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Galerie Springer Berli

Galerie Springer Berlin

Galerie Springer Berlin

Galerie Springer Berlin

The programme of the gallery is focusing on classic and contemporary photography and comprises a group of international artists whose works form insightful dialogues. Besides four to six exhibitions in Berlin and the participation in national and international art fairs, our activities are completed by support service for private and public collections. The gallery was founded in 1991 in Frankfurt (Main). In 1998 it moved to Berlin into the legendary spaces of Rudolf Springer. Since 2012 the gallery is run by Heide and Robert Springer as GALERIE SPRINGER BERLIN, a name full of tradition.


Fasanenstrasse 13
10623 Berlin

3D exhibitions

  • Galerie Springer Berlin

    PETER KLARE - COLLAGES JENS LIEBCHEN - L.A. CROSSING

    24 May 2022 – 27 Aug 2022

    Every picture inevitably asks - apart from everything visible - about the author's position. After all, at the moment of viewing the picture, you find yourself in exactly this spot. In our double exhibition with Peter Klare and Jens Liebchen, both artists are fundamentally concerned with their own standpoint in relation to the photographic motif. While Jens Liebchen's pictures are created as »drive-by-photography« on a year-long drive through Los Angeles, Peter Klare pushes himself with his collages directly in front of the camera lens into pictures from a distant past. We cordially invite you to the opening of »L.A. Crossings« and »Collages« on 21 May 2021, from 1 to 6 p.m. PETER KLARE: Hard-edged lines, overlapping images, positive and negative forms and the unexpected complementation. The monochrome color field on the found footage creates new pictorial spaces. Barriers are piled up and overcome at the same time. While the colored forms make the existing images partially unrecognizable, curiosity is aroused in the viewer. In his new collages Peter Klare inserts works from the »Shapes« series into landscape photographs taken from private family albums. In this way the compositions become mental places of longing for the artist and - in tracing his own identity - as well describe the origin. Like on a chessboard opposing assertions collide, press against and complement each other. Together they form the new image. Peter Klare was born in Jena, Germany, in 1969. He studied painting in Montevideo, Uruguay, at the Academy of Fine Arts in Munich and at the University of California in Los Angeles. In 2020 the artist was awarded the prestigious Pollock-Krasner Foundation Grant. His work receives international recognition and has been shown at the Sprengel Museum in Hanover, at Deitch Projects in New York, and at the Armand Hammer Museum in Los Angeles among others. Peