Eight artistic positions with a focus on impulse-driven approaches that place the superficially remote, seemingly meaningless at the centre and elegantly, playfully and humorously evade the socio-political and art-historical weight of meaning.

„I have to touch this." This is the essence of what drives me to make art. Glossy surfaces, structured fluid forms and dynamic matter - the confrontation of stagnation and movement fascinates and inspires me. My work is emotive and focu- sed on one’s desire for haptic experiences. Through the use of color, organic, playful, and dynamic shapes, my work wants to seduce and invite the viewers to experience what is in front of them with their own senses and imagination. Subconsciously influenced by the aesthetics of nature and used objects of everyday life, I create static forms that depict motion and appear to be smooth and light despite the heaviness of their substance. Observing more closely one can perceive that aesthetics can only endure through the presence of unaes- thetic detail. During the process of creating work I knead, I stroke, I strike, I construct and touch everything with my hands - „I have to touch this."

www.kira-froese.com

www.instagram.com/kira.froese

Geigle’s abysmal and melancholic paintings are often loosened up by a heightened artificiality and tongue-in-cheek humor. Its empty and abandoned tennis courts are reminiscent of the years of the pandemic, when many places of everyday life remained empty and unused. In it, Geigle shows how nature recovers such unused areas and thrives on them. 
In his latest group of works, he incorporates those tennis courts in Arnold Böcklin’s painting The Island of the Dead from the 1880s. In this way, the important work of Symbolism loses much of its original oppressive effect, and in turn is supplemented by an absurd aspect.

www.klausgeigle.art

www.instagram.com/klausgeigle

„Andrea Lüth works in and with almost all media of visual art, in video, text, music, installation, in public spaces. Above all, she is a draftsman and painter and as such she practices a playful approach to art. Between irony and severity, she repeatedly breaks through the expectations of the image itself. An exhibition is the medium that comes closest to your artistic conception. Contradictory content and form enter into correspondence and conflict and create a turbulent topography in the room. […] Gestural spot painting meets graphics and text. And everything is fine. Drawing also becomes clear as the intellectual basis of her art. As we know since Vasari's “disegno” term, drawing is the most spontaneous of all arts and it comes directly from the intellect. Andrea Lüth's image ideas have already been laid out and thought out many times in the drawings and she can use her own archive, which is growing every day. In doing so, she creates freedom in painting, which is ultimately responsible for the freshness and liveliness of her pictures. They are not images of assertions, but always remain somehow fragmentary.“ (Günther Moschig, freelance art historian and exhibition curator)

„I paint a painting, then I build a sculpture. Yesterday morning I drew, today I'm doing nothing. I'll cook something, maybe a beer in the evening. I draw a painting, then I paint a sculpture, I build a beer, I cook a home, I don'tle in the morning, I maybely in the evening.“ (Andrea Lüth)

www.andrealueth.at

www.instagram.com/andrealueth

Melanie Milo's works are characterized by a humorous, conceptual approach based on personal experiences and the decontextualization of everyday objects. In her work series she explores the interfaces between technical dependency and personal freedom. Modern technologies are used as a starting point for her artistic reflection.
With the series Küche / Diele / Bad (Deborah), the artist turns to her own living space from the perspective of her vacuum robot. The technical way in which the robot maps her rooms stands in contrast to the personal significance of the spaces depicted. Here, objects such as garbage cans, toilets and showers - ordinary and often unnoticed elements of everyday life - become graphic elements through the sober gaze of technology, confronting the viewer with a new perspective on the ordinary.

www.melaniemilo.de

www.instagram.com/melaniemiloart

The ambiguous and enigmatic is the theme in Kerstin Müller-Schiel‘s paintings and ceramic objects, on this basis she realizes her ideas and concepts between figuration and alienation. In addition to the desire for alienation and transformation, Kerstin Müller-Schiel‘s work is characterized by the exploration of materials, painting media and techniques, with photographs, magazine pictures and found objects serving as models for transforming the figures and transporting them into her own pictorial cosmos. The identity-less figures, portraits or fragments challenge the viewer and yet remain enigmatic, immovable and quietly elude a dialog.her clay works form a complement to her painterly work. One sees hybrid creatures, alienated bodies or fragments of glazed or partially glazed ceramics.

www.mueller-schiel.de

www.instagram.com/kerstin.mueller.schiel

Als ich eingeladen wurde, mir die Ausstellungsräume des Künstlerhauses Dortmund anzusehen, fand ich auf meinem Weg dorthin kurz vor dem Eingang auf dem Gehweg ein Orangenbonbon. Es war lustig und bunt, irgendwie im Stil der 70er Jahre, und lachte mich an. Ich wusste sofort, dass es Teil meiner Ausstellung werden würde.
Meine Kunst entsteht aus Begegnungen. Es sind die kleinen Dinge die mich überraschen und berühren. Manchmal fällt mir schon oft Gesehenes erst richtig auf, manchmal bekomme ich etwas geschenkt und erinnere mich später an diesen Moment.
Erst wenn eine Geschichte entstanden ist, kann ich die Dinge in Malerei übersetzen. Dann habe ich Spaß daran, sie ins rechte Licht zu setzen, ihnen eine Bühne zu bereiten, ihre Oberflächen zu beobachten und ihre Beschaffenheit wiederzugeben.

www.klaus-sievers.de

www.instagram.com/klaus.sievers.art

Urbanity means places, squares, streets, houses, buildings, parks. They are social bodies, like a second skin for people in their spatial anchoring. Urbanity is the identity of a city, but also an attitude to life. Wolfgang van Triel goes on a journey of discovery in search of this attitude to life in his photo series. The themes of the photo series are change and transience, identity and beauty, clarity of form and composition. The poetry of everyday life, the aesthetics of chance and dignity in the face of everything that we are the driving forces behind the images.

www.wolfgangvantriel.wordpress.com

Anna Vasof’s work is universally accessible through its wit and playful subversion. Rooted in authentic experimentation, her art explores the fundamental mechanics of motion and time. Approaching each concept from scratch, she reimagines basic premises with her unique perspective. By engaging with everyday objects – shoes, brooms, pots, and more – she exposes social paradoxes, inviting us to view the familiar world from an unexpected angle. Her works open doors to new perspectives, blending humor with insight to reveal surprising truths embedded in daily life.

www.annavasof.net

www.instagram.com/annavasof