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Tramaine de Senna & Nicolás Lamas

MÉLANGE & Sabot @Loggia for Various Others, Munich

13 09 2019 — 13 10 2019
Tramaine de Senna & Nicolás Lamas, installation view, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Last step, 2019, car radiator, sneaker, mineral stone, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Last step, 2019, car radiator, sneaker, mineral stone, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Unsustainable forms, 2014, IKEA stool, scraped African sculpture, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Unsustainable forms, 2014, IKEA stool, scraped African sculpture, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Coming Downhill, Shooting The Wounded, 2018, epoxy clay, electric wiring, led bulb, and cardboard, 34 x 146 x 34 cm, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Coming Downhill, Shooting The Wounded, 2018, epoxy clay, electric wiring, led bulb, and cardboard, 34 x 146 x 34 cm, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Devo-lution, 2017, paint, paper, and cardboard, 31 x 23 x 0,7 cm, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna & Nicolás Lamas, installation view, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, VOM - Vague Object Motif, Ruby Red Series;  Object No 2, 2013, hand-polished crystal clear resin with red 	dyemeranti pedestal, led bulb, and electrical wiring, 14,6 x 18 x 34,7 cm (object), 31 x 100 x 45 cm (pedestal), Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, VOM - Vague Object Motif, Ruby Red Series;  Object No 2, 2013, hand-polished crystal clear resin with red 	dyemeranti pedestal, led bulb, and electrical wiring, 14,6 x 18 x 34,7 cm (object), 31 x 100 x 45 cm (pedestal), Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Circulation, 2019, sneaker, hay, disabled desktop pc), Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Circulation, 2019, sneaker, hay, disabled desktop pc), Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Soft Sculpture, 2014, archival print, IKEA aluminium frame, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Synthesis of a Deer, 2014, IKEA towel structure, deer fur, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, El Presidente, 2018, satin, faux animal skin, metallic/ hologram 	fabric, foam batting, buttons, impregnated wood, rope, 120 x 185 x 3,5 cm (without feet), Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, What is happening to my skin, 2018, broken computer screen, wall hooks, 59 x 32 cm, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, What is happening to my skin, 2018, broken computer screen, wall hooks, 59 x 32 cm, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Digital Erosion, 2014, archival print, IKEA aluminium frame, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Digital Erosion, 2014, archival print, IKEA aluminium frame, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Devo-lution, 2017, paint, paper, and cardboard, 31 x 23 x 0,7 cm, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Devo-lution, 2017, paint, paper, and cardboard, 31 x 23 x 0,7 cm, Mélange and Sabot at Loggia, Munich 2019
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How to compare the incomparable? Or rather, why? Our way of understanding is used to seek out a safe ground, relying on unambiguous narratives that account for everything. As we would listen to a good story, it allows the listener to rest. Putting things together, that sort of look alike, but may or may not be linked to each other at all, helps us to remain calm and offer something to cling onto. Present and past suddenly make sense, a holistic feel, we draw a straight line from then to now; end of story. The other, the foreign and the old is always in need of being viewed through the filter of the known and familiar. As such, this way of implementing history is at the core of our thinking, visible in museums and similar institutions that gather a multitude of objects, creating subjective relations through the display and hoping for a better understanding.

At Loggia, the objects of Nicolás Lamas and Tramaine de Senna are arranged closely next to each other, forcing a discourse and comparison onto them, as one would see in archeological or ethnological museums, and amphasis the problem of cultural comparability. It loosely recalls to Jean-Martin Huberts famous “magiciens de la Terre” (Centre Georges Pompidou / Grand halle de la Villette, 1989) exhibition, where artists from everywhere have been gathered, depicting, that there is universality between all cultures but each is defined by its own context. The selection of pieces certainly share resemblances and was determined by the artist in an ongoing dialogue, while the placement was left to the curators. Shapes and colors seem almost too alike as they allow comparisons on a superficial and aesthetic level. But both artists share a similar interest in viewing objects as trajectories of time and information that result in works of an universal language that work with basic forms.

