ALLES WIRD GUT Charlie Smith London

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ALLES WIRD GUT

We are delighted to announce that CHARLIE SMITH LONDON is now representing German artist Florian Heinke.
Born in Frankfurt am Main in 1981, he was educated at Johannes Gutenberg University Mainz and Städelschule, Frankfurt. Heinke is represented in three countries and has exhibited globally. His work is housed in numerous prominent private collections.
Heinke is known for his distinctive monochromatic paintings where he paints with only one colour: black. Expertly using subtle shifts in tonality and application, Heinke makes as much use of the raw, unprimed canvas as he does the painted form.
His canvases investigate contemporary and modern politics; popular culture; celebrity; glamour; beauty and decay. He is known for aggressive statements and uncompromising subject matter that is underpinned by the poetic and contemplative.

We look forward to presenting Heinke’s debut London solo ALLES WIRD GUT in September. We invite you to join us at the private view, where you will have a unique opportunity to meet the artist.

Private View
Thursday 08 September 6.30-8.30pm

Exhibition Dates
Friday 09 September – Saturday 08 October 2016

For images and further information please contact CHARLIE SMITH LONDON.

Gallery Hours
Wednesday–Saturday 11am–6pm or by appointment

Address
336 Old St, 2nd Floor, Shoreditch, London EC1V 9DR

Contact
+44 (0)20 7739 4055

direct@charliesmithlondon.com 
www.charliesmithlondon.com

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Black Paintings Heike Strelow

BLACK PAINTINGS
FIDES BECKER • EMMA BENNETT • LENA DITLMANN • BJÖRN DRENKWITZ • ZAVIER ELLIS • GOEKHAN ERDOGAN • TILL GALUNKE • FLORIAN HAAS • FLORIAN HEINKE • MARTIN HOENER • SAM JACKSON • ERIC MANIGAUD • HANNES MICHANEK • ALEX GENE MORRISON • GAVIN NOLAN • PEYMAN RAHIMI • LESLIE SMITH III • JOHN STARK • GEORGE STEINMANN • HERBERT WARMUTH • TESS WILLIAMS • HENDRIK ZIMMER
kuratiert von Heike StrelowEröffnung: Freitag, 29. April 2016, 19 Uhr

Ausstellungsdauer: 30. April  – 25. Juni 2016

Darmstadt MI CASA SU CASA

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Von Bettina Bergstedt

AUKTION „Mit Kunst für die Kunst“: Junge und Etablierte versteigern ihre Werke / 25 000 Euro für den Nachwuchs

DARMSTADT – 45 Künstler stellten eine Woche lang ihre Arbeiten in der Kunsthalle aus. Am Samstagnachmittag konnten sie dort meistbietend ersteigert werden – bei eher zurückhaltendem Käuferverhalten. Außerdem wurden sieben der jungen Künstler ausgelobt. Die beiden ersten Preise gingen an Florian Heinke und Julian Irlinger.

Zwanzig namhafte Künstler aus Darmstadt und der Region und 25 Künstler, nicht älter als 33 Jahre und aus dem Rhein-Main-Kreis, begaben sich in der vergangenen Woche in einen Dialog zwischen junger und etablierter Kunst – zugunsten des Nachwuchses. Nach einer einwöchigen Ausstellung in der Kunsthalle und einer anschließenden Auktion aller Werke endete die Aktion „Mit Kunst für die Kunst“ mit einer Preisverleihung.

Zwei erste Preise, dotiert mit je 3500 Euro, erhielten Florian Heinke und Julian Iringer. Karla Höning und Lisa Weber wurden mit je 2000 Euro mit den beiden zweiten Preisen ausgezeichnet. Veronika Weingärtner, Martin Kozlowski und Mickael Marmann dürfen im zur Galerie umfunktionierten Flur und in den beiden Studios der im Umbau befindlichen Kunsthalle ausstellen.

