Özgür Kar’s works assemble in space to function as scenes from theatre pieces: each serves as a character playing its part within a non-linear score and script. Working with voice actors and instrumentalists, Kar produces multi-part soundscapes that unfold through solemn repetition, forging existential dread mixed with cartoonish macabre. Stoic in their contemplation, his minimally animated drawings are set in imperceptible loops that turn videos into sculptures confined within the edge of television screens. Beyond the camp-ness of macabre, or the grotesque anxiety of death juxtaposed with cartoonish figures, the theatricality of Kar’s work is set in tonal displays of contemporary existentialism.
Özgür Kar was born in Ankara, Turkey in 1992. He now lives and works in Amsterdam, Netherlands.
Özgür Kar studied at the Rijksakademie van Beeldende Kunsten, Amsterdam, NL (2019-2020), Sandberg Instituut, Amsterdam, NL (2016-2018), Gerrit Rietveld Academie, Amsterdam, NL (2012-2015)
Kar’s work has been presented in numerous solo exhibitions, including: Stedelijk Museum, Amsterdam (2022); Emalin, London (2021); Fondation Louis Vuitton, Paris (2021); Kunstverein Gartenhaus, Vienna (2021); Edouard Montassut, Paris (2020); public sculpture at Europarådet plass, Oslo (2019); UKS (Young Artist Institute), Oslo (2019); Taylor Macklin, Zürich (2018)
His work has also been shown in selected group exhibitions, including: BRAUNSFELDER, Cologne (2022); The 16th Lyon Biennale of Contemporary Art: Manifesto of Fragility, Lyon (2022); Jeu de Paume, Paris (2021); Quinta do Quetzal, Vidigueira (2021); K.U.K. Kjøpmannsgata Ung Kunst, Trondheim (2020); Bnkr, Munich (2020); Palais de Tokyo, Paris (2019); CAC Brétigny, Brétigny (2019); Stedelijk Museum Schiedam, Schiedam (2019); Edouard Montassut Gallery, Paris (2018); Watermill Art Centre, New York (2018); Frans Hals Museum, Haarlem (2017); Emalin, London (2017); 16th Venice Architecture Biennale, Spazio Punch, Venice (2017); Future Gallery, Berlin (2017); Aguirre, Mexico City (2017)
Cécile Lempert’s work explores the boundary between reality, computer generated imagery and memory. Her compositions, often characterized by artificial characters and objects, draw on both classical portraiture and rendered imagery. Lempert’s works create a universe that visualizes memories into fictional scenes.
Cécile Lempert was born in Dortmund, Germany in 1994. She now lives and works in Düsseldorf, Germany.
Cécile Lempert studied at the Kunstakademie Düsseldorf with Stefan Kürten and graduated in the class of Peter Piller.
Lempert’s work has been presented in solo and group exhibitions, including: BRAUNSFELDER, Cologne (2022); IAH gallery, Seoul (2022); AURA, Düsseldorf (2021); art tausch, New York (2021); Anna Klinkhammer Galerie, Düsseldorf (2020); Oberbilker Allee 57, Düsseldorf (2019); Anna Klinkhammer Galerie, Düsseldorf (2016); Sommerloch, Wuppertal (2016)
Michel Majerus’ work can be seen as the capturing of the visual culture of a moment. Majerus was fascinated by the specific imagery of his time: 1990’s advertisement and its slogans, brands and their logos as well as the emerging importance of the internet and computer technology with its digital aesthetics. But also pop cultural phenomena like comics, graffiti or techno mark recurring motifs of his work. During only a decade-long career, the artist created an enormous oeuvre, including paintings, installations, murals, collages and video works. His spontaneous and rapid way of working combined with a deep curiosity bore a multi-faceted body of work with a very distinct spatial sensibility. A series of major institutional exhibitions will take place this year (2022) in remembrance of the twenty years of Majerus’ untimely passing.
Michel Majerus was born in Esch-sur-Alzette, Luxembourg, in 1967. He died in Niederanven, Luxembourg in 2002.
