Ludwig Hanisch: VERSUS 

27 November 2013 until 16  January 2014

Equipment (2013)

Equipment (2013)


Galerie Sturm is pleased to present the solo exhibition “VERSUS” with new paintings by the artist Ludwig Hanisch.

As the title of Ludwig Hanisch’s exhibition the word ‘Versus’ – a preposition of Latin origin, which is commonly translated as ‘against’ – suggests the moment of confrontation as a double entendre: On the one hand, the motifs of the artist’s most recent paintings quote the aesthetic of an older combat video game genre, so called Beat’ em Ups. Appearing in fierce body postures, action game figures such as knights, ninjas or kick-boxers stand face to face with each other – either within one painting or separated by the distance of two picture frames. At the same time, however, ‘versus’ describes the duel of two artistic visual languages: the clash of his regular paintings and their pixelated alter egos, which Hanisch stages to compete against each other. He calls these newly formed opponents ‘LowBit’ paintings – they are mirror-inverted counterparts of his existing works and, due to their raster graphical colour distribution, easily blend in the original Beat ‘em Up subject.

The pixelation of these works not only highlights Hanisch’s elaborate handling of colour compositions, but also alludes to his deliberately pondering working process: Each finished painting is subject to extensive acts of experimentation, in which the artist repaints and destroys, searches and recreates. In this way, he developed the draft for the exhibition‘s large-scaled central work “Equipment”. He reworked a painting with a ninja-motif for over two months, took a photo of the image, subsequently repainted and pixelated it, eventually forming a new work from the former image.

Hanisch primarily uses acrylic paint and spray, which he applies on paper. As in some image areas of the small-scaled work “Kreuzritter”, multiple layers of colour add a three-dimensional effect on top of the thin painting base, while other parts reveal the selective destruction and show holes, ruptures and crumbling edges. These traces are suggestive of the violent aspect, the competition and the corporeality involved in Beat ‘em Up aesthetics, which the artist seems to transfer directly onto his own artistic practice and thus in the production process of his paintings.

Ludwig Hanisch, born 1984 in Halle an der Saale, Germany, graduated in 2012 as Meisterschüler at the Kunstakademie Nürnberg under Prof. Thomas Hartmann. His works have recently been exhibited at the Kunstsammlung Neubrandenburg (DE), at Galerie Rigassi (CH) and at Kreisgalerie Nürnberg. Hanisch is an awardee of the Bayrisches Atelierförderprogramm für Bildende Künstler and he received the Förderpreis der IfA Förderbank für Junge Kunst in Bayern in 2012. The artist lives and works in Nuremberg.

The exhibition is accompanied by a booklet.



Jude Griebel: How You Were Made

10 October until 21 November 2013

Wheat country (2013)

Wheat country (2013)


Galerie Sturm is pleased to present the solo exhibition “How You Were Made” by the sculptor and painter Jude Griebel.

For his first solo exhibition in Germany, the Canadian artist Jude Griebel created a series of figurative papier-mache sculptures, which are closely linked to the rural environment he grew up in. Drawing his inspiration from personal and scientific sources, most of the works relate to the landscape, the seasons and the climate of the Canadian prairies. Incorporating objects and symbols of traditional agriculture, a sense of nostalgia for conventional farming encloses the sculptures. Griebel’s approach is, however, not only to stage (and to question) a romanticised relationship to nature, but he also introduces an artistic language that critically observes industrial agricultural development and similarly disrupts the harmonious image of seeding and cropping.

This disruption is played out in disturbing and uncomfortable visual elements, affecting the physical integrity of Griebel’s fictional figures and juxtaposing the two extremes of growth and decay: While his objects “How You Were Made (Bees)” and “How You Were Made (Wool)” return to the foetal curl and thus allude to fertility and creation, other sculptural bodies collapse, melt, burn or slowly sink into the earth and eventually dissolve in nature. This tragic narrative is also suggested by the central piece “Wheat Country”, which demonstrates the dilemma within a corporal landscape that is employed by agrculture to grow and at the same time abused by a pumpjack to extract petroleum.

Using papier-mache of Japanese tissues, epoxy resin and oil paint to create his sculptures, Jude Griebel re-interprets an old folk craft tradition that he continuously experiments with and researched in a molding production for the Day of the Dead festivities in Mexico. Also other materials, such as wood, human hair or glass are incorporated into the process. The figures are prepared until they can serve as a painting surface, on which Griebel eventually applies oil and alkyd.

Jude Griebel, born 1978 in Ottawa, Canada, studied at the Concordia University and the Emily Carr University of Art and Design in Canada. He participated in the MFA International Exchange, program of the University of Lapland in Finland and received several international working and travel grants. Among his recent exhibitions are Grow Apart at Galerie FOFA in Montreal, Canada and Apparition at Islensk Grafik in Reykjavik, Iceland. The artist lives and works in Canada.

The exhibition is accompanied by a booklet.