Ein Kommentar zur aktuellen Flüchtlingsfrage, nämlich das Acrylgemälde „Mi Casa Su Casa“ von Florian Heinke, erhielt einen der beiden ersten Preise. Schwarzweiß präsentiert Heinke das Thema, indem er eine junge Frau – Europa und Eva zugleich – mit einer Kobra in einem abgeschlossenen Innenraum, einem Wohnzimmer, zusammentreffen lässt. Die Schlange, in unserem Kulturkreis Inbegriff von Gefahr und Versuchung, und die Frau begegnen sich ganz ohne Angst, vielmehr respektvoll – eine schöne Lesart eines konfliktbeladenen politisch-gesellschaftlichen Themas.

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OPENING BUT THE GODS

Sehr geehrte Damen und Herren, liebe Freunde der Galerie,

wir freuen uns, Sie im Rahmen des 21. Saisonstarts der Frankfurter Galerien am 11. September 2015, 19 Uhr zur zweiten Einzelausstellung von Florian Heinke in unseren Räumen einladen zu dürfen.

… BUT THE GODS, der Titel, den Florian Heinke seiner Ausstellung voranstellt, könnte auch eine aktuelle Headline eines politischen Artikels einer internationalen Zeitung sein. Spielen doch Themen wie die Vorbestimmtheit durch unanwendbarer Kräfte – seien es Schicksal oder Gott – aber auch die Frage nach der Fähigkeit und dem Willen des Menschen zur Selbstbestimmtheit in unterschiedlichen politischen Kontexten heute einmal mehr eine zentrale Rolle.
Und in der Tat ist dieser Bezug des Ausstellungstitels zur gesellschaftspolitischen Realität nicht zufällig. Heinke nutzt in seinem Werk Sprache ebenso wie die von ihm komponierten Bildmotive als Ausdruck gesellschaftlicher Verfasstheit. Seine Bilder sind das Kondensat seiner Beschäftigung mit den politischen, kulturellen und individuellen Befindlichkeiten innerhalb unserer westlichen Gesellschaft.
Und auch die Entscheidung, in seiner Serie “When Time Sleeps” ganz auf Sprache zu verzichten, ist daher als bewusste Setzung zu verstehen. Die sehr räumlich und delikat ausgearbeiteten Motive dieser Serie, von denen einige großformatige Arbeiten auch in der Ausstellung zu sehen sind, halten Momente des inneren Rückzugs, Augenblicke von Zeitlosigkeit fest. Die Welt bleibt außen vor – so scheint es, doch es ist immer auch die Ruhe vor dem Sturm.

Ganz gezielt setzt Heinke diese virtuos in der Alla-Prima-Technik gemalten Bilder, die in ihrer Präzision kaum glauben lassen, dass sie allein mit schwarzen Acrylfarbe auf unbehandelter Leinwand gesetzt sind, in der Ausstellung neben plakativere, meist mit Sprache arbeitende Bilder.
Gerade auch im Nebeneinander der verschiedenen Bildtypen wird deutlich, wie gezielt Heinke verschiedene malerische Mittel einsetzt, um seine gesellschaftlichen Beobachtungen zu kommunizieren. Dabei weckt er mit seiner Malerei beim Betrachter entweder Sehnsüchte und Begehrlichkeiten oder beschreitet den Weg direkter Konfrontation. Immer setzt er dabei jedoch auf die emphatische Kraft von Malerei um uns mit seinen Bildern zu berühren.

Wir hoffen, Sie zur Eröffnung dieser spannenden Ausstellung begrüßen zu können.

Herzliche Grüße

Heike Strelow

 

WIDEWALLS-Article

 

widewalls

http://www.widewalls.ch/florian-heinke-acid-on-tea-2015/ 

Galerie Römerapotheke announced a solo exhibition by German painter Florian Heinke, an unconventional artist who uses only black paint as a “radical medium” through which he redefines the meanings of pop culture and tackles a variety of socio-political issues.

 

The Dark Art

Born in Frankfurt, where he still lives and works, Heinke studied painting at the Städelschule, graduating in 2009. At the beginning of his artistic career, he showcased work in public spaces, cafes, clubs and shops, where the topics he focused on matched the environment: the everyday life, relationships and trends. His paintings contain direct messages and a high level of irony and aggression. They tend to isolate pure emotion by immortalizing it on canvas and call to mind advertising posters, manifesting the longing for an impossible, utopian world. His scenes of violence and the homeless depict despair and the loss of faith, the elements that construct the contemporary landscape, in a morbid and unfathomable atmosphere. Often featured are the symbols of vanitas – skulls, angels of deaths and black butterflies.

