Leo Plaw - Fine Art » Galleries Museums http://leoplaw.com Fine Art Thu, 15 Mar 2012 00:19:33 +0000 en hourly 1 http://wordpress.org/?v=3.3.2 Giger Retrospective Exhibition in Hamburg http://leoplaw.com/2012/01/19/giger-retrospective-exhibition-in-hamburg/ http://leoplaw.com/2012/01/19/giger-retrospective-exhibition-in-hamburg/#comments Wed, 18 Jan 2012 23:08:20 +0000 Leo http://leoplaw.com/?p=1419 Tomorrow morning I am travelling from Berlin to Hamburg to attend the opening of the H.R. Giger Retrospective exhibition. I will be there to photograph and video the event for Fantastic Visions. I am rather hoping I can get some good footage of Giger, and perhaps, if I am lucky get him to say a few words on camera.

Hamburg artist, Dennis Konstantin will be joining me at the opening. Many thanks must go to Cornelia Mensdorff-Pouilly for getting us into this exclusive event.

More information about the exhibition and its opening times can be found on Fantastic Visions.

]]> http://leoplaw.com/2012/01/19/giger-retrospective-exhibition-in-hamburg/feed/ 0 To Exhibit or Not to Exhibit, That is the Question http://leoplaw.com/2011/03/27/to-exhibit-or-not-to-exhibit-that-is-the-question/ http://leoplaw.com/2011/03/27/to-exhibit-or-not-to-exhibit-that-is-the-question/#comments Sun, 27 Mar 2011 18:06:18 +0000 Leo http://leoplaw.com/?p=1342 I was recently asked by an online friend and fellow artist about shipping artwork overseas to an exhibition. In the course of our correspondence, I came to the conclusion that the exhibition was not a good deal for the artist. All costs, shipping and insurance, risks, damage, loss and theft lay solely with the artist. Then on top of that, there was an entry fee, supposedly to pay for the exhibition promotion, albeit a small one, and the final show stopper was, no selling opportunities.

Now, I’ve done my fair share of sending artwork away to likewise exhibitions. There was a point at which the stress of sending the artwork, getting the artwork back and all of the attendant costs, and no sales, just didn’t add up and made no financial sense. Oh, but you could say that it furthers my career. But how does this further my artistic career when I have to do other work to sustain its costs?

The reality is, working as an artist, you are working as a small business. As such, you should be making a profit. What happens to businesses that don’t make a profit? They go out of business. Its incredible the number of exhibition organisers that don’t even think of this perspective, but they are certainly thinking of their own profit or furthering their careers.

Both artists and the organisers often seem to lose sight of the fact that they are actually entering into what is usually a short term business partnership. The artist provides a product (yes, don’t choke, artwork is a product), and the organiser provides the means by which to sell. To ensure that we don’t have any nasty disagreements when something goes wrong, we put everything down in writing, commonly called a contract. That way everybody knows what the other expects of the other. Contracts are there to make sure things DON’T go wrong, not for after things have gone wrong, then it’s too late. Contracts aren’t scary things either. All contracts are open to negotiation, UNTIL you sign on the dotted line. If you don’t like particular points of the contract and the other party won’t negotiate, then, don’t sign. Simple, no dramas, no bad feelings.

Think of contracts as a written agreement detailing a list of questions and answers.  If not all of your questions are answered, then you need to ask for the answers to be added in writing to the contract.  Be thorough. If the organiser starts to squirm, or protest with phrases such as, “don’t you trust me?” and the like, then you know not to trust them and to walk away, because they are not taking your concerns seriously. And it doesn’t take much imagination to conclude how co-operative they will be when something does go wrong.

What questions and answers should you be considering? Following are my suggestions.

