Online viewing room
Dear Visitor,
 

Bermel von Luxburg Gallery welcomes you and invites to explore our online viewing room.

 

We are all experiencing these historical and unconventional times. For us, it is essential to stay in touch and to continue to be inspired.

Although we might be physically apart, we are still creatively connected.

Bermel von Luxburg Gallery is part of the cultural life of Berlin and we would like to highlight that for the time we all spend at home, artists bring beauty, culture and entertainment into your life. Be it music, stories, poetry, movies, fine art... Artists help us to go easier through these hard times and help out a bit to return the joie to our vivre.

Our gallery team welcomes you to explore our current exhibition MATERIA.
In this group exhibition, you are welcome to discover the artworks by Thomas Canto, Fred Eerdekens, Uli Fischer, Benjamin Herndon, Lev Khesin, Nadège Mouyssinat, Robert Pan and Olaf Schirm.
We selected some of the artworks. Shall you require more information about the artists, our sales team is more than happy to provide you all necessary information.
 
We are looking forward of hearing from you and we wish you nice discoveries!
Yours sincerely,
Bermel von Luxburg Gallery Team
Contact us at info@bermelvonluxburg.gallery
or +49 (0)163 624 9580
3D Virtual Gallery Tour: MATERIA
MATERIA is about artists sharing the same formal artistic language of abstraction. However, their research, approach, methods of production and use of material to depict abstraction are diverse and unique.
Let us present you selected artworks!
Thomas Canto
Thomas Canto's works, even his installations, are often geometric environments expanding in space like abstract volumetric drawings, in a continuation of the works of Jesús Rafael Soto, Carlos Cruz-Diez or, more recently, in the line of the Iranian artist Timo Nasseri’s line-based sculptures. Canto’s pieces, while having an unexpected simplicity of means, are visually sophisticated networks that play with the perspective viewpoint and the materialization of the gaze. When we see images of his works on a computer or catalog, it is difficult to comprehend how the work is built from ordinary building 
ordinary building materials, such as rope or grey, white and black matte paint. In some of his interactive and spatial works we are also invited to walk into the installation, which instills a physical and mental inspiring drift of physiological, philosophical, and mathematical associations, according to the personal universe of each visitor. In our world of digital images, Canto’s geometric environments are unusually tangible due to their irreducible materiality, while the viewer feels as if plunged into a universe where perception and, with it, movement - time and space -, seem to materialize.

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Views of the solo show Temporal Geometries
Thomas Canto at Bermel von Luxburg Gallery September-October 2018
Selected artworks of Thomas Canto - MATERIA

Thomas Canto

Crossing inertias

2019

103 x 103 cm

Mixed media on wood, acrylic glass, nylon wires.

Available

Thomas Canto

Square attraction

2017

103 x 103 cm

Mixed media on wood, acrylic glass, nylon wires

Available

Fred Eerdekens

Fred Eerdekens mainly works three-dimensionally with the components of language, material, light and shadow. His works are based on texts he writes himself. He often creates opposing ideas, sometimes words and meanings contradict each other, shift and turn around. His very sculptural work provides the impetus for a world that can only be experienced through words.  In the shadow, where light fails, a story is often told of things that are missing, sometimes short, sometimes lyrical or longing.

In addition to these sculptural works, Eerdekens uses a variety of techniques and materials, mostly in watercolors. 

Entering the art space of Fred Eerdekens transports the viewer into a semantic landscape in which what one has imagined to be stable meaning is constantly twisted and turned. Is there a better way to illustrate this than to let the audience "turn and turn" themselves to understand the objects? By screwing around the objects, they actually become direct figures of the logic game that dominates the objects. After the linguistic shift and in the wake of poststructuralist thinking, the topography of our mental landscapes has become increasingly complex. The work of Fred Eerdekens proves this and provides a conceptual map of this territory, still unknown in many places.

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Views of the group exhibition Abstract Writing
Fred Eerdekens at Bermel von Luxburg Gallery March-May 2019
Selected artworks of Fred Eerdekens - MATERIA

Fred Eeerdekens

What can't be here must be there

2020

15 x 100 x 15 cm

Copper

 

Available

Fred Eeerdekens

A line of nothing shining bright in black shadow

18 x 135 x 14 cm

2013

Copper

Available

Uli Fischer

"The fact that I work with old, used, partly fragmentary textile materials is the consequence of my artistic development.
The patina of the textiles, which are marked by everyday use, in the sense of the word 'life', conveys not only their empirical history (age, material, function, etc.) but also the lost memories of those who used the textiles and their fate (joy, suffering, sorrow, etc.). Rather, a transformation takes place, whereby time becomes material through the patina. Time becomes perceptible through the patina and traces of use. The patina becomes the medium of my artistic work.


