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Picture: Uwe Jonas, 2024

ALLES VI

Elisabeth Ajtay – Sonja Alhäuser – Michelle Alperin – Stefka Ammon – Nándor Angstenberger – Christoph Bangert – Heike Kati Barath – Gabriele Basch – Kai-Annett Becker – Matthias Beckmann – Christoph Beer – Thomas Behling – Nora Below – Arnold Berger – Holger Biermann – Gunnar Borbe – Patrick Borchers – Kai Bornhöft – David Braithwaite – Susanne Britz – Simone Brühl – Ingmar Bruhn – Thomas Bruns – Astrid Busch – Dirk Busch – Claudia Busching – Frieder Butzmann – Michele Caliari – Alexander Callsen – Kyung-hwa Choi-Ahoi – Herbert De Colle – Marula di Como – Chris Costan – Henrike Daum – Dellbrügge & de Moll – Nanett Dietz – Annedore Dietze – Chris Dietzel – Andreas Drewer – Tina Dunkel – Rouven Dürr – Irena Eden & Stijn Lernout – Manfred Eichhorn – Jürgen Eisenacher – Dana Engfer – Sabine Fassl – Christel Fetzer – Frederik Foert – Franziska Frey – Sabine Friesicke – Agustín García García – Ingo Gerken – Manfred Gipper – Katrin Glanz – Thorsten Goldberg – Kerstin Gottschalk – Massoud Graf-Hachempour – Hinrich Gross – Robert Gschwantner – Kim Dotty Hachmann – Zandra Harms – Klaus Hartmann – Lisa Haselbek – Ulrich Heinke – Andreas Helfer – Gerhard Himmer – Annika Hippler – Peter Hock – Reinhard Hölker – Birgit Hölmer – Ralf Homann – Alexander Horn – Esther Horn – Fabian Hub – Franziska Hübler – Irène Hug – Franziska Hünig – Gunilla Jähnichen – Zora Jankoviće – Thomas Jehnert – Gabriele Jerke – Uwe Jonas – Yuki Jungesblut – Nikos Kalaitzis – Mi Jean Kang – Peter Kees – Werner Kernebeck – Annette Kisling – Ulrike & Günther-Jürgen Klein – Susanne Knaack – Andreas Koch – Silke Koch – Eva-Maria Kollischan – Karen Koltermann – Inge Krause – Christine Kriegerowski – Käthe Kruse – Annette Kuhl – Susanne Kutter – Patricia Lambertus – Nina Langbehn – Gesa Lange – Michael Lapuks – Seraphina Lenz – Sabine Linse – Pia Linz – Christine Lohr – Agnes Lörincz – Petra Lottje – Sarah Lüttchen – Rei Matsushima – Matthias Mayer – Udo Meinel – Manfred Michl – Ulrike Mohr – Mariella Mosler – Leo de Munk – Berit Myrebøe – Marcell Naubert – Joe Neave – Gertrud Neuhaus – Gabriele Obermaier – Mayumi Okabayashi – Juergen O. Olbrich – Jürgen Paas – Lydia Paasche – Jürgen Palmtag – Roman Pfeffer – Andrea Pichl – Torsten Prothmann – Katja Pudor – Emily Pütter – Maria-Leena Räihälä – Thomas Ravens – Andrea van Reimersdahl – Kai Richter – Gerda Riechert – Daniel Rödiger – Matthias Roth – rasso rottenfusser – Maja Rohwetter – Maike Sander – Walter Santoni – Matthias Schamp – Gisela Schattenburg – Sandra Schlipkoeter – Christiane Schlosser – Alexandra Schlund – Nadja Schöllhammer – Sylvia Schultes – Richard Schütz – Anton Schwarzbach – Olivia W. Seiling – Spunk Seipel – Fabian Seiz – Tanja Selzer – Soji Shimizu – Hildegard Skowasch – Jan-Peter E.R. Sonntag – Marie Lynn Speckert – Christina Speer – Carmine Speranza – Petra Spielhagen – Anne Staszkiewicz – Alexander Steig – Christian Stock – Stock’n’Wolf & Ritterskamp – ststs – Betty Stürmer – Lorant Szathmary – Vastiane Tamayo – Thea Timm – Asami Togawa – Peter Torp – Tim Trantenroth – Dorit Trebeljahr – Petra Trenkel – Andrea Übelacker – Yvonne Wahl – Klaus Walter – Ivo Weber – Vincent Wenzel – Markus Willeke – HS Winkler – Andreas Wolf – Anna Zakelj – Majla Zeneli – Julia Ziegler – Sandra Zuanovic – H.H. Zwanzig