Exhibition Offer Checklist

  1. So you’ve been invited to exhibit. Do you know the gallery or curator? How did they find you? Did they just google you?
  2. If you don’t know the gallery or curator, have they made any comment or appraisal of your artwork? More importantly have they seen your originals? There can be a great difference between an Jpeg image and original. If they are willing to take your work sight unseen, then they aren’t going to be too fussy about the standards of others that they show you with.
  3. Have you researched them? The easiest way is to do some online searches. If you are half way considering accepting their invitation, then at least put some effort into finding out more about them.
  4. Is there an entry fee? For myself, I pay NO ONE to exhibit my artwork any more, especially if I have to cover all of the shipping costs. Even if it is only $30. If the organisers have failed on the first two points and want a fee from you, then you can be certain they’ve contacted you to pay their rent!
  5. What is it going to cost to ship the artwork to AND from the exhibition if the location is not easily accessible to you?
  6. Who pays for the shipping? This is up to you to decide what is fair. It is quite common for the cost to be split, with the artist paying for sending, and the organiser or the return. If the organiser pays for everything, dance for joy!
  7. If shipping to another country, have you researched the import and export taxes if any? Who pays for these?
  8. Insurance? Even if it is simple postage insurance, a higher postage rate which provides you with a tracking number and covers for loss or damage in transit, it is worth it for your piece of mind. Then there is also insurance for the artwork while on exhibit, again, who pays?
  9. Who takes responsibility for, damage, loss or theft? Who pays? Point four usually covers this. Now, it is extremely unlikely that a small exhibition organiser can afford to insure your artwork, because while you may have issues achieving payment for the prices that you would like on your artwork, the insurance companies don’t see that, and usually will charge an arm and a leg, unless you undervalue your artwork. This leads to another discussion altogether.
  10. What promotion do they do?
    1. Oh, they have a mailing list, uh-ha. Well so do I. What percentage of their mailing list attend their exhibitions? What percentage of their mailing list purchase artwork. Don’t judge a mailing list by its size, but by it’s value. Who pays for the mail out? That is if anybody uses physical mail any more.
    2. Have they given you a list of publications that they advertise or send media releases to. Can you find any publications yourself that mention them. Having trouble finding anything yourself? Ask them to send you copies of some of their media coverage. Any good exhibition organiser will be proud to do so.
    3. Flyers and invitations, oh you have to pay for those, see point 4. If they are not willing to invest even a small amount of money in you, even then just for flyers, then, well they’re not going to invest any time into promoting you are they?
    4. Who pays for the opening night drinks and nibbles? See the previous point.
  11. What other artists have exhibited with them? Have they provided you with a list? Is it on their website? If you see no names regularly appearing, but just a long list, then they’re always on the search for fresh blood to pay the rent.
  12. What is the opinion and experience of other artists that have exhibited with them?
  13. Are there any sales opportunities? If not why would you pay to participate? If the exhibitors however cover your costs, dance for joy again.
  14. What are the terms of sales?
    1. What commission do they take?
    2. Is their commission added on top of your selling price, or is it taken from your selling price?
    3. How and when do they pay for sales?
    4. What taxes are applicable to the sale?
  15. What happens with unsold artwork? See point five and six.
    1. Oh, they offer to store your artwork, how and where? How accessible will it be to you? How long will it take to get it back to you if there is another exhibition you want to sell the work in? If it is a gallery you are dealing with, then they should not be charging you storage fees. If it is a one off event, with no permanent location, then storage fees are fair and normal.
    2. If your work is stored for future exhibitions, how often will it be put on display again?
    3. Do they have buyers who visit the gallery to see what is in the storeroom?
  16. What is the exhibition space like? Is it located in a district popular for art?

Other Points for Consideration

An exhibition is far more worthwhile if you are in attendance with your artwork, for sales and networking. You can then also see first hand how your artwork has been hung and signed.

If there are no sales opportunities from the exhibition, making it purely a vanity exhibition, what are you really getting out of this exhibition other than stress and costs? Something to write on you C.V. and website? You can do that without sending or spending. Remember, your art has to be sustainable, you need to earn from it, otherwise it remains an expensive hobby.

Do not be pressured to send either. Even if you’ve been “chosen” to participate, re-read all of the above points and make a calm boring practical decision. Who does the exhibition really benefit, you or the organisers?