Michel Majerus studied at the Staatliche Akademie der Bildenden Künste, Stuttgart under Joseph Kosuth (1986-1992), and received a DAAD scholarship (2000-2001) in Los Angeles, California, US
Majerus’ work has been presented in numerous major solo exhibitions, including: KW Institute for Contemporary Art, Berlin (2022); Institute of Contemporary Art, Miami (2022); Neuer Berliner Kunstverein (n.b.k.), Berlin (2022); Sprengel Museum, Hannover (2022); Hamburger Kunstverein (2022); Kunsthalle Bielefeld, Bielefeld (2018); neugerriemschneider, Berlin (2017); Matthew Marks, New York (2017); Galerie l’Indépendance, BIL, Luxembourg (2016); Galerie Max Hetzler, Berlin (2015); Matthew Marks, New York (2014); Kunstmuseum Stuttgart, Stuttgart (2011); neugerriemschneider, Berlin (2011); MudAM Musée d’Art Moderne Grand-Duc Jean, Luxembourg (2006); Deichtorhallen Hamburg, Hamburg (2005); Sprüth Magers Lee, London (2005); neugerriemschneider, Berlin (2005); Stedelijk Museum, Amsterdam (2005); kestnergesellschaft, Hannover (2005); Hamburger Bahnhof – Museum für Gegenwart, Berlin (2003); Tate Liverpool, Liverpool (2003); Brandenburger Tor, Berlin (2002); Friedrich Petzel Gallery, New York (2002); neugerriemschneider, Berlin (2002)
His work has also been shown in selected group exhibitions, including: BRAUNSFELDER, Cologne (2022); Michel Majerus Estate, Berlin (2022); Konschthal Esch, Esch-Sur-Alzette (2022); Kunstmuseum Stuttgart, Stuttgart (2021); Ludwig Forum, Aachen (2021); Michel Majerus Estate, Berlin (2019); MUDAM, Luxembourg (2017); Deutsche Bank Kunsthalle - Museum Palais Populaire, Berlin (2017); Parko Eleftherias, Athens (2017); Municipality Arts Center, Athens (2017); Galleri K, Oslo (2017); Faithless Pictures National Museum, Oslo (2017); Kunstmuseum Bonn, Bonn (2017); Sammlung Boros, Berlin (2017); Museum Brandhorst, Munich (2015); Foundation Louis Vuitton, Paris (2015); Städtische Galerie im Lenbachhaus, Munich (2015); Staatliche Kunsthalle Baden-Baden (2015)
Louis Mason’s work is centred around a strict colour palette, developed through the natural tones of the canvas. He creates formalistic and reduced paintings that explore a contemporary relationship with abstract expressionism. By using a variety of pens and graffiti markers, Mason maps out lines that at first appear as windows still in the process of being formed. Marks or traces left from the works existence in the studio might form a compositional direction, adding a layer of chance to an otherwise highly considered mapping out of the desired motif. Diagonally painted bands allude to football jerseys: the sport being a constant source of inspiration to the artist, while stencilled numbers exact the dimensions of the canvas.
Louis Mason was born in Bergisch Gladbach, Germany in 1989. He now lives and works in Cologne, Germany.
Louis Mason studied at the National College of Art and Design in Dublin and graduated from the Kunstakademie Muenster.
His work has been presented in selected solo and group exhibitions, including: BRAUNSFELDER, Cologne (2022); BELLE ETAGE, Cologne (2022); byvier, Cologne (2021); Gewölbe, Cologne (2020)
Joanna Piotrowska’s psychologically charged work explores human relations and its gestures of care, self-protection and control. Although her photographs feature everyday motifs, they do not show ordinary or candid situations. As the curator George Vasey points out: “Each image resists easy assimilation, like reading a book with the pages torn out, the images are enigmas.”
The artist’s oeuvre investigates the interaction between the human body and the environment, which is charged with social, political and anthropological issues. Through de-contextualisation and exaggeration, the artist challenges seemingly obvious settings and assumptions, such as the common equation of home=family=safety. Her work thus invites viewers to reconsider certainties that were taken for granted.