 

The Black Pop

Through his work, Heinke addresses the interpersonal relationships – or rather the lack of them – in the contemporary society. The times we live in seem to flatten our emotions, we become more and more lonely, unable to communicate and exchange ideas in a fast-growing globalization. His imagery, found in digital media, magazines and newspapers, focus on constant tensions and tends to provoke thoughts of the viewers in a sarcastic way, exposing a strong attitude towards the crumbling society. Playing with the iconographic elements of pop art and culture, his art is the dark version of the usually vivid ideas, dragging it towards an apocalyptic representation. Heinke titled it Black Pop and he continues to use black canvas and black acrylic paint to cover it, emphasizing his rebellious intents.

 

Florian Heinke and the German Art Scene

In 2010, he organized and curated an exhibition titled Love kills. Betting on the Muse., featuring works by Jonathan Meese, Nam June Paik, Gregor Hildebrandt, Raymond Pettibon, Tobias Rehberger, Anselm Reyle, Gerhard Richter, Günther Uecker and Thomas Zipp, among others (check out an exhibition in Berlin featuring a hundred names called A Man Walks Into A Bar). In 2008, together with artist Daniel Birnbaum, he created a monument of love and its fragility in the form of a stumbling block, in which he embodied his old engagement rings. The piece was installed as an unmarked paving stone in front of Frankfurt’s Registry office. The upcoming exhibition will be his 13th solo show, along with many group shows he participated in across Germany and Europe.

Catch Florian Heinke – Acid on tea, opening on February 5th at Galerie Römerapotheke in Zurich, Switzerland, and closing on March 28th, 2015.

If you like the way Germans do art, check out our list of 10 German Street Artists.

And if you like art in general, sign up for My Widewalls and get the latest news!

 

 

 

CULTUS DEORUM

INVITATION

Cultus Deorum

Curated by Zavier Ellis

Florian Heinke, Sam Jackson, Reece Jones, Eric Manigaud, Alex Gene Morrison, Gavin Nolan, Dominic Shepherd, John Stark, The Cult Of RAMM:ΣLL:ZΣΣ

Saatchi Gallery, Prints & Originals Gallery, Duke Of York’s HQ, King’s Rd, London SW3 4RY

Exhibition Dates
October 1st – 27th 2014

Manigaud  Eric  Tranchee de Calonne   2013 Pencil   graphite powder on paper  140x230cm

Eric Manigaud ‘Tranchée de Calonne’, 2013 Pencil & graphite powder on paper 140x230cm

The term cultus deorum was defined by Roman philosopher and polymath Cicero as ‘the cultivation of the gods’. Approximately four hundred years before Emperor Constantine the Great’s conversion to Christianity, this would refer specifically to pagan polytheism. Cultish codes have been a central component of all belief systems throughout history, manifesting themselves in various ritualistic guises. Prayer, sacrifice, offerings and ceremonial actions in relation to symbolic signs, dates and places, compounded by repetition, come to define any individual cult by its most essential process, that of worship. Each artist in this presentation investigates the cult drive as an important component within their general practice.

Heinke  Florian  PO  Offset print on 150g Munken Print Creme 15  Ed. 50  29.7x21cm

Florian Heinke ‘PO’, 2014 Offset print on 150g Munken Print Creme 15 (Ed. 50) 29.7x21cm

Jackson  Sam  Guilt and Glory  Always Here    2014 Oil on board 12x12cm

Sam Jackson ‘Guilt and Glory (Always Here)’, 2014 Oil on board 12x12cm

Shepherd  Dominic  Season of the Witch   2104 Oil on linen 175x140cm

Dominic Shepherd ‘Season of the Witch’, 2014 Oil on linen 175x140cm

Florian Heinke uses black paint exclusively as a “radical medium”. His subjects are derived from traditional and digital media sources and often combine text to create an aesthetic that suggests a polemic poster or advertisement. Heinke’s paintings are aggressive, political and nihilistic, and this unrestrained approach is intended to provoke the audience into an emotive reaction. Heinke’s confrontational strategy reveals a deep lying cynicism of the modern age and a nostalgic longing for an impossible world.