Whatever packaging you use for shipping must be durable and reusable for return if your artwork does not sell. The packaging dimensions and weight will also contribute to your shipping costs. There are also often limits to the size and weight. Make sure you check for these restrictions with your chosen postal service or shipping company.

Final Thoughts

By all means do as you see fit. Some of the above points I had to learn myself the hard way. Now with experience and hindsight, I’m more selective about the exhibitions I choose to exhibit in.

Exhibitions are a dime a dozen. Exhibitions that are of real worth are rare (depending on where you are in your career) and only these deserve your energy and attention.

Remember, YOU are the artists, YOU are the star of any of these shows, and you should be treated accordingly in a professional manner that furthers your career.

]]> http://leoplaw.com/2011/03/27/to-exhibit-or-not-to-exhibit-that-is-the-question/feed/ 2 Journey to Vienna – The Irresistible Flow of Time http://leoplaw.com/2010/10/04/journey-to-vienna-the-irresistible-flow-of-time/ http://leoplaw.com/2010/10/04/journey-to-vienna-the-irresistible-flow-of-time/#comments Sun, 03 Oct 2010 22:00:26 +0000 Leo http://leoplaw.com/?p=1262 The exhibiting artists

The exhibiting artists

Seeing a brilliant opportunity, at very short notice, Amanda Sage organised an exhibition of Fantastic Visionary artists at Galerie 10. She and Laurence Caruana, along with Andrew Gonzalez had been giving a painting seminar in the Summer. A number of artists had travelled to attend their course in Italy. Thus she came to the idea of organising a show while everybody was in Europe.

After a late night skype session between Amanda, Dennis Konstantin and myself, Dennis made himself busy with the flyer and Amanda busy organising the other artists, which is often compared to herding cats.

Dennis drove down from Hamburg in his spacious blue VW van. A vehicle well kitted out for adventures, so it fitted our needs very well. After stopping over for the night in Berlin, we loaded my artwork into the van and began our long road trip to Vienna.

René and Lisa graciously housed us in their living room for our stay in Vienna. So I must thank them again for their hospitality.

On Tuesday we made trip out to one of Dennis’ collectors, who endless numbers of Fuchs prints and sculptures and now had a growing collection of Dennis’ artwork.

After too many coffees and a light lunch, we trooped over to Amanda’s studio to catch up David Heskin and Aloria Weaver who were staying with Amanda. It is a pleasure to meet the real face behind an internet presence, and more so with David and Aloria. Both had been on Amanda and Laurence Caruana’s painting seminar idyllically located in a medieval village in the Italian hills. They were now making the most of Amanda’s studio in Vienna to finish of some works for our group exhibition “The Irresistible Flow of Time” at Galerie 10.

Wednesday brought Emma Watkinson to Vienna and us to Galerie 10 to hang our artwork. Not all of the exhibiting artists were present and there was much to do. Although we started early in the afternoon, we worked into the night to complete the hanging of 69 artworks in total, making at a very large show. And by the time the hanging was completed, it looked amazing. It was such a wonderful collection of high quality artwork.

Our work was done, so we adjourned to Amanda’s studio again, taking Galerie 10 owner, Michael Scheer along with us. It was again a long night as artists are wont to do, however, we could sleep in for our big day, the opening of the exhibition.

When I arrived, the gallery was wall to wall with people. The opening also brought all of the local Fantastic Painters, and then others from far away elsewhere who just happened to be in town.  Many of these faces I met for the first time outside of the internet. Its reassuring to get to know the real people of these ever present internet avatars.

Two of the other exhibiting artists managed to make time from their busy schedules back home and fly into Vienna for the exhibition, Daniel Mirante and Basia Wiacek.

De Es Schwertberger did all of us younger artists the honour of exhibiting with us and bridging the worlds of the established Fantastic Realists to that of the emerging, oft referred to as, Visionary artists. However, the term Visionary is still up for debate.

We the exhibiting artists were of course very busy the whole evening talking to various people about our art, and of course catching up with and meeting the other artists. Not surprisingly, it ended up being a very late night.