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Bild: Ulrike Mohr, KUNSTHAL 44, MØEN, Denmark, 2018

Ulrike Mohr

Carbon Geometry

Opening: Tuesday, April 23, 2024 | 6 pm, Exhibition duration: until July 1, 2024

Ulrike Mohr revives the almost forgotten cultural technique of charcoal burning, which once provided the raw material for metalworking and glass production. The craft also preserves the wood itself as a material. The artist experiments with it in nature: the “largest studio in the world”. Here she finds both the raw material wood and the necessary space for the charcoal burning process.

Mohr emphasizes the charcoal and charcoal obtained as the basis of her artworks and at the same time explores their composition and creation. In this way, she combines traditional craftsmanship, nature and contemporary art. Her “spatial drawings” stand as installations in the room or are presented in a reduced form as artifacts.

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Leo de Munk
Colors

The exhibition Colors by Leo de Munk opens on February 13, 2024 at 6 pm and shows paintings and objects until April 15, 2024.

Leo de Munk‘s work is colorful and multi-layered in terms of materials and processes, although he has also turned to black and white in recent years. This is mainly due to the increased focus on printmaking and to some extent to the change in a product that de Munk uses for his sculptures, the tumble dryer, which is now only produced in black and white.

At the heart of his sculptural work are everyday objects of daily use, mostly cheap, colorful plastic objects that are deformed, merge into one another and can grow into large structures.

Leo de Munk’s work can be read as a commentary on the affluent society that surrounds us with all its charms, but the interpretation is left to the viewer.

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Picture: Susanne Britz, 2023

Susanne Britz

CIRCUIT

The exhibition CIRCUIT by Susanne Britz opens on November 28, 2023 at 6 pm and shows her commentary on the place until February 6, 2024.

The starting point of Susanne Britz’s transformative works are everyday objects from genuinely non-artistic areas of life, such as laundry racks, dish mats, circuit diagrams and stencils, drainpipes and gymnastics tapes, old and new, unique and mass-produced.

These objects from Britz’s heterogeneous pool of materials become the primary means of design in her works, which are usually developed in relation to the space and process and thus enter into a relationship with the surrounding space.

In this sense, Susanne Britz is not interested in the individual object as such, but in its interplay in a network of relationships, which the artist creates in different ways depending on the medium.

By integrating each individual component into a symbolic overall structure, the latter undergoes a revaluation. Thus alienated, the view shifts from the individual to the whole. Britz transforms our increasingly complex, artificial and fragmented everyday reality with a smile into laboratory-like experimental arrangements that appear both strange and familiar at the same time.

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Robert Gschwantner

Backdrift

September 20 – November 19, 2023

In December 1999, the deep-sea tanker Erika sank off the coast of Brittany, causing an enormous oil slick. I transferred this metaphorical term for oil sloshing across the sea into its concrete meaning by collecting spilled oil on site and filling it with thin, transparent PVC tubes, from which I had previously woven a carpet. It was the beginning of a series of projects that explore European landscapes that have been transformed in extraordinary ways by human impact. Originally focused on ecology, my focus expanded to include the topographical aspects of man-made waterscapes. These are islands, lakes, canals, waterfalls, constructed for political, economic or technical considerations, some of whose genesis dates back centuries or millennia. The water preserves these artificial landscape forms and ground plans. As solitaires, they shape the naturally evolved environment. Petroleum, water, mud, and other specific relics that I collect on site are preserved like landscape relics by serving as filler for my carpets and paintings made of PVC tubes. 

Room 2

The rugs in the Lost & Found series are a kind of remake and continuation of my Merci Total project about the oil spill caused by the sinking of the oil tanker Erika 20 years ago. While an oil spill remains more or less localized, millions of tons of plastic waste are spread in the world’s oceans every year, some of which washes back onto beaches.

