The exhibited works by Silke Albrecht, Volo Bevza, Kamilla Bischof, Olga Jakob, Markus Saile, and Erik Swars address the future role of painting in the post-digital age, thereby contributing to its reinterpretation.

No artistic medium has been attributed as many positive and negative qualities as painting, which along with sculpture, is by far the world’s oldest art form. This is precisely why, with the advent of new, particularly digital means of expression, it has come under increasing pressure to legitimate itself. What role does traditional panel painting play when algorithms are painting pictures? Can a medium with such a long history be considered state of the art and able to react to the problems of today? The works gathered here answer these questions with a resounding yes.

The artists in the exhibition actively seek to cross the boundaries of the genre. They question the alleged isolation of the canvas, revealing that the threshold between digital and painterly processes is merely
a matter of perception. But they also reference the speci c qualities of the medium. They experiment
with the materiality of paint and canvas, emphasize painterly gestures, and thus reveal the potential of art that is human and can do more than simply di erentiate between zero and one. (...)

The works of Volo Bevza are also situated along this fault line—but under di erent circumstances. Bevza is concerned with the ubiquitousness of the Internet and its effect on our daily lives. The way we look at pictures has particularly changed in recent years. Bevza’s focus is on the relevance of panel painting in the post-digital age. In his artistic practice visual information is translated via software and then transferred to canvas. Abstraction is achieved through digital processes as well as painting, whose alleged illusionism is revealed to be a lie. The transformation from the real to the digital and nally into the analog painting leads multiple connotations of the painterly result. This demonstrates the unique potential of intertwining digital, computer-generated art with the painter’s own handwriting.












A light breeze. Water dripping, a clock ticking.
The tension is immense and keeps growing. Breathing is hard. It is slowly getting unbearable. It will all be over soon, but for now time seems infinite.

The scenery is equally before and after the climax. A dragging heaviness competes against a redeeming levity. Petrified and melting, inside and outside of form. In the space itself, as in every object it is constructed out of.

A gun cocked. In the blink of an eye, all ambiguity between ease and suspense spills into a single story. The trigger pulled. Seconds turn into years. Eyes follow like echoes. The redeemer is a gunshot away.

With works by Volo Bevza, Neckar Doll, Ina Aloisia Ebenberger, Judith Gattermayr, Lenard Giller, Sebastian Lou, Mimi Neitsch, Felix Pöchhacker, Aiko Shimotsuma and Kiky Thomanek.

Curated by Amanda Burzić and Edgar Lessig at Wanja Hack.









Two Ages: Young

Crone Gallery is pleased to present the exhibition „Two Ages: Young“ in its project space Crone Side, located on Tempelhofer Damm nearby the legendary Tempelhof airport and the art fair Art Berlin Space, on the occasion of this year’s Art Week Berlin.

The exhibition „Two Ages: Young“ addresses the theme of young art in a very special way: 25 paintings by artists who were young in the early 1980s will be juxtaposed with 25 works by young painters of today.

The confrontation of young painting of the past with that of today will create an exciting context for a visual dialogue, raising a variety of questions: the genre, the medium, the means, and the age of the artists are alike—but what about the motifs, the narratives, the approach, the gesture, the form, and the content of the paintings? How do the works differ from each other? What has changed? What has remained the same? What does the imagery then and now tell us about the times, the people, the society, the art, the world?

Undeniable is that, at the beginning of the 1980s, a group of young painters came together—as a closed or at least associated group—and created a new style or even a new era of painting characterized by mostly figurative, concrete,
highly gestural, and vehement mark-making under the label “Junge Wilde”. Is it possible to imagine something similarly cohesive today? Would it be noticeable? Is it even necessary? And does New Fauve painting still—or once again - influence a new generation of young painters?

The young artists of the past represented in the show are now mostly major players of the contemporary art scene: Werner Büttner, Walter Dahn, Rainer Fetting, Georg Herold, Leiko Ikemura, Martin Kippenberger, Helmut Middendorf, Albert Oehlen, Hubert Schmalix, Andreas Schulze, Thomas Schütte, Rosemarie Trockel and others.

Among the emerging artists from today whose work will be on view are: Tom Anholt, Volo Bevza, Kamilla Bischof, Amoako Boafo, Emmanuel Bornstein, Peppi Bottrop, Jenny Brosinski, Daniel Correa Mejía, Andrej Dubravsky, Aneta Kajzer, Melike Kara, Jake Madel, Robert Muntean, Sophie Reinhold, Stefan Reiterer, Markus Saile, Anna Schachinger, Erik Swars, Antony Valerian, Nazim Ünal Yilmaz, Jan Zöller, Sahar Zukerman.











Perfekte Zustände

Perfect Conditions: Ironic overconfidence or raw reality?

Berlin’s Weißensee School of Art presents 50 new degree works from the sculpture and painting departments. The works on view showcase current developments and investigate the state of contemporary art:

Multi-layered works use imagery, text, sound, and digital data as a field for experimentation, transgressing both the boundaries of their medium and perceptions of reality, and testing the utility of artistic craft and techniques. Relating to the zeitgeist and to the essential challenges of art-making, these works speak to the senses, reflect how developments in technology and art interact, investigate the imagery that surrounds us, and question the systems that form our collective order. Playfully shaping new ways of addressing the relationship between the individual and society, they expand into social space.

Five floors hold 50 autonomous artistic perspectives, opening up unusual perspectives on biographical, historical and social conditions of the world, and probing how analog and digital spheres coincide – perfect conditions.

Curated by
Birgit Effinger
Michaela Richter









Alexander Lange, Manuel Resch, Marta Vovk, Maximilian Maria Willeit, Ulvis Müller, Victoria Pidust, Volo Bevza

Eröffnung: 19.04.2019