Sam Jackson makes psychological portraits that often employ religious signs and symbols in the form of tattoos. Often displaying a melancholy serenity that refers to the poise of subjects in historic religious painting, Jackson’s works are strangely timeless whilst being undeniably contemporary. Crucifixes or swastikas inked onto the surface of the subjects’ skin create a conflict between passivity, aggression, and historic and popular cultures that have adopted branding and propaganda tendencies in order to promote their beliefs.

Reece Jones employs a unique process to make charcoal drawings on paper. His subjects may be whimsical, improbable, impossible or theoretically muddled. Cross references, samples and complete fabrications are often layered and juxtaposed until an image is made manifest whose origins are potentially difficult to define. In his recent work Jones uses ‘evidence’ of mythological or supernatural beasts as a point of reference, working with and evolving these core signifiers until they become apparently more authoritative. Ultimately the viewer is invited to assess the legacy of surface, process, documentary, translation, actuality and illusion.

Eric Manigaud makes large scale pencil drawings that offer a touchstone into important events and developments of the European modern phase including World War I bomb victims; early asylum inmates; murder victims photographed by progenitors of forensic science; or bombed cities of World War II. The National Socialist German Workers’ Party emerged from an earlier occult group called the Thule Society, both of which advocated establishing an Aryan master race and were inherently anti-Semitic. By being anti-Judaist and pro-folk (völkisch) in combination with a potent propaganda machine reliant on appropriating religious symbols such as the Hindu swastika, the Nazi party became the most devastating cult group of the 20th century. Manigaud’s powerfully emotive drawings are direct representations of the devastating consequences of this ideology.

Alex Gene Morrison works across media including painting, collage and animation. He employs archetypal motifs drawn from contemporary notions of the primitive and references the occult. Beckoning the tribal via totemic structures or primeval skull-like heads, Morrison unravels form to reveal the universal. Added to an ongoing investigation into pure abstraction, Morrison combines shape, texture and colour, either within a single painting or across a group, to further the impact of his enquiry into the essential.

Gavin Nolan is known for his ongoing series of portraits and self-portraits. Nolan draws on religion; political cults such as Nazism; and the modern cult of celebrity. Expressed through his selection of subjects such as Adolf Hitler, Joseph Goebbels, Jesus Christ, or artists from his inner circle, or through signifiers that are worked into the paintings, Nolan traverses the histories of art, culture, politics and religion. His use of emblems and visual codes are sometimes overt but often concealed, and serve to create a complex tableau of personal and universal symbolism.

Dominic Shepherd draws on the occult and English folk traditions. His complex paintings consist of interwoven surfaces of pattern and figuration that tie his own first-hand experience of living in Dorset woodland with an ongoing interest in historic and contemporary cultures and cult groups. 70’s Prog Rockers; Romantic poets; visionary artists; hippies; Pearly Kings and Queens; acid house ravers; and Wiccans populate Shepherd’s canvases, often bedecked with signs and symbols, to celebrate and mourn the loss of cultish communities and movements.

John Stark has been concerned with philosophies of religion, spirituality and the occult throughout the phases of his career. Evolving from depicting archetypal mythical characters such as hermits or witches through alchemists and prophets to Korean shamans, Stark continues to combine a personal search for individuation with an impeccable and labour intensive painting process.

The Cult Of RAMM:ΣLL:ZΣΣ are a group working in performance, video and installation that investigate the history of the city and graffiti, whilst adopting ancient notions of the ritualistic. Embracing paganism, shamanism and the primitive, The Cult Of RAMM:ΣLL:ZΣΣ fuse the archaic and the contemporary to make aggressive, engaging and loaded work.