Joanna Piotrowska was born in Warsaw, Poland in 1985. She now lives and works in London, England, UK.
Joanna Piotrowska studied at the Royal College of Art, London (2011 - 2013), the Jagiellonian University, Krakow (2010), the Universität für Angewandte Kunst, Vienna (2008), the Academy of Fine Arts, Krakow (2006 - 2009) and the Warsaw Film School, Warsaw (2004 - 2006).
Piotrowska’ work has been exhibited in numerous solo exhibitions such as: Kestner Gesellschaft, Hannover (2022); Joanna Piotrowska & Forma Fantasma ARCH, Athens (2022); Galerie Thomas Zander, Cologne (2021); Museum Insel Hombroich, Germany (2021); Zacheta National Gallery of Art Warsaw, (2020); Kunsthalle Basel (2019); Leeds Art Gallery, Leeds (2019); Tate Britain, London (2019); Southard Reid, London (2016); Frantic Madragoa, Lisbon (2016); Southard Reid, London (2015); Ksiegarnia | Wystawa, Krakow (2015); Krakow Photomonth Festival, Krakow (2015); The Seweryn Udziela Ethnographic Museum, Krakow (2015); Northern Gallery of Contemporary Art, Sunderland (2014)
Her work has also been shown in selected group exhibitions, including: BRAUNSFELDER, Cologne, (2022); 59th Venice Biennale, Venice (2022); 16th Lyon Biennale of Contemporary Art, Lyon (2022); Aberdeen Art Gallery, Aberdeen (2020); BNKR, Munich (2020); Göteborgs Konsthall, Göteborg (2020); Museum of Contemporary Art of Rome, Rome (2020); Kunsthalle Wien, Vienna (2018); MoMA, New York (2018)
Ser Serpas’ multifaceted practice embraces transience and indeterminacy. Through sculpture, poetry, performance and painting—Serpas emphasises a productive precariousness, teasing meaning out of illegibility and creating sites to give thought to the momentary. Her installations demonstrate the simultaneously mesmerising and fleeting notion of value, find- ing a productivity in objects that had otherwise seemed exhausted. Whether assembled from discarded detritus found on the street or from fabric gifted to Serpas by her friends, her re- worked artworks and installations exist in and out of public—built from private moments and re- assembled for an audience of strangers. At times these sculptures, poems and paintings seem on the brink of collapse or disintegration. Serpas constructively blurs the tension between sta- bility and entropy. Likewise, she pits lucidness and incoherence against one another, frequently enclosing them in the same frame. Her works can be seen as monuments to impulse that are fixed just long enough to ingrain themselves in our memories.
Ser Serpas was born in Los Angeles, USA in 1995. She now lives and works in Paris, France.
Ser Serpas graduated from Columbia University in New York (2020) and studied at HEAD in Geneva (2021).
Serpas’ work has been presented in numerous solo exhibitions, including: LC Queisser, Tbilisi (2022); Galerie Barbara Weiss, Berlin (2022); Balice Hertling, Paris (2022); Conceptual Fine Arts, Milan (2022); LC Queisser, Tbilisi (2021); Karma International, Zurich (2020); Karma International, Zurich (2020); Ludlow 38, New York (2019); Truth and Consequences, Geneva (2019); LC Queisser, Tbilisi (2019); LUMA Westbau, Zurich (2018); Queer Thoughts, New York (2018); Smack Mellon Gallery, New York (2016)
Her work has also been shown in selected group exhibitions, including: BRAUNSFELDER, Cologne (2022); Milieu, Bern (2022); Carlye Packer, Los Angeles (2022); Karma International, Zurich (2022); David Lewis Gallery, New York (2022) Centre d’Art Contemporain Genève (2022); Maxwell Graham / Essex Street, New York (2022); Fitzpatrick Gallery, Paris (2021); Bourse de Commerce / Pinault Collection, Paris (2021); Arcadia Missa, London (2020); Karma International, Zurich (2020); Hammer Museum, Los Angeles (2020); Punta della Dogana, Venice (2020); Galerie Barbara Weiss, Berlin (2019); Kunsthalle Fribourg, Fribourg (2019); Croy Nielsen, Vienna (2019); Clearing, New York (2019); Company Gallery, New York (2019); Karma International / Gavin Brown’s Enterprise / VIVA Projects, Paris (2018); AA|LA, Los Angeles (2018); Gavin Brown’s Enterprise, New York (2018); Swiss Institute, New York (2018)
Grace Weaver’s work tells stories which are in equal parts revealing and introspective. The artist often works with the concept of the watched female, captured in a net of social interactions, navigating the complexities of urban life. Like a psychological archive of daily routine activities, Weaver’s work mainly chronicles female experiences, in both the private and public realm. Expanding her vocabulary, the new works are painted up close, direct and present. In a similar manner to how she draws with charcoal—marking, rubbing out, and layering to create new arrangements—Weaver exposes previously buried brushstrokes and compositions.
