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janinebeangallery Salon

Salon Bohème

The Russian artist Inna Artemova shows in her paintings highly dynamic structures of beam-like lines in conjuction with spherical objects and interacting persons. These chaotic arrangements have—though defying any static equilibrium—obvious architectural features.The basis for the formation of Anna Borowys‘ works—irrespective of all conceptual arrangements—is an open, processual flow. The artist is dynamically exchanging with the form taking on her idea, i.e. she exposes its shape and details while painting. The result is a vividness which the mere draft cannot anticipate.

Peter Doherty is an English musician, songwriter, actor, poet, writer, and artist. He is best known for being co-frontman of the Libertines, which he formed with Carl Barât in 1997. Doherty exhibited his paintings for the first time in 2007. The art exhibition took place at the London’s Bankrobber Gallery, and was on show for one month. Over the years he had several exhibitions.

Abundant arrangements of flowers, shiny plastic wraps, snippets of images from glossy magazines and remains of informations from billboards – these are some of the sensual, sometimes sinister and morbid components in the paintings of Russian painter Grigori Dor.

Beate Höing offers the viewer a humorous view of a small world that with its privateness and intimacy may at times mean more to us than liberal sophistication in recalling a cozy existence that awakens nostalgia and memories of past times, but that functions less and less since the generation obligated to it is gradually vanishing.

Berlin artist Sebastian Mögelin collages cut-outs of the media and society with portraits of single tragic individuals. In combination quirky and bitter scenes as well as stories of pseudo-glamour and Berlin urban life emerge. Mögelin makes use of his painting techniques like set pieces, which support and strengthen the composition. The result are collages in a mixed media technique on canvas and printed plexiglass, respectively paper collages on acrylic glass in white wooden boxes, back-lit with program-controlled LEDs.

In his series of oil paintings Berlin artist Armin Völckers interprets and recreates the models of classical tableaus. The viewer faces in one image the homage to the artworks of Völckers‘ precursors as well as an ironic dissociation from these by clichéd exaggerations and the addition of irritating artifacts. Armin Völckers changes colours, outlines, proportions and specifically contents of the originals, to generate a stylistic and contextual potential.