In 2020, I collected plastic particles, sand and seawater on a beach on the small, uninhabited Greek island of Yalis and sprayed them into hand-woven carpets made of PVC hoses. Inside the hoses, the sand sinks to the bottom in the seawater, while plastic particles rise to the top, blocking each other and forming a random pattern.

Room 1

τέχνη (Techni), the Greek word for art, is a fitting term to describe the landscape around the Corinth Canal. The canal, built at great expense in the 19th century, is a huge intervention in nature, separating the Peloponnese from the mainland and turning it into an island. Only a few decades after its construction, the canal lost its importance for navigation, as modern ships are too large to pass through. Geometry, landscape, technology, art and history are facets of my pictorial objects. Each work from the current series of works, The Dividing Line, consists of multiple layers and perspectives interwoven with them. Spanning the image support are PVC tubes filled with seawater from the canal. Behind them is a glass plate, half of which is covered with a geometric motif. The unpainted empty spaces reveal a mirror mounted in the picture’s background. Depending on the viewer’s angle of vision, current satellite photographs and landscape images around Corinth from the early 19th century are reflected in it, framed by a classic wooden frame. The effect of the landscapes appearing is created by the fact that these landscape motifs are on the back of the geometrically painted front. By being experienced as an ephemeral mirror image, the landscape floats in space like an apparition and merges with the concretely graspable front to form a complex whole.

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ALLES V

Sonja Alhäuser – Michelle Alperin & Joe Neave – Elisabeth Ajtay – Nándor Angstenberger – Martin Assig – Clara Bahlsen – Emiliano Baiocchi – bankleer – Heike Kati Barath – Michael Bause – Kai-Annett Becker – Matthias Beckmann – Christoph Beer – Franziska Beilfuß – Arnold Berger – Holger Biermann – Manuel Bonik – Gunnar Borbe – Patrick Borchers – Kai Bornhöft – Ivan Boskovic – David Braithwaite – Susanne Britz – Simone Brühl – Ingmar Bruhn – Thomas Bruns – Astrid Busch – Dirk Busch – Alexander Callsen – Kyung-hwa Choi-Ahoi – Herbert De Colle – Marula di Como – Chris Costan – Henrike Daum – Dellbrügge & de Moll – Nanett Dietz – Chris Dietzel – Andreas Drewer – Tina Dunkel – Rouven Dürr – Irena Eden & Stijn Lernout – Axel Eichhorst – Manfred Eichhorn – Jürgen Eisenacher – Ether Elia – Dana Engfer – Carola Ernst – Media Esfarjani – Stefan Fahrnländer – Sabine Fassl – Christel Fetzer – Frederik Foert – Franziska Frey – Sabine Friesicke – Catherine Gerberon – Ingo Gerken – Katrin Glanz – Thorsten Goldberg – Kerstin Gottschalk – Massoud Graf-Hachempour – Robert Gschwantner – Kim Dotty Hachmann – Ulrich Hakel – Zandra Harms – Klaus Hartmann – Lisa Haselbek – Ulrich Heinke – Tanja Hehn – Andreas Helfer – Gerhard Himmer – Annika Hippler – Reinhard Hölker – Ralf Homann – Stephan Homann – Alexander Horn – Fabian Hub – Franziska Hünig – Gunilla Jähnichen – Zora Janković – Maarten Janssen – Gabriele Jerke – Uwe Jonas – Yuki Jungesblut – Nikos Kalaitzis – Mi Jean Kang – Judith Karcheter – Peter Kees – Werner Kernebeck – Soo Youn Kim – Annette Kisling – Ulrike & Günther-Jürgen Klein – Susanne Knaack – Win Knowlton – Andreas Koch – Silke Koch – Eva-Maria Kollischan – Karen Koltermann – Sebastian Körbs – Inge Krause – Christine Kriegerowski – Käthe Kruse – Annette Kuhl – Susanne Kutter – Patricia Lambertus – Nina Langbehn – Gesa Lange – Michael Lapuks – Julia Lazarus – Seraphina Lenz – Sabine Linse – Pia Linz – Christine Lohr – Agnes Lörincz – Petra Lottje – Enikö Márton – Rei Matsushima – Matthias Mayer – Udo Meinel – Manfred Michl – Ulrike Mohr – Mariella Mosler – Leo de Munk – Berit Myrebøe – Ursula Neugebauer – Gertrud Neuhaus – Fernando Niño-Sánchez – NOMDEPLUM – Anja Nowak – Gabriele Obermaier – Lorcan O’Byrne – Mayumi Okabayashi – Juergen O. Olbrich – Jürgen Paas – Lydia Paasche – Christina Paetsch – Jürgen Palmtag – Javier Peñafiel – Roman Pfeffer – Pfelder – Andrea Pichl – Torsten Prothmann – Katja Pudor – Emily Pütter – Maria-Leena Räihälä – Andrea van Reimersdahl – Mirja Reuter – Kai Richter – Renée Ridgway – Gerda Riechert – Yannick Riemer – Matthias Röhrborn – Matthias Roth – rasso rottenfusser – Maike Sander – Walter Santoni – Matthias Schamp – Gisela Schattenburg – Sandra Schlipkoeter – Alexandra Schlund – Sylvia Schultes – Richard Schütz – An Seebach – Olivia W. Seiling – Spunk Seipel – Daniel Seiple – Fabian Seiz – Tanja Selzer – Soji Shimizu – Soyoung Shon – Martina Siefert – Hildegard Skowasch – Elisabeth Sonneck – Jan-Peter E.R. Sonntag – Christina Speer – Petra Spielhagen – Ute Sroka – Anne Staszkiewicz – Alexander Steig – Gabi Steinhauser – Christian Stock – Stock’n’Wolf & Ritterskamp – ststs – Betty Stürmer – Lorant Szathmary – Thea Timm – Peter Torp – Tim Trantenroth – Petra Trenkel – Lukas Troberg – Andrea Übelacker – Anne Ullrich – Timm Ulrichs – Marc Vidal – Anke Völk – Ivo Weber – Albert Weis – Ute Weiss Leder – Markus Willeke – HS Winkler – Andreas Wolf – Markus Wüste – Barbara Zenner – Julia Ziegler – Sandra Zuanovic – H.H. Zwanzig