And similarly unsurprising, was a few of the taught faces present the very next morning for breakfast at De Es‘ studio. In De Es‘ expansive inner city studio, we took advantage of the far more relaxed atmosphere and conversed at leisurely pace. Sadly however, this gathering of new and old friends had to eventually part ways, as flights were waiting to whisk people off to new adventures.

As for Dennis and myself, our next adventure was to commence the following day when we returned North to Germany and headed to the Bavarian Forest to visit the opening of  the 1st Biennial of Fantastic Art in the Town of Viechtach. But this is the next news entry.

Following are all of the wonderful artists that I exhibited with.

De Es Schwertberger (A), Amanda Sage (USA), Dennis Konstantin (D), Leo Plaw (D), David Heskin (USA), Aloria Weaver (USA), Adam Scott Miller (USA), Gregory Pettit (USA), Autumn Sky Morrison (USA), Daniel Mirante (GB), Basia Wiacek (GB), Emma Watkinson (GB)

]]> http://leoplaw.com/2010/10/04/journey-to-vienna-the-irresistible-flow-of-time/feed/ 1 Héctor Pineda http://leoplaw.com/2010/07/12/hector-pineda/ http://leoplaw.com/2010/07/12/hector-pineda/#comments Mon, 12 Jul 2010 19:00:36 +0000 Leo http://leoplaw.com/?p=1193 In the Colory Gallery

Myself, Héctor Pineda and Micha Colory.Krebs

Stay still long enough and the world will come to you, or network like crazy on the internet. And so it was when Mexican digital artist Héctor Pineda came to Berlin. We first came into contact through some groups on Deviant Art. Héctor organised and edit the book, “Imagine The Imagination – New Visions of Surrealism“, selecting artists from the Deviant Art groups. I was fortunate to be one of the artists included. The “Imagine the Imagination” book project was organised with the Polish publishing house, nEgoist.

nEgoist supports Abnormals Gallery which is based in Berlin and now with a much larger gallery space in Poznan, Poland. Abnormals Gallery recently caused an outcry in Poland over a large banner bearing a swastika and naked Mickey Mouse model, adorning their new premises. If any thing, the gallery is now known before it even opens for it’s first show.

Héctor was in Berlin to meet with the directors of Abnormals Gallery to discuss a possible future exhibition that would would exhibit the artists featured in “Image the Imagination”. But while he was here in Berlin he also made time to meet up with other artists. So it came to pass when I met him on Friday night with his wife and another artist, I convinced him to come with me to pay a visit to Micha Colory Kreb’s colourful and fascinating studio. His apartment is literally a work of art in itself.

]]> http://leoplaw.com/2010/07/12/hector-pineda/feed/ 0 Womb of Creation – Temple of Visions http://leoplaw.com/2009/12/14/womb-of-creation-temple-of-visions/ http://leoplaw.com/2009/12/14/womb-of-creation-temple-of-visions/#comments Mon, 14 Dec 2009 00:33:48 +0000 Leo http://leoplaw.com/?p=1005 Womb of Creation - Temple of Visions

Womb of Creation - Temple of Visions

I am very pleased to announce that I have been invited to exhibit in Los Angeles, at the Temple of Visions exhibition “Womb of Creation”. I am sending two paintings for the show and will be exhibiting alongside, Martina Hoffmann, Robert Venosa, Mars-1, Oliver Vernon, HR Giger, Mark Henson, Amanda Sage, Adam Scott Miller, Carey Thompson, Satoshi Sakamoto, David Heskin, Aloria Weaver, Raul Casillas, Autumn Skye Morrison & many more.

The Temple of Visions is headed up by Jimmy Bleyer who lives in the counter culture warehouse project, the Hive. Over the last couple of years steady progress has been made with establishing the Hive and Temple of Visions with the L.A. art world. It’s mission is to raise awareness of Visionary art.