Tramaine de Senna’s interest lies with the self-called “migration of forms”, looking at historic functions of objects and forms and how they change over the course of time. Forms that were used to display power, sex, gender or identity that loose or change its understanding because it migrated somewhere else. For example her “Devo-lution” series of painted cardboard, she juxtaposes the shape of capitals with bold animal-esque patterns that might reference to zebras or leopards. The notion of design and material, in her understanding, is emotionally charged and allows us to experience various dimensions of a work simultaneously. Her pieces are analytical and emotive, an excersise in social dissection that inhabits haunting formalisms of the past.

“All the energy of the interactive situation object/subject in Nicolás Lamas’ work becomes something dialectical, a sort of action and counter-action unfolding through time. The entanglement between ideas and particles, the continual honing of speculation and making through emerging materials, the occlusion of evidences and the loosening of subversive energies trapped in objects are features shared both by Nicolás’ work and archaeological disciplines. Every site opened up and engaged through the craft skills of making objects or through the sensibility to liberate them has the transformative potential to shape a type of archaeology that transcends the human category to position objects within new systemic structures.

Adopting this attitude allows him to resist the constructed perception of matter as a passive entity, a stance that is both symbolic and liberating. After all, the fact that everyday objects are embedded in unexpected combinations is as much an act of rearticulating human grammars as it is an act of empowering objecthood.” (Alejandro Alonso Díaz)

Loggia invited Mélange, a non-profit exhibition space from Cologne, who collaborate with Sabot, a self proclaimed „travesty of a gallery“ from Cluj-Napoca, for this exhibition.

Lina Sommer

2 - 1 - 0

09 01 2020 — 23 02 2020
Lina Sommer, installation view, MÉLANGE 2020.Lina Sommer, installation view, MÉLANGE 2020.Lina Sommer, Lina Sommer, installation view detail, MÉLANGE 2020.Lina Sommer, Lina Sommer, installation view detail, MÉLANGE 2020.Lina Sommer, C9P1, 2019, installation view detail, MÉLANGE 2020.Lina Sommer, Lina Sommer, installation view detail, MÉLANGE 2020.Lina Sommer, Lina Sommer, installation view detail, MÉLANGE 2020.Lina Sommer, C9P1, 2019, installation view, MÉLANGE 2020.Lina Sommer, C9P1, 2019, installation view detail, MÉLANGE 2020.Lina Sommer, C9P1, 2019, installation view detail, MÉLANGE 2020.Lina Sommer, C9P1, 2019, installation view detail, MÉLANGE 2020.Lina Sommer, C9P1, 2019, installation view, MÉLANGE 2020.Lina Sommer, C9P1, 2019, installation view detail, MÉLANGE 2020.d
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Why does it feel so familiar looking at Lina Sommer’s work cycle? A canny familiarity. But why is it so difficult to pin point? Her work thrives from this strange in-between-moment of unutterable awareness of its language. The space filling sheets of paper are reworked with China ink and watercolor using various tools such as...

