"Black Heino", 2019, oil.Acrylic and Gouache on canvas, 60 x 50 centimeters
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„Great Hall Of The People“
"Donar", 2018, gouache and acrylic on primed watercoler paper, 60 x 50 cm,
„the creator has a masterplan/ peace and happiness for every man.“
( Pharoah Sanders )
Henry Wollers exhibition „Great hall of the people“ inspires thoughts and questions on the meanings and functions of the exhibition and the exhibition space as an institution in general and of this very special place in particular.
A narrow space, a 13 squaremeters gardenshed, the epitome of petty action and retreat, is turned into something beyond ist actual destination, a place where people join together for celebrating the greatness of art.
But this greatness is questionable. Given the contradictory nature of the artwork and and its institutionalized reception , the synchronicity of escapism and critique of the real, art has
to mingle with its aporetic entanglement in economic and political power games , it remains as a demonstration of the synchronicity of inclusion and exclusion both in the social and the
An art crowd is never a good crowd.
And yet, despite all this, there is still the open question of the utopian potential of the art and every artwork is a materialized speculation on undisclosed future possibilities of the human condition.
The false idea of „the community“, of „the people" a faschists` regime imposed is overthrown and turned into an idea of openness, since the term "people" here is being received in the
sense Jaques Ranciere puts it in "Is art resistant ?“ where he, referring to Gilles Deleuzes` chapter on art in "what is philosophy?" describes the function of the monument as one which is not
looking back into history or representing the contemporary ,but addressed "... to the people still missing" and this could mean everyone and no one.
Thus, the associations triggered by the exhibitions pretentious title holds the tension between the idea of togetherness and peacefulness it implies, both as deliverance and as a tool of ideological seduction.
This inherent contradiction finds its equivalent in a series of Portaits of Grace Kelly, part of the ongoing long-time-series „Shooting Grace“ (for more information please visit henrywoller.de/ „on the Grace Kelly-series“).
They show her in different moods and appearances referring to the diverse states of the human mind in the experience of the aesthetic moment.
As the artists style, there captioned in fracture font with the prenames of german painters from the age of romance, an art epoch which stands both for the aim of the union of all artistic and scientific disciplines and, on the other hand, for the antienlightenment, the anti-modern, the irrational and the nationalists idea .
It is a hall of fame, which due to ist tiny measures is`nt one . The presence of a legendary woman artist, who is a ghost now, impliying the presence of male artists (who are also ghosts ) in drag, which in turn is questioned by their names written in quotation marks ( indeed, this habit was inspired by record covers of The Smiths and Morrissey) .
So, who is who ? This question is less a contribution to the gender issue. It is more like a playfull mockery on our certainties . „I see what I see“. No. You don`t.
The transverse format at the narrow end of the space show a picture of the gallery space drowned in nocturnal darkness, and there is a lonesome glowing orange light, breaking out of the half open door of a tiny hut.
On the opposite side a processing of a famous still of the yard from the film "rear window". Under a greyish and dreary sky the lights in the windows of the houses explode in all colors . The juxtaposition of collective isolation,self-chosen retreat and undisclosed suspense. . A suspense with the potential to set the world on fire.
*„ Great hall of the people „ was the name of a scheduled building project of the Nazis for Reichshauptstadt Germania, a gigantic hall designed for being capable
of gathering up to 180000 people. Given to the outcome of WW ll the plan was never put into action, but according to architecture experts it would have been condemned to collapse within a few
years later because of its megalomaniacal dimensions (Hitler dreamt of " St. Peters plus the square in front of it should be swallowed within one bite").
Supported by the european cultural foundation
"Great Hallo f the people", solo show, Numer02, London, UK, 6.-29.4 2019
I am represented now at artcadia-gallery.com
14. 7. bis Ende August 2018
Groupshow at Galerie Michaela Helfrich, Berlin
3.Februar - 25.März 2017
Bernhard Knaus Fine Art, Frankfurt am Main
"Dr. pi und die Suche nach der Quadratur des Kreises"
Group Show feat. Aldo Cristofaro, Carsten Konrad,
Erik Schmidt, Ralf Ziervogel and Klaus vom Bruch
Curated by Aldo Cristofaro