18 July until 25 August 2013

 Space in between (1966)

Space in between (1966)


Galerie Sturm is pleased to present its first solo show of paintings by Peter Kalkhof. “COLOUR SPACE TIME” shows selected works of his oeuvre from the last six decades and is the artist’s first retrospective exhibition in Germany.

Peter Kalkhof never tires to follow his curiosity. It is nature’s wide horizons, the seemingly infinite distance to the sky and the unknown within deep space, which has affected the German painter for decades and has inspired him to do art. Since the early 1960s, his abstract paintings consistently follow a recurring visual language, expressed with severe geometric shapes and a bright palette of primal and secondary colours.

Kalkhof generates the impressive spectrum of colours and shapes based on his countless travel impressions that he collects and processes. Transformed into abstracted metaphors, the artist uses the exotic sensory perceptions and subtly incorporates them in his work. In doing so, he developed a striking fascination with colour symbolism, religious architecture and sacred geometry, such as the pyramids in Egypt, the temples in Indonesia and the sacral buildings of the Maya civilisation in Mexico. However, Kalkhof’s compositions step beyond his experiences in nature and develop a symbolic use for the artist – their own cosmos. During the process of reduction, that is to say, by making his impressions concrete, he peels the visual layer of real perception and merely leaves its essential consistence: colour and space.

While the architectures in Kalkhof’s travel memories have always added a personal aspect to his practice, the artist otherwise fosters a rational relation to geometry. To him, it primarily serves as a tool, as the “grammar to compose a picture”. Triangles, circles, lines or squares meet and overlap – they enclose fields of colours, create contrasts and in various arrays. Unlike these strict forms, the colours suggest sensuousness. They are chosen intuitively – acting as an emotional and personal vocabulary.

Kalkhof’s interest in the unknown and the distant, in space and nature, also surround his paintings in the “COLOUR SPACE TIME” exhibition. Even if the selected works emerged in different periods of production, they appear homogeneous and collectively challenge the big questions with a sense of intuition. The artist dissociates himself from an intellectual approach. Exactly that is the reason, as Kalkhof puts it, why he paints.

Peter Kalkhof, born 1933 in Leopoldshall, studied at the Werkkunstschule Braunschweig,  the Staatliche Akademie der Bildenden Künste Stuttgart, the Slade School of Fine Art in London and the École des Beaux-Arts in Paris. From 1964 to 1999 he had a teaching assignment in art at the University of Reading in Reading. Amongst other galleries, he is represented by Annely Juda Fine Art London and exhibited widely in England, Germany and abroad. Since 1963 the artist lives and works in London.

The exhibition is accompanied by a booklet.



Christiane Bergelt: Tandaradei

23 May until 07 July 2013

In Wellen, 2013

In Wellen, 2013


Galerie Sturm is pleased to announce the opening of our new location at Galgenhofstraße 33, 90459 Nuremberg, with the solo exhibition “Tandaradei” by Christiane Bergelt.

In her fifth solo show at Galerie Sturm, the artist Christiane Bergelt approaches the dialectical connection of alienation and intimacy with a series of paintings on paper. This contradictory relation already appears in exhibition’s title “Tandaradei” – a lyrical and uncommon neologism, invented by the German medieval poet Walther von der Vogelweide. He created the term for his song “Under den Linden”, so as to allegorically describe the sound of nightingales. As the heading for Bergelt’s new works, the title’s unfamiliar tone subliminally accompanies the painting’s compositions and surrounds them with a feeling of indefiniteness.

Figurative shapes amount to a significant part of her paintings, even though Bergelt  completely avoids a narrative depiction. She is interested in a disembodied, apparitional depth, which grows behind the familiar representational forms. Excluding realistic details, the artist effortlessly challenges and plays with the borders of figuration. Motifs, as for example a stump, a portrait or a pair of tighs, are subjected to transformation: With thick brushstrokes, Bergelt overpaints, carves or smudges the shapes, so that the selected materials – the colour’s consistency, the paper, the canvas – develop their own physicality.

For the artist, the materials’ behaviour with and against each other, creates an essential tension, in which she traces the balance between melancholic and cheerful outcomes: While her large works stand out due to their forcefulness and their cool colour tones, the smaller portrait formats evoke intimacy and empathy. Bergelt, however, does not follow  calculated effects, but her artistic practice is rather geared to the painterly coincidence – a strategy of surprise, which she provokes via experiments with the material and the compositions. Also the choice of colours is based on an intuitive process, which Christiane Bergelt eventually trusts to determine the effect of her paintings.

Christiane Bergelt, born 1982 in Marienberg, studied at Chelsea College of Art an Design London and under Prof. Thomas Hartmann and Prof. Christine Colditz at the Akademie der bildenden Künste Nürnberg. At this year’s  SCOPE Basel (10th – 16th June), Galerie Sturm will present works by Christiane Bergelt and Tobias Buckel.
The artist lives and works in Berlin.



10 June until 16 June 2013




Jochen Pankrath: …auf Papier

29 March until 22 May 2013




Tobias Buckel: Pad

31 January until 28 March 2013

Pad, 2012

Pad, 2012