Zavier Ellis is the Director of Shoreditch gallery CHARLIE SMITH LONDON and co-founder of THE FUTURE CAN WAIT. The gallery was established in 2009 and has rapidly gained a reputation for innovative exhibitions showcasing the work of emerging, talented and sought after artists. THE FUTURE CAN WAIT was established in 2007 and is now organised in partnership with Saatchi Gallery & Channel 4′s New Sensations. The exhibition is the biggest independent, annual event of its kind globally.

http://www.saatchistore.com/cultus-deorum/949-fade-out-by-florian-heinke-9786000028640.html

http://charliesmithlondon.com 

BENEFIZAUKTION ATELIER FFM

Benefizauktion zu Gunsten des Atelier-Frankfurt-Umbaus
Benefiz-Auktion: Donnerstag, 11.Septemer 2014, 19.30 Uhr, Einlass ab 18.00
Auktionator: Arno Verkade, Managing Direktor CHRISTIE’S Deutschland
Schirmherrin: Dr. h.c. Petra Roth, Oberbürgermeisterin a.D. der Stadt Frankfurt am Main
Vorbesichtigung: Freitag, 05. bis Donnerstag, 11. September 2014, täglich 15 bis 21 Uhr
Onlinekatalog: http://auktionskatalog.tumblr.com/page/4
Ort: ATELIERFRANKFURT, Schwedlerstraße 1-5, 60314 Frankfurt am Main

http://atelierfrankfurt.de/ausstellung/vortragen/event-1/

FLORIAN-HEINKE-CHRISTIES-ATELIER-FRANKFURT-HEIKE-STRELOW-ARABIAN-SUMMER

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THE GREAT WAR

The Great War | Harold de Bree, Florian Heinke, Eric Manigaud, Hugh Mendes

Private View: Thursday February 13th 6.30-8.30pm
Exhibition Dates: Friday February 14th – Saturday March 22nd 2014
Gallery Hours: Wednesday-Saturday 11am-6pm or by appointment

CHARLIE SMITH LONDON presents four European artists to mark the centenary of the beginning of The Great War.

Working across mediums in installation, drawing and painting, Harold de Bree (Netherlands), Florian Heinke (Germany), Eric Manigaud (France) and Hugh Mendes (United Kingdom) have made new work in response to the brief. Each artist was specifically invited by gallery director Zavier Ellis for their ongoing investigations into world war, with it being a dominant theme in all of their practices. Hailing from European countries that played significant roles between 1914 and 1918, each artist approaches the theme with profound and reflective endeavour.

Dutch artist Harold de Bree is known for making large scale installation and sculpture that replicates military hardware and public monuments. Playing on historical institutional tropes, de Bree poses complex questions about power, culture and nationalism. In this exhibition de Bree will present a site specific piece that resembles a WWI monument that might be found anywhere in Europe, but which also acts as a border marker. With wheels attached beneath, it is possible for the monument to move, hence commenting on the historical flux of national borders, and the implication of mutable frontlines that are defined by the processes of war and politics.

German artist Florian Heinke uses black paint exclusively as a “radical medium”. His subjects are derived from traditional and digital media sources and often combine text to create an aesthetic that suggests a polemic poster or advertisement. Heinke’s paintings are aggressive, political and nihilistic. This unrestrained approach is intended to provoke the audience into an emotive reaction, much in the same way that corporate businesses and political parties manipulate the public with powerful combinations of imagery and slogans. Heinke’s confrontational strategy reveals a deep lying cynicism of the modern age but also an artist who is profoundly concerned with current socio-political issues.

French artist Eric Manigaud is renowned for his impeccable large scale photorealist drawings. Derived from historical sources, Manigaud’s choice of imagery is based on monumental historical moments of the modern age. For this exhibition Manigaud has returned to his ongoing war series, which to date has included depictions of WWI trench warfare; WWI injured soldiers; and WWII bombed cities. Focusing on the impact of war in his homeland, Tranchée de Calonne is a devastating drawing over two metres wide that depicts the skeletal remains of soldiers killed near the famous road, which was a site of ferocious fighting during WWI and represented for some time the eastern French front.

British artist Hugh Mendes was born on Armistice Day in a British military hospital in Germany. His mother was a military nurse and his father a British Intelligence code breaker. Mendes is recognized for his paintings of newspaper pages, where he has continued to relentlessly track and transcribe obituaries and war stories. Mendes approaches WWI with irony and scepticism, choosing to focus on the absurd and whimsical, but with underlying pathos. His obsessive paintings are a personal reflection on the obsessions of the media. Sgt. Stubby, for example, is a recreation of a photograph of WWI’s most decorated war dog, who served 18 months in the trenches of France serving the US army. Stubby was decorated for, amongst other things, saving injured comrades in no man’s land, capturing German spies and detecting gas attacks.