The fabrics I work with are usually everyday textiles, whose patina is the result of profane actions and the passage of time, traces of use such as abrasion, stains, repairs, holes, cracks, etc., one could also speak of 'injuries', of 'scars left by life'.
The choice of materials, however, is determined by the entire specificity of the tissue, not just the 'injuries'. There is an interaction between me and the material, where the basic question is: can what appealed to me about the fabric stand on its own, or do doors open up for something else that goes beyond the fabric, for example that in combination with various materials it becomes part of this other." - Uli Fischer

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Views of the solo show Winter Salon
Uli Fischer at Bermel von Luxburg Gallery January - February 2020
Selected artworks of Uli Fischer - MATERIA

Uli Fischer

K3

2012

Historic Japanese cotton, cotton and silk on acoustic shape

130 x 130 cm

Available

Uli Fischer

Spellbound/Gebannt

2019

Historic cloth, bark yarn, diverse fabrics, cotton on acoustic shape

177,5 x 109 cm

Available

Benjamin Herndon

"Graphite, a crystalline form of elemental carbon, has the ability to both absorb and reflect light, essentially containing both lightness and darkness. I have a conceptual and poetic interest in this metaphor, namely that a single material can contain both the void and the hope of escaping it.  
 
The material process of my work has evolved gradually over the past several years as I have refined my hand-made graphite paint through continued experimentation. My paintings’ surfaces are slowly built up on canvas with many carefully made, thin coats of paint, which are then selectively polished to reveal passages of lustrous, reflective silver tones emerging from velvety black fields.
 
To date, my work has formally engaged pattern, repetition and evolution of line and two-dimensional form. The recent series Forms embodies a significant shift in my work, namely that my formal concerns have entered a space that approaches representation. This series engages the relationship between figure and ground that is of historical and continued importance in figurative painting. Yet, in this case, the works suggest unification and fluidity between the two: figure emerges from and fades into the ground, just as light appears from and disappears into darkness." - Benjamin Herndon   

 

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Views of the group exhibition show Materia
Benjamin Herndon at Bermel von Luxburg Gallery March - Mai 2020
Selected artworks of Benjamin Herndon - MATERIA

Benjamin Herndon

Form Nr. 5

2019

Graphite and oil on canvas

81,3 x 71,1 cm

Available

Benjamin Herndon

Form Nr. 6

2019

Graphite and oil on canvas

81,3 x 71,1 cm

Available

Lev Khesin

"Some of the most pivotal moments in my artistic work were catalyzed by Robert Rymans statement, "The basic problem is what to do with paint", and Herbert Marshall McLuhans statement "The medium is the message".

When creating work, the process of applying materials is primary to me. Generally, I do not plan the execution of my work further than one step ahead. The artwork emerges gradually in an interactive process. Every development is analyzed, and the subsequent direction arises from the internal logic of the medium and the tools.

I let the results of these experiments with materials amaze me as I manipulate them without knowing in advance how these techniques will affect the artwork.

My works are not "painted" in a traditional sense. Rather, I let them grow over the course of many layers. Although my paintings have a formal construction and are not intentional depictions of objects or phenomena of the external world, their construction relates loosely to the structure of minerals or crystals. This organization is most explicit on the edges of the paintings.

The eventual formal outcome of the work becomes secondary. It varies widely, depending how the materials are layered, ranging from the ascetic simplicity of Minimal Art to Baroque opulence, visual restraint to optical aggressiveness. This work investigates the relationship between the artist, materials, his tools, and time.

Through experimentation I discovered silicone as a painting medium. This material has a unique spectrum of qualities: a wide range in possible layer thickness, viscosities, glossiness, and transparency.

By manipulating these characteristics with different additives, I was able to develop intricate tactile surfaces. Although the number of notes are limited, the possibility for their arrangement is infinite.