The Gallery seeks to create a spectacular environment that will bring people together in admiration of art, and in transformation of self and community. In addition to quarterly epics, the Temple will feature a monthly music & visionary culture party, a ’boutique concert series’, and several consciousness raising classes, workshops, and lectures.

www.templeofvisions.com
“The Temple is inside”

GRAND OPENING:
January 9, 2010 from 8:00pm-1:00am
719 South Spring Street
Los Angeles, CA 90014
U.S.A.
$15.00 includes entry to The Hive Gallery

]]> http://leoplaw.com/2009/12/14/womb-of-creation-temple-of-visions/feed/ 0 Magistrates – Strychnin Gallery http://leoplaw.com/2009/11/22/magistrates-strychnin-gallery/ http://leoplaw.com/2009/11/22/magistrates-strychnin-gallery/#comments Sun, 22 Nov 2009 16:25:47 +0000 Leo http://leoplaw.com/?p=40

On Friday the 13th, I attended Strychnin Gallery‘s opening for the Magistrates exhibition. This is a video I shot and edited for my Fantastic Visions project. I also had the chance to catch up with Tim Roosen again who had driven a long way from Belgium to Berlin.

Magistrates features over 20 internationally renowned artists. Works in this show range from a variety of different media such as painting, etching, digital painting, photography and sculpture, making for an exhibition featuring many unique artistic positions from pop surrealism to fantastic art, special effects to lowbrow, pop art to urban art.

]]> http://leoplaw.com/2009/11/22/magistrates-strychnin-gallery/feed/ 0 Dante Exhibition – Viechtach http://leoplaw.com/2009/08/11/dante-exhibition-viechtach/ http://leoplaw.com/2009/08/11/dante-exhibition-viechtach/#comments Tue, 11 Aug 2009 00:45:44 +0000 Leo http://leoplaw.com/?p=859 Non Omnis Moriar - Stephanie Henderson
Non Omnis Moriar – Stephanie Henderson

I first met Reinhard Schmid at the Dreamscapes Exhibition in Amsterdam last year. Through our correspondence since then, Reinhard came to invite me down to the opening of the “Dante’s Divine Comedy” exhibition in Viechtach.

Viechtach is a 900 year old town situated in the picturesque countryside of the Bavarian Forest. Some time ago the town of Viechtach decided to put the Alt Rathaus (Old Town Hall) to use as a gallery. Its program of exhibitions have a special emphasis upon Fantastic art. And so the “Dante’s Divine Comedy” exhibition curated by artist and publisher Claus Brusen fitted quite naturally.

The gallery is right on the old town square, which is not surprising since it was formerly the Rathaus. The upper floor of the Alt Rathaus has been superbly renovated as a large professional standard gallery space.

The exhibition looked impressive, with the selection of artwork being of an excellent quality. I arrived early before the throng and so was afforded a good overview of the exhibition. There were quite a few names I was already familiar with. It is always interesting to see new works from them.

Claus Brusen the curator of the exhibition arrived and so I finally met him face to face. There are so many of us now connected via the internet across the world, and it is not so often that we physically meet. However events like Claus’ present an opportunity to make that a reality. Claus generously gave me an exhibition catalog.

With a pen in one hand and the catalog in the other, seeking signatures was a great way to break the ice. Claus was a willing accomplice and directed many of the artists to me. By the time the opening formalities were about to commence I’d already met almost all of the exhibiting artists. There were a couple however that I’d already had contact with, such as Tim Roosen via Facebook and then Olivier Zappelli, a Swiss artist whom I had also met at the exhibition in Amsterdam last year.

Dante Exhibition Opening
Dante Exhibition Opening

The exhibition was officially opened by the Mayor, Georg Bruckner, with Reinhard introducing the artists and Horst Dieter Greyer giving us his philosophical musings on Fantastic art. It was also announced at the opening that the exhibition had already been a success to an extent, having an article with a photograph published in the Süddeutsche Newspaper. This was of special note because it is one of the largest in Germany, and it usually ignores regional events and focuses on Munich.

