelties of the outside world simultaneously. In doing so van Erp succeeds in creating a maximum stimulation of the viewers imagination with a minimum of identifiable pictorial elements. With their fragmented bodies van Erp’s actors seem to be half-beings that literally dissolve at the crossroads between life and death, good and evil. Aaron van Erp’s imagery integrates numerous artistic influences and operates seemingly anachronistic within the boundaries of art history. In a unique manner surrealistic, realistic, impressionistic and expressionist elements, careless or supposedly imperfect brush strokes fuse with serious subjects and biting mockery.

The Dutch Aaron van Erp belongs to the exceptional talents of the younger painter generation in Europe. After concluding his studies in 2001 at the St. Joost School of Art and Design in Hertogenbosch, Netherlands, his paintings were shown in group exhibitions such as “Sieben auf einen Streich", curated by Jan Hoet at , MARTa Herford (2006), "Strange Brew" at Max Lang Gallery N.Y. (2007), curated by Wolfgang Schoppman, “Aaron van Erp & Sebastian Ludwig” at Sperone Westwater N.Y. (2008) and H”High Drama” – ,Works from the Collection of Carla and Hugo Brown”, at the Dutch Cultural Space in London (2010). Solo presentations followed took place at the Stedelijk Museum 's Hertogenbosch and the Gemeentemuseum Den Haag (2007), IBID Projects London and Hoet Bekaert Gallery Gent (2008), to name just a few.

The German-Polish artist Magdalena von Rudy (* 1973 Ratibor, Poland) is concerned with the re-enactment of scenes. In her video work, characters from Hollywood movies, film scripts and music, art history and film history citations from art history and film history all meeet in minimalist scenarios. Thus the video work “Medusa” (2004), indicated in the exhibition, feeds itself from a variety of sources: Set in a circular framework, which reminds us of the famous representation of the Medusa of Caravaggio, the artist plays the role of the death-bringing legendary figure, whose view solidifies the vis-à-vis into stone. A woman – glamorously dressed and coiffed like David Lynch's Dorothy (Isabella Rossellini) in "Blue Velvet" – repeats Jack Nicholson's speech about honor and responsibility in the military justice drama "The Unit" with theatrically expressive gestures. Through the transposition of the pitch, the monologue oscillates between the sound of a male and female voice. Magdalena von Rudy weaves a multitude of layers of meaning and thus provides new contexts. Her films are not cut collections of "found footage", but impressive enhancements, complex deconstructions and exciting reclassifications, which often shed light on gender identity constructions and question standardized roles.

The graduate of the Düsseldorf Academy is amongst the soaring film and video artists of today. Her artistic work was awarded the Marler Video-Kunst-Preis (2006) and the Nachwuchsstipendium der Kunststiftung NRW (2010) and was shown in exhibitions at Kunstverein Bochum (2006), Kunstmuseum Thun (2008), Museum Ludwig in Köln (2009), at KW Institute for Contemporary Art in Berlin (2010), as well as in the National Museum Warsaw (2010).

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