Besides the techniques I developed, the intrinsic character of silicone is also important in my work. The light in my paintings is not depictional, but rather an actual interaction through layers of the material itself. The light contorts through semi-transparent layers, highlighting colours as it bounces around. Another, equally important facet of silicone is it oxymoronic quality. In the realm of silicone, a perfectly even surface can have structure and unexpected depth lurking underneath. Or, it can seem warm and organic, while maintaining its rubber-like synthetic composure." - Lev Khesin

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Views of the group exhibition show Materia
Lev Khesin at Bermel von Luxburg Gallery March - Mai 2020
Selected artworks of Lev Khesin - MATERIA

Lev Khesin

Awga

2020

Silicon and pigments on canvas

70 x 53 cm

Available

Lev Khesin

Hnem

2020

Silicon and pigments on canvas

 45 x 36 cm

Available

Nadège Mouyssinat

Nadège Mouyssinat was born in 1984 in Toulouse (France). She studied art and art history at the University of Bordeaux then in Limoges. She evolved over 10 years in the very demanding world of luxury market, as a designer for porcelain manufactories. The technical mastery and sublimation of matter were ubiquitous and are at the heart of her practice. She is an internationally recognized French artist who lives and works in Limoges.

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Honoured "Young Creation Award 2018" by Ateliers d'Art de France, the jury wanted to reward the excellence of her know-how,the singularity of her approach, as well as the sophisticated and resolutely contemporary aesthetics of her artworks.  She uses porcelain and an old know-how very anchored in a territory (Limoges). She creates a sensual, organic and mysterious universe. The aesthetics of the shapes developed by her is the fruit of a research fuelled by literature, by history, by legends.

Views of the group exhibition show Colourful reveries and dreamy sculptures
Nadège Mouyssinat at Bermel von Luxburg Gallery November 2019 - January 2020
Selected artworks of Nadège Mouyssinat - MATERIA

Nadège Mouyssinat

Substantial purple

2020

Porcelain

 86x 60 cm

Available

Nadège Mouyssinat

Deep Sèvres

2020

Porcelain

 

Available

Robert Pan

In his paintings, Robert Pan creates universes, galaxies and time-spaces that make us dream. As in all universes, scientific creation begins with an atom.

 

The desire to mix colours, the selection of pigments, the accumulation of successive layers of colour is the creation of a planet and a cosmic space. The artist chooses colour pigments, noble materials such as mother-of-pearl, gold, silver dust and fuses these materials with the resin like an alchemist, thus creating a new physical unity and reality. His works are the result of long and laborious experiments that have found a new language in abstract painting. Repetition and seriality, as in the avant-garde of the early 20th century - from the impressionists to minimalist and conceptual art - becomes a characteristic feature of many art movements with different objectives.

 

When we talk about seriality (conceptual or concrete), we are talking about the presence of repetitions within a scheme of a work. The series differ in their cycles: everything has a beginning and an end. The series are an expression of their content, they go through infinite theoretical variations. All formal and substantive decisions of the artist are an expression of individuality and universality.  The exhibition invites you to an optical firework display: dreamy images and surreal landscapes as a hymn to the odyssey of the unknown. 

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Views of the solo show show Robert Pan
Robert  at Bermel von Luxburg Gallery March - April 2018
Selected artworks of Robert Pan - MATERIA

Robert Pan

TE 3109 PC

2014-2016

Resin, acrylic and mixed media

110 x 85 cm

 

Available

Robert Pan

DG 2676 AUT

2014-2016

Resin, acrylic and mixed media

110 x 85 cm

 

Available

Olaf Schirm

Olaf Schirm (*1958, Berlin) has been present as a musician in electronic music and sound art under the name Symboter since the 1970s. His background in biology and physics, coupled with his artistic and engineering roots, led to the founding of companies in 3D computer animation, real-time motion capture technology, avatars and chatbots, research robotics and e-couture.

 

He has received awards from the Royal College of Art London, Siggraph Los Angeles, Byte Magazine, Medikinale.

As an international artist in the field of science art, he examines questions of perception, time and the relationship between man and machine / AI.

 

Olaf Schirm is also an author, art collector and speaker at panel discussions and conferences. He curates exhibitions of collector's art and science art.

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Views of the group exhibition show MATERIA
Olaf Schirm at Bermel von Luxburg Gallery March - May 2020
Selected artworks of Olaf Schirm - MATERIA

Olaf Schirm,

Fader

2016

Kinetic spray object

75 x 250 x 200 cm

 

Available