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26th April to 25th June 2023

Astrid Busch

world in minds

In the past, the world came to the city with the ships; today, they are sealed-off areas and are only regarded as gateways to the world in spirit. With the exhibition “world in minds”, Astrid Busch transports visitors to the major ports of four cities. She artistically approaches the history and present of the ports of Hamburg, Antwerp in Belgium, Le Havre in France, and Istanbul in Turkey, as well as the pace of their shipping traffic. By linking different media and time levels, she creates a dense network of references and a variety of possible readings. She builds settings of installations and objects, photography and film, projection and works on paper, with which she examines places for their sensory perceptibility and their effect on people.

Astrid Busch studied fine art at the Academy of Fine Arts in Nuremberg and at the Berlin Weißensee School of Art. Her works have been included in exhibitions at the Maison des Arts Solange-Baudoux in Évreux, France; the Modern Art Museum in Yerevan, Armenia; the Hetjens Museum in Düsseldorf, Germany; the Museum Kunst der Westküste on the island of Föhr, Germany; and the Kunstpalast Düsseldorf, Germany.

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Picture: Nándor Angstenberger

February 7 – April 12, 2023

Nándor Angstenberger

World Builder

“When someone asks me what I do as a visual artist, I answer: I am a world builder!
But I am also a collector, a folder, a tailor or a searcher, a finder and an archivist.
My organically growing constructions are neither models for something nor models of something. They are life designs, proposals and suggestions for new ideas and spatial concepts, but also designs for unrealizable constructions from a parallel world that we only know from literature or mythology.
The materials I use for my works are mostly found objects, forgotten, left behind or lost. They have patina, they have traces of life in the form of scratches, discoloration or deformation, and it is these traces of life that make the material interesting for me. They are usually very small, but can also be larger, inconspicuous, readily overlooked, but in their composition they reveal the magic of things. They can also be found objects from nature, fallen branches, worked by seasons and weather, or flotsam, reinterpreted by the forces of water. I would like to invite the viewer to rediscover the small things of everyday life, learning to appreciate the beauty of the inconspicuous and easily overlooked. It is an aesthetic of the imperfect, characterized by asymmetry, roughness, irregularity, simplicity and economy, showing respect for the peculiarity of things.
I collect these materials tirelessly, without being tied to a place or fixated on a material. Part of my research is to explore a new place, my future archive of materials and ideas, collecting and sorting first impressions.
A big theme in my work right now is my concentric utopian and fantastical landscapes or worldviews. They are very autobiographical, a status quo, an event, a reflection on systems, how to live, how to live and how not to live. What’s happening around us, being part of this society, being an artist, being human. A lot of the material I use I take from nature, but I also give some back to the cycle of nature when I take down the installations. It is also a search for traces that I embark on, the collection of working material, experiences and adventures.
My filigree objects are created without sketches or concrete preliminary work. They are guided by my own imagination. Personal notes and experiences find their way into my objects without the usual evaluative order. Despite their often fairy-tale appearance, my works are also commentaries on the crisis of the private sphere and the loss of stable identities. In a globalized world, certainties have finally dissolved, absolutely everything has become material.” (Nándor Angstenberger, 2022)