In combination these artists will form a thought provoking exhibition that ruminates on the meaning and effects of war.

For images and further information please contact the gallery on direct@charliesmithlondon.com or +44 (0)20 7739 4055

336 Old Street
2nd Floor
London
EC1V 9DR
UNITED KINGDOM

+44 (0)20 7739 4055
direct@charliesmithlondon.com
www.charliesmithlondon.com

Hours: Wednesday-Saturday 11am-6pm or by appointment

Tube: Old St (Exit 2)
Buses: 55, 243

COMMERZBANK FAZ

LIEBE, LEIDENSCHAFT UND TOD

30.08.2010  ·  Mit Arbeiten von Florian Heinke beginnt die neue Reihe „Plaza Shows“ der Commerzbank-Stiftung.

Von Konstanze Crüwell

Die Oberflächlichkeit und Schnelllebigkeit von Beziehungen habe er in seinen Bildern einzufangen versucht, sagt Florian Heinke über seine Werkgruppe „Love kills“, die unter diesem Titel derzeit im Frankfurter Commerzbank-Tower (Kaiserplatz 1) gezeigt wird. Mit dieser Präsentation eröffnet Astrid Kießling-Takin von der Commerzbank-Stiftung eine neue, „Plaza Shows“ genannte Ausstellungsreihe, die vor allem Werke junger Künstler zur Diskussion stellen will. Und über die Gemälde des 1981 geborenen Städelschulabsolventen und Meisterschülers von Christa Näher kann man in der Tat sehr unterschiedlicher Meinung sein.

Liebe, Leidenschaft und Tod scheinen die Generalthemen von Florian Heinke zu sein, eines durchaus talentierten Malers, der ähnlich wie einige andere Künstler seiner Generation jedoch keinerlei Berührungsängste zu spektakulären und plakativen Botschaften oder zu einem selbstbewussten Egomarketing zeigt. Seine ausnahmslos schwarzweißen Gemälde und Bildfahnen im Riesenformat, auf denen er bisher vor allem Selbstporträts, Landschaften oder Frauenbildnisse zeigte, pflegt er mit selbstverfasster, mitunter auch obszöner Kurzprosa in nicht immer fehlerfreiem Englisch zu versehen – und in genauso großen, weithin lesbaren Lettern erscheint auch stets sein Name: „Guilty boys / Florian Heinke / poor but sexy / young but good“ ist ein vergleichsweise harmloses Beispiel.

Historisierender Stil

Im Commerzbank-Tower sind nur einige seiner riesigen „Love Flags“ zu sehen: mit Acryl auf Nessel gemalte, fünf mal acht Meter messende Riesenbilder. Im Mittelpunkt der Ausstellung steht seine jüngst entstandene Werkgruppe mit dem traurigen Titel „The Hill of Agony“, für die er ein sehr viel kleineres Format gewählt hat. Zu besichtigen sind romantische Gefühlslandschaften von dekorativer Wirkung, die nach den Worten des Künstlers als Bilder einer Beziehungsgeschichte und deren offenbar betrübliches Ende zu lesen sind. Auch hier ist er seiner konsequenten Schwarzweißmalerei natürlich treu geblieben, ebenso wie einer Neigung, diese Gemälde mit mehr oder weniger poetischen Sätzen über seine offenbar tiefgründigen Empfindungen zu kombinieren.

„I’d like to give up the bad and send you my heartlines“, beginnt sein Text neben einem kleinen Gemälde: Ein Baum mit vom Wind bewegten Bäumen und ein Hochsitz vor bewölktem Himmel sind darauf zu erkennen, in einer Darstellung, die fast wie ein Scherenschnitt wirkt. Und zu diesem historisierenden Stil passt es dann auch ganz gut, dass Florian Heinke seine neuen Gemälde in klassischen, goldverzierten Rahmen präsentiert, die aussehen können, als seien sie in der Zeit der Renaissance oder des Barock entstanden.