Tramaine de Senna

Snakes in Paradise

07 11 2019 — 05 01 2020
Tramaine de Senna: ​Snakes in Paradise, ​2019, Jesmonite 730 composite Sculpture, 19 x 67 x 21 cmTramaine de Senna: ​Snakes in Paradise, ​2019, Jesmonite 730 composite Sculpture, 19 x 67 x 21 cmTramaine de Senna: ​Snakes in Paradise, ​2019, Jesmonite 730 composite Sculpture, 19 x 67 x 21 cmTramaine de Senna: ​Snakes in Paradise, ​2019, Jesmonite 730 composite Sculpture, 19 x 67 x 21 cmTramaine de Senna, installation view, MÉLANGE 2019Tramaine de Senna, installation view, MÉLANGE 2019Tramaine de Senna, installation view, MÉLANGE 2019Tramaine de Senna:​ ​Mixed-Blood/Mischlinge Motif​, 2014, metallic satin matelassé (padded, stitched pattern); wood, paint, 155 x 102 x 3 cmTramaine de Senna:​ ​Mixed-Blood/Mischlinge Motif​, 2014, metallic satin matelassé (padded, stitched pattern); wood, paint, 155 x 102 x 3 cmTramaine de Senna:​ ​Mixed-Blood/Mischlinge Motif​, 2014, metallic satin matelassé (padded, stitched pattern); wood, paint, 155 x 102 x 3 cmTramaine de Senna, installation view, MÉLANGE 2019Tramaine de Senna:​ ​Monstera Pantera, ​2019, viscose, cotton, upholstery polyester, faux metallic reptile fabric, faux fur, polyester batting, 110 x 225 x 4 cmTramaine de Senna:​ ​Monstera Pantera, ​2019, viscose, cotton, upholstery polyester, faux metallic reptile fabric, faux fur, polyester batting, 110 x 225 x 4 cmTramaine de Senna:​ ​Monstera Pantera, ​2019, viscose, cotton, upholstery polyester, faux metallic reptile fabric, faux fur, polyester batting, 110 x 225 x 4 cm
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Here is fruit for the crows to pluck For the rain to gather, for the wind to suck For the sun to rot, for the trees to drop Here is a strange and bitter crop Billie Holiday, Strange Fruits 1939   Culture often manifests itself through strong images; images that attract and batter us. Billie...

Tramaine de Senna & Nicolás Lamas

MÉLANGE & Sabot @Loggia for Various Others, Munich

13 09 2019 — 13 10 2019
Tramaine de Senna & Nicolás Lamas, installation view, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Last step, 2019, car radiator, sneaker, mineral stone, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Last step, 2019, car radiator, sneaker, mineral stone, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Unsustainable forms, 2014, IKEA stool, scraped African sculpture, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Unsustainable forms, 2014, IKEA stool, scraped African sculpture, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Coming Downhill, Shooting The Wounded, 2018, epoxy clay, electric wiring, led bulb, and cardboard, 34 x 146 x 34 cm, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Coming Downhill, Shooting The Wounded, 2018, epoxy clay, electric wiring, led bulb, and cardboard, 34 x 146 x 34 cm, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Devo-lution, 2017, paint, paper, and cardboard, 31 x 23 x 0,7 cm, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna & Nicolás Lamas, installation view, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, VOM - Vague Object Motif, Ruby Red Series;  Object No 2, 2013, hand-polished crystal clear resin with red 	dyemeranti pedestal, led bulb, and electrical wiring, 14,6 x 18 x 34,7 cm (object), 31 x 100 x 45 cm (pedestal), Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, VOM - Vague Object Motif, Ruby Red Series;  Object No 2, 2013, hand-polished crystal clear resin with red 	dyemeranti pedestal, led bulb, and electrical wiring, 14,6 x 18 x 34,7 cm (object), 31 x 100 x 45 cm (pedestal), Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Circulation, 2019, sneaker, hay, disabled desktop pc), Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Circulation, 2019, sneaker, hay, disabled desktop pc), Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Soft Sculpture, 2014, archival print, IKEA aluminium frame, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Synthesis of a Deer, 2014, IKEA towel structure, deer fur, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, El Presidente, 2018, satin, faux animal skin, metallic/ hologram 	fabric, foam batting, buttons, impregnated wood, rope, 120 x 185 x 3,5 cm (without feet), Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, What is happening to my skin, 2018, broken computer screen, wall hooks, 59 x 32 cm, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, What is happening to my skin, 2018, broken computer screen, wall hooks, 59 x 32 cm, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Digital Erosion, 2014, archival print, IKEA aluminium frame, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Digital Erosion, 2014, archival print, IKEA aluminium frame, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Devo-lution, 2017, paint, paper, and cardboard, 31 x 23 x 0,7 cm, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Devo-lution, 2017, paint, paper, and cardboard, 31 x 23 x 0,7 cm, Mélange and Sabot at Loggia, Munich 2019
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How to compare the incomparable? Or rather, why? Our way of understanding is used to seek out a safe ground, relying on unambiguous narratives that account for everything. As we would listen to a good story, it allows the listener to rest. Putting things together, that sort of look alike, but may or may not...

Cezary Poniatowski & Sami Schlichting

Hereafter

06 09 2019 — 13 10 2019
Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019
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We apologies for the possible inconvenience of having dirty shoes after leaving the space. It´s the artists work, appreciate it; please. It nicely smells of rabbit cage and feels strangely cluttered, so we are happy. In the following, a loose string of allusions: A description, which is somewhat unrelated to the show: The French journalist...

Edition

BOX FOUR

Aline Bouvy, The Narrator, 2019, inkjet print on archival glossy paper 115g, epoxy clay wall pins 84,1 x 59,4 cm folded to 29,7 x 21 cm, signed and numbered on the versoAline Bouvy, The Narrator, 2019, inkjet print on archival glossy paper 115g, epoxy clay wall pins 84,1 x 59,4 cm folded to 29,7 x 21 cm, signed and numbered on the versoClaude Eigen, Canine, 2019, acrylic resin, paint, varnish 6,5 x 12,5 x 6,5 cm, signed and numbered one of two different examplesClaude Eigen, Canine, 2019, acrylic resin, paint, varnish 6,5 x 12,5 x 6,5 cm, signed and numbered one of two different examplesBertrand Flanet, Special Individual, 2019, 3D print with luorescent filament ca. 14 x 9 x 5 cm (assembled) [Pre-production rendering of final sculpture]Stefan Fuchs, Ohne Titel, 2019, acrylic polymer on MDF, 22 x 14 x 2,5 cm, signed, dated and numbered on the versoStefan Fuchs, Ohne Titel, 2019, acrylic polymer on MDF, 22 x 14 x 2,5 cm, signed, dated and numbered on the versoStefan Fuchs, Ohne Titel, 2019, acrylic polymer on MDF, 22 x 14 x 2,5 cm, signed, dated and numbered on the versoOlga Holzschuh, It ́s your destiny - I ́m sorry, 2019, „Cool Down Pink 1“ wall paint, pencil on water colour paper 29,7 x 21 cm, signed, dated and titled on the verso, Unique piecesMaren Karlson, Ohne Titel, 2019, C-print on silk 27,9 x 21 cm [Motiv A]Maren Karlson, Ohne Titel, 2019, C-print on silk 27,9 x 21 cm [Motiv B]Marie Munk, Untitled, 2019, silicon, plastic hair, grass carpet, 20 x 14 x 2 cm, signed and dated on the verso, unique piecesMarie Munk, Untitled, 2019, silicon, plastic hair, grass carpet, 20 x 14 x 2 cm, signed and dated on the verso, unique piecesPatrick Fabian Panetta, EDITITION TWO / MELANGE BOX FOUR, 2019, C-print on paper, signed and numbered on the accompanying certificate, unique exampleNicolas Pelzer, Socke, 2019, aluminium etching, 27 x 19 cm, signed, dated, titled and numbered on the versoTim Plamper, Hardcore Anima - 00001 to 00026, 2019, pencil on paper, 29,7 x 21 cm, signed, dated. Numbered on the verso Unique exampleViola Relle & Raphael Weilguni, Europaschläger, 2019, glazed ceramic, ca. 20 x 14 cm, numbered on the verso, unique piecesViola Relle & Raphael Weilguni, Europaschläger, 2019, glazed ceramic, ca. 20 x 14 cm, numbered on the verso, unique piecesMarkus Saile, Ohne Titel, 2019, oil on photograph, various dimensions, igned and dated on the verso, unique piecesGwenn Thomas, Antonioni's Window, 2019, MDF, color filter, 17,5 x 15,5 x 1,5 cm, signed, dated and numbered on the verso
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MÉLANGE is very grateful for all the artists we had the chance to work with in the past year and very thankful of those that participate in BOX FOUR!!! with works by Aline BOUVY, Claude EIGAN, Bertrand FLANET, Stefan FUCHS, Olga HOLZSCHUH, Maren KARLSON, Marie MUNK, Patrick Fabian PANETTA, Nicolas PELZER, Tim PLAMPER, Viola RELLE...

Ballon Rouge Collective

Philip Janssens - he who talks about the future is a funny guy

16 05 2019 — 16 06 2019
Philip Janssens, installation view, MÉLANGE 2019Philip Janssens, installation view, MÉLANGE 2019Philip Janssens, installation view, MÉLANGE 2019Philip Janssens, installation view, MÉLANGE 2019Philip Janssens, installation view, MÉLANGE 2019Philip Janssens, installation view, MÉLANGE 2019Philip Janssens, installation view, MÉLANGE 2019Philip Janssens, installation view, MÉLANGE 2019Philip Janssens, installation view, MÉLANGE 2019Philip Janssens, installation view, MÉLANGE 2019Philip Janssens, installation view, MÉLANGE 2019
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Philip Janssens’ ‘he who talks about the future is a funny guy’ is an exhibition about sensorial tom-foolery,false promises, and indomitable b​ad faith.​ Philip’s playful use of materials is intended to make us question the very thing in front of us. The space smells of a brand new car, tennis balls litter the floor and...

House of Nature

as part of 'Sie machen was sie wollen'

26 04 2019 — 09 06 2019
Eva L´Hoest, Under Automata, 2016, Single-channel Video, Full HD, 5'30House of Nature, installation view, Varna City Art Gallery, Bulgaria 2019Lilah Fowler, a. 4075. 2018. Wool, cotton. b. ASTER relief, North Rhine Westphalia coal mines, polystyrene, aluminium. c. 33.977, -116.678, 921m, 2016. Silk scarf. d. Blue Grama, Quemado, New Mexico. e. Glass electrodes, Missouri. f. Module 4. 2019. Neon lamp, braided cable, rubber, glass. g. Charcoal, Forest of Dean, Gloucestershire. ‘Charcoal Measure’ by Onya McCausland; oak from decommissioned ‘Place’ by Magdalena Jetelova.Lilah Fowler, a. 4075. 2018. Wool, cotton. b. ASTER relief, North Rhine Westphalia coal mines, polystyrene, aluminium. c. 33.977, -116.678, 921m, 2016. Silk scarf. d. Blue Grama, Quemado, New Mexico. e. Glass electrodes, Missouri. f. Module 4. 2019. Neon lamp, braided cable, rubber, glass. g. Charcoal, Forest of Dean, Gloucestershire. ‘Charcoal Measure’ by Onya McCausland; oak from decommissioned ‘Place’ by Magdalena Jetelova.Lilah Fowler, a. 4075. 2018. Wool, cotton. b. ASTER relief, North Rhine Westphalia coal mines, polystyrene, aluminium. c. 33.977, -116.678, 921m, 2016. Silk scarf. d. Blue Grama, Quemado, New Mexico. e. Glass electrodes, Missouri. f. Module 4. 2019. Neon lamp, braided cable, rubber, glass. g. Charcoal, Forest of Dean, Gloucestershire. ‘Charcoal Measure’ by Onya McCausland; oak from decommissioned ‘Place’ by Magdalena Jetelova.
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House of Nature Lilah Fowler & Eva L’Hoest as part of ‘Sie machen was sie wollen’, Varna City Art Gallery, Bulgaria SIE MACHENWAS SIE WOLLEN is a groupshow organized by the artists Ruslan Daskalov and Lukas Schmenger. They invited four teams of curators to built a physical or imaginated house in the gallery space with...

MÉLANGE & Moritz Scheper present

All This, Sweetie, Will One Day Be Yours

06 04 2019 — 05 05 2019
All This, Sweetie, Will One Day Be Yours, installation view, Mélange 2019Elisabeth Greinecker, Ohne Titel, 2018, aluminum, shrinking tube, chain, 30 x 9 x 5 cmElisabeth Greinecker, Ohne Titel, 2018, aluminum, shrinking tube, chain, 30 x 9 x 5 cmAll This, Sweetie, Will One Day Be Yours, installation view, Mélange 2019Jasmin Werner, Ambivalent Escalator (Sanssouci), 2018, angled conveyor belt, steel, stained wood, 190 x 125 x 148 cmJasmin Werner, Ambivalent Escalator (Sanssouci), 2018, angled conveyor belt, steel, stained wood, 190 x 125 x 148 cmJasmin Werner, Ambivalent Escalator (Sanssouci), 2018, angled conveyor belt, steel, stained wood, 190 x 125 x 148 cmAll This, Sweetie, Will One Day Be Yours, installation view, Mélange 2019Simon Mielke, Untitled, 2018-2019, oil, acrylic or egg tempera on canvas, various dimensionsSimon Mielke, Untitled, 2018-2019, oil, acrylic or egg tempera on canvas, various dimensionsSimon Mielke, Untitled, 2018-2019, oil, acrylic or egg tempera on canvas, various dimensionsSimon Mielke, Untitled, 2018-2019, oil, acrylic or egg tempera on canvas, various dimensionsSimon Mielke, Untitled, 2018-2019, oil, acrylic or egg tempera on canvas, various dimensionsFrieder Haller & Phung-tien Phan, Pain/da Luigi, 2018, metal, paint, light bulbs, plastic, dimensions variableFrieder Haller & Phung-tien Phan, Pain/da Luigi, 2018, metal, paint, light bulbs, plastic, dimensions variableFrieder Haller & Phung-tien Phan, Pain/da Luigi, 2018, metal, paint, light bulbs, plastic, dimensions variableFrieder Haller & Phung-tien Phan, Pain/da Luigi, 2018, metal, paint, light bulbs, plastic, dimensions variableFrieder Haller & Phung-tien Phan, Pain/da Luigi, 2018, metal, paint, light bulbs, plastic, dimensions variableSamanta Bohatsch, Scorpio Season, 2019, audio, 17’40”Svea Mausolf, Die Tochter vom Sheriff, 2019, color pencil, acrylic on canvas, 53,5 x 47 cmSvea Mausolf, Die Tochter vom Sheriff, 2019, color pencil, acrylic on canvas, 53,5 x 47 cmSimon Mielke, Untitled, 2018-2019, oil, acrylic or egg tempera on canvas, various dimensionsJacky Connolly, Anhedonia, 2017, Video, color, sound, 18’00”, a Data Editions commissionJacky Connolly, Anhedonia, 2017, Video, color, sound, 18’00”, a Data Editions commissionJacky Connolly, Anhedonia, 2017, Video, color, sound, 18’00”, a Data Editions commissionEva Vuillemin, Sind es deine Hände oder meine Hände, ich weiss es nicht mehr, 2016, video, color, sound, 3’25”Eva Vuillemin, Sind es deine Hände oder meine Hände, ich weiss es nicht mehr, 2016, video, color, sound, 3’25”Eva Vuillemin, Sind es deine Hände oder meine Hände, ich weiss es nicht mehr, 2016, video, color, sound, 3’25”Elisabeth Greinecker, Ohne Titel, 2019, aluminium, shrinking tube, chain, wire 160 x 10 x 9 cmElisabeth Greinecker, Ohne Titel, 2019, aluminium, shrinking tube, chain, wire 160 x 10 x 9 cmElisabeth Greinecker, Ohne Titel, 2019, aluminium, shrinking tube, chain, wire 160 x 10 x 9 cmElisabeth Greinecker, Ohne Titel, 2018, aluminum, shrinking tube, epoxy, 30 x 14 x 7 cm, Ohne Titel, 2018, aluminum, shrinking tube, 30 x 11 x 3 cm
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Mélange and Moritz Scheper are thrilled to invite you to their collaborative exhibition project ‘All This, Sweetie, Will One Day Be Yours’ Werthalle (Moselstr. 68, Cologne). With works by: Jacky Connolly Samantha Bohatsch Elisabeth Greinecker Frieder Haller & Phung-tien Phan Svea Mausolf Simon Mielke Eva Vuillemin Jasmin Werner All This, Sweetie, Will One Day Be...