Grace Weaver was born in Vermont, USA in 1989. She now lives and works in Brooklyn, New York, USA.
Grace Weaver studied at the Virginia Commonwealth University in Richmond (2015), the University of Vermont in Burlington (2011) and Newcastle University in Newcastle-upon-Tyne (2010).
Weaver’s work has been presented in numerous solo exhibitions, including: Galerie Max Hetzler, London (2022); James Cohan Gallery, New York (2021); Soy Capitán, Berlin (2021); James Cohan Gallery, New York (2020); Oldenburger Kunstverein, Oldenburg (2019); Kunstpalais Erlangen, Erlangen (2019); James Cohan Gallery, New York (2018); Aike Gallery, Shanghai (2018); Koppe Astner, Glasgow (2017); Kunstverein Reutlingen, Reutlingen (2017); Soy Capitán, Berlin (2017); Soy Capitán, Berlin (2015); Thierry Goldberg Gallery, New York (2015)
Her work has also been shown in numerous selected group exhibitions, including: BRAUNSFELDER, Cologne (2022); Villa Merkel, Esslingen (2022); Miettinen Collection / Salon Dahlmann, Berlin (2022); Soy Capitán, Berlin (2022); Spurs Gallery, Beijing (2022); Jo Van De Loo x Soy Capitán, Munich (2021); Van Horn, Düsseldorf (2021); Kunstmuseum Ravensburg, Ravensburg (2021); Oldenburger Kunstverein, Oldenburg (2020); Galerie Max Hetzler, Berlin (2020); Albertz Benda, New York (2020); Espace Tajan, Paris (2020); James Cohan, New York (2019); Fabian Lang, Zurich (2019); Kapp Kapp Gallery, Philadelphia (2019); Miettinen Collection, Berlin (2018); Jessica Silverman Gallery, San Francisco (2017); ARoS Aarhus Art Museum, Aarhus (2016); Simone Subal, New York (2016)
Angharad Williams multi-disciplinary practice is recently concerned with themes of incarceration, sight, sound and what it amounts to, artistic provocation and the destruction of the self. Central to Williams’ work, is the topic of security - a condition born between freedom and its confines. Williams runs a roaming group project called ‘The Wig’ which acts as an extension, both physically and conceptually, of Williams’ research interests and collaborative practice.
Angharad Williams was born in 1986, Ynys Môn, Wales. She now lives and works in Môn, Wales and Berlin, Germany.
Williams’ work has been presented in numerous solo exhibitions, including: Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2022); MOSTYN, Llandudno (2022); Halle für Kunst (Offsite), Lüneburg (2021); Kevin Space, Vienna (2021); Schiefe Zähne, Berlin (2020); Haus Zur Liebe, Schaffhausen (2019); Peak, London (2019); Liszt, Berlin (2018)
Her work has also been shown in selected group exhibitions and performances, including: BRAUNSFELDER, Cologne (2022); Bonner Kunstverein, Bonn (2022); Löwengasse, Cologne (2022); FriArt, Fribourg (2021); KW Institute for Contemporary Art, Berlin (2020); Stadtgalerie Bern, Bern (2020); Kunstverein Munich, Munich (2020); ICA, London (2019); No Bounds Festival, Sheffield (2019)