With the formalities finished, the mass of people which had filled the gallery to capacity on the warm Summer evening were very glad to move again and examine the artworks. Visitors had come from far and wide to see the exhibition.

After having our fill of art, we migrated down to the courtyard for our fill of Bavarian beer and food. Here over drinks and a meal was the chance for the artists to get know each other better. I had the opportunity to meet Ines Scheppach from the Neue Meister group and find out a little more about them as I had seen the group mentioned here and there around Germany. Like Ines, I talked to others and found out more of the state of our Fantastic Art movement.

The night slipped by with the beginning of new friendships and strengthening community. However many had long journeys ahead of them in the morning and so they decided to slip off to the Hotel Schmaus a few doors down from the exhibition where the town council had accommodated them.

In the morning many of the conversations continued again over breakfast. There was a lingering feeling of if only there was a little more time for us all to sit together and talk. A number of us did linger long enough in the day to see the Gläsernen Scheune, a life’s work museum and gallery from Reinhard’s father dedicated to the local Bavarian myths and stories. Those of us left in Viechtach that afternoon then congregated at the Cafe Isis where Reinhard has his Tarot series on display.

I think there will be many more exhibitions such as “Dante’s Divine Comedy” worth the the travel to Viechtach judging by the conversations and the things I saw that weekend. I believe Viechtach’s Fantastic Art project will grow from strength to strength in the years to come as their reputation as a host of professional and high quality events and exhibitions spreads.

2nd August – 27th September
Monday – Friday, 8am – 5pm
Saturday 10am – 1pm
Entry Free

Altes Rathaus
Viechtach
Bavaria
Germany

+49 9942 1661

]]> http://leoplaw.com/2009/08/11/dante-exhibition-viechtach/feed/ 5 Berlin Visionaries – Galerie III Barmstedt http://leoplaw.com/2009/03/25/berlin-visionaries-galerie-iii-barmstedt/ http://leoplaw.com/2009/03/25/berlin-visionaries-galerie-iii-barmstedt/#comments Wed, 25 Mar 2009 11:14:00 +0000 Leo http://leoplaw.com/?p=749 Ütersener Nachricten Zeitung

Ütersener Nachricten Zeitung

Time to finally write about exhibition opening in Barmstedt at Galerie III with Anja Brinkmann and Micha Krebs. The show went off nicely with a slew of articles in the local press. I arrived a couple of days early to be present when some of the journalists were due to visit. The gallery’s location is very picturesque, being situated on a small island on a lake. This and a number of historical buildings attract day visitors from Hamburg ensuring that that the gallery has a steady stream of visitors.

When I arrived I found the gallerist, Karin Weissenbacher, who is also an artist busy sculpting in her studio which is down the hall from the gallery. Karin had done a wonderful job of hanging our works by nicely balancing our individual styles across the rooms.

Since I was the only one of we three present, I had to meet and greet the media alone. It was a little difficult to explain Anja and Micha’s artwork, but perhaps more so my own as I had ensconced myself in my studio for half a year and talked to few people about my artwork.  While I know my own feelings and thoughts about my artwork, having to articulate these ideas on the spot to journalists required some creative thinking.

However, over the next days we discovered scant mention of anything I said in the press, but rather a rehash of the basic details sent out in the press releases. Ah well, so much for the 15 minutes of fame. At least my photo was in the papers.

The day of the opening arrived. A number of the local politicians were present with one of them giving us an introduction. It was pleasing to hear that he had dug through my website to find out a little background information to help with his speech. Micha was extremely nervous leading up to his speech but he did admirably well.

Present also was a long time internet contact, Dennis Konstantin, who lives in Hamburg with his girlfriend Natalia. They had both come out Barmstedt for the exhibition. It was our first personal meeting and we had much to discuss. I agreed to visit him at his studio the next day.

The exhibition finished well and we all had a very entertaining time with Karin and her housemates.