Unttld Contemporary

Exit II (Prolog)

08 04 2019 — 12 04 2019
Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper & Alwin Lay, installation view, Unttld Contemporary, MÉLANGE 201917_Alwin Lay_Untitled at King Georg I, 2019, C-print17_Alwin Lay_Untitled at King Georg I, 2019, C-printTim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019Tim Plamper, installation view, Unttld Contemporary, MÉLANGE 2019
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Beyond my simple body, lies a future by Lara Konrad Eventually I decide to sit down at the edge of my hotel bed and begin to finger myself, assuming it will make me feel like I can belong to the external world I have been part of these past days, ever since having arrived to...

Claude Eigan & Maren Karlson

Hear The Lizards Listening

14 02 2019 — 30 03 2019
Claude Eigan & Maren Karlson: Owls, 2019, clay, acrylic paint, varnish, wire, steel, dimensions variable, MÉLANGE 2019Claude Eigan & Maren Karlson: Owls, 2019, clay, acrylic paint, varnish, wire, steel, dimensions variable, MÉLANGE 2019Claude Eigan & Maren Karlson: Owls, 2019, clay, acrylic paint, varnish, wire, steel, dimensions variable, MÉLANGE 2019Claude Eigan & Maren Karlson: Owls, 2019, clay, acrylic paint, varnish, wire, steel, dimensions variable, MÉLANGE 2019Claude Eigan & Maren Karlson, Installation view, MÉLANGE 2019Claude Eigan & Maren Karlson, Installation view, MÉLANGE 2019Claude Eigan & Maren Karlson, Installation view, MÉLANGE 2019Maren Karlson: She Rose, 2019, charcoal on wall, dimensions variable, MÉLANGE 2019Maren Karlson: Suddenly the path seems easier, and wider, and you realize you're at the center and there's nothing there but yourself, 2019, oil on wood panel, 24 x 18 cm, MÉLANGE 2019Claude Eigan: Inner Saboteur, 2019, wood, styrofoam, resin, plaster, spray paint, lacquer, 170 x 80 x 45 cm, MÉLANGE 2019Maren Karlson: Engel der Nacht, 2019, oil on wood panel, 18 x 24 cm, MÉLANGE 2019Maren Karlson: Let‘s see if I can be born again, 2018, pencil on canvas, 49 x 37,5 cm, MÉLANGE 2019Maren Karlson: Let‘s see if I can be born again, 2018, pencil on canvas, 49 x 37,5 cm, MÉLANGE 2019
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curated by Sarah Johanna Theurer The lizard basking in the sun is a well-known protagonist of philosophical thinking. What’s the relationship between the motionless lizard and the stone, the motionless stone on the ground and the human approaching it’s own reflection in the reptile’s eye? The animal’s suspended state of awareness, mind and body absorbed...

Marie Munk

A Nice Day for a Run

11 01 2019 — 10 02 2019

MÉLANGE is humbled to invite Marie Munk for her first solo show in Germany. Her exhibition titled ’A Nice Day for a Run’ invites the visitor and leave those dark days behind and take a stroll in the greenery. A sunny day in the park, while soft lullabies hum along would be perfect to escape...