Nándor Angstenberger wants to invite the viewer to rediscover the small things of everyday life and thus learn to appreciate the beauty of the inconspicuous and easily overlooked. His materials are mostly found objects: Forgotten, abandoned and lost, or found objects from nature. They have patina, they have scratches, discolorations, are deformed. These traces of life are what make the material interesting to him, and it is in their composition that he unlocks the magic of these things. It is an aesthetic of the imperfect, which is characterized by asymmetry, roughness, irregularity, simplicity and economy, thus demonstrating respect for the peculiarity of things. Angstenberger studied fine arts at the Hochschule für Bildende Künste Hamburg and describes himself as a world builder and material archivist. His works have been shown at the Museum Marta Herford, Ludwig Museum Koblenz, Kunsthalle Krems, Kunstmuseum Ahrenshoop, Kunsthalle Emden and Museum Kloster Unser Lieben in Magdeburg, Landesmuseum Stuttgart, Kunstverein Freiburg, Kunstverein Bellevue-Saal Wiesbaden and Zeppelin Museum Friedrichshafen, among others. In addition, stage design installations for New Music in the Paris Philharmonic and for OperaLab in the Ackerstadtpalast, Berlin.

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Bild: R.J. Kirsch, Hai

Tierisch

Sonja Alhäuser, Ingmar Bruhn, Kyung-hwa Choi-ahoi, R. J. Kirsch,

Manfred Michl, Susanne Ring

The exhibition Tierisch Opens on November 29, 2022 at 7 pm and shows, until January 25, 2023, with different artistic means views of animals.

Sonja Alhäuser draws many animals that play a role as food and describes, for example, the process of preparation. Recently, horses also occupy a larger, non-culinary, space in her work.

Ingmar Bruhn concentrates in his painting on wild animals, which he captures with rough strokes in their aloofness.

Kyung-hwa Choi-ahoi tells stories in her drawings that deal with the relationship of people to their (domestic) animals.

R. J. Kirsch paints in strong colors animals that he encounters in magazines or the like and thus usually appear more exotic.

Manfred Michl considers in his painting and drawing the interaction between animals and humans.

Susanne Ring deals in her sculptural work with animal forms that can seem unreal but always refer to something animal.

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50 Years of Utopia

Holger Biermann, Thomas Bruns, Marula Di Como,

Birgit Szepanski, Lukas Troberg

The exhibition 50 Years of Utopia opens on 30 August 2022 at 7 p.m. and shows, until 23 November 2022, a view with artistic means of the urban structure Fennpfuhl.How does it live in the built utopia?

Holger Biermann captures everyday life in this area with his situational street photography; he moved around Fennpfuhl for weeks to find the motifs.

Thomas Brun‘s room-high architectural photographs convey the breathtaking urbanity of the area. He combines them with photographs of the sculptures and leisure activities from the Fennpfuhl Park.

Marula Di Como and Birgit Szepanski refer to historical aspects of the high-rise housing estate in their installation works.

Marula Di Como uses wooden elements to update decision-making moments in the planning and development of the neighbourhood. In her textile installation, Birgit Szepanski deals with the reality of homelessness, which was not visible in Fennpfuhl in the GDR and is only partially visible today.

Lukas Troberg turns the functional architecture of the area into a theme and stages ventilation pipes, bent bollards and protective hoops as extravagant guests of the exhibition.

They visibly don’t care what others think and stage their exclusivity in an overly conspicuous way. So much so that one could get the impression that they chose their appearance with the public in mind, from whom they actually wanted to distance themselves…