]]> http://leoplaw.com/2009/03/25/berlin-visionaries-galerie-iii-barmstedt/feed/ 0 Tacheles http://leoplaw.com/2009/03/24/tacheles/ http://leoplaw.com/2009/03/24/tacheles/#comments Tue, 24 Mar 2009 21:04:09 +0000 Leo http://leoplaw.com/?p=719 Kunsthaus Tacheles Berlin

Kunsthaus Tacheles Berlin

When I first came to Berlin, I set about finding where action in the art scene was. I soon discovered a problem however. I was about ten years too late. Everybody had stories of how things were and seemed a little depressed, if not nostalgic for the heady days after the fall of Berlin Wall. There were however a few lingering corners of memorabilia clinging to Berlin like chewing gum stuck to your shoe. And just like the chewing gum, they’d been chewed up and spat out and trodden on, being devoid of their original colour and flavour.

While this all might sound rather depressing, it was rather fascinating to seek out other people’s Memory Lanes, especially for an Antipodean whose own state of origin roundly frowned on any independent art scene that got too big for its boots and would be soundly rounded upon by the local authorities for being a hotbed of radical subversive activities. One of those Memory Lanes led me to the legendary Tacheles. A large dilapidated disfunctional building which was in the center of a post Cold War Berlin art vortex of near anarchy where being radical and subversive was the norm. In short a dreamland that was a world away from my overgrown country town called Brisbane.

What was Kunsthaus Tacheles then? A former department store, then SS headquaters, a prison for French war prisoners, various offices during the DDR (GDR), neglected, partially demolished and then housing a self-organized collective of artists on Oranienburger Straße in Berlin-Mitte. One could question if the collective is indeed self-organized. There used to be all manner of events and parties hosted in the building and a constant stream of artists coming and going, some leaving there mark around the complex such as with the sculptures in the empty space behind the building. Today it is mostly the street “artists” leaving their marks on the walls with their graffiti.

I met a few people who had studio spaces in the building, and came to know one artist in particular. And so I came to be informed of all of the internal strife that forms its colourful history as an artists studio complex. I tried for a while in vain to land myself a studio space there, but in the end gave up, as I discovered a more lively scene over in Friedrichshain that was not the focus of morbid tourist curiosity.

Since 2003 when I first explored it, little seems to have changed. Strife still abounds as the collective is trying to secure their future in the building by purchasing it from the owners, with whom they’ve had a very rocky relationship.

The collective is seeking €3.5 million in funding. However, there does not appear to be any suggestion of where that is coming from. There is also a dispute over the status of the lease since the beginning of the year.

Although I rarely go to the Tacheles these days, I would miss a place that has become part of my own Memory Lane.

]]> http://leoplaw.com/2009/03/24/tacheles/feed/ 0 Exhibitions in Germany http://leoplaw.com/2009/02/23/exhibitions-in-germany/ http://leoplaw.com/2009/02/23/exhibitions-in-germany/#comments Mon, 23 Feb 2009 21:39:33 +0000 Leo http://leoplaw.com/?p=688 After a hiatus it is time to exhibit again. First is a group show with Anja Brinkmann and Micha Krebs just outside of Hamburg. All three of us will be show a selection of recent work. Having all often met together in Berlin and discussed our art, this is our first group exhibition together. Hopefully there will be more to come. The Gallerist Karin Weissenbacher has been very accommodating of us.

Galerie Atelier III
im Gerichtsschreiberhaus
Schlossinsel Rantzau
Barmstedt
Germany
21st March to 3rd May 2009

http://www.galerie-atelier-3-barmstedt.de/

The next will be with the Society for the Art of Imagination. The show is called Sacred Art. The Gallery where the artwork will be shown is an extension of a Benedictine Monastery and the monks are also offering to show some selected works inside the Abbey, which receives many visitors.

Sacred Art Exhibition
at the Lofthouse Gallery
Wessobrunn
Germany
4th April to 7th June 2009

I have also recently received invitations to join a group show in Paris with the International Fantastic Art Association (IFAA) and another in Montreal. More information will be posted when it is at hand.

The year is off to an excellent start!

]]> http://leoplaw.com/2009/02/23/exhibitions-in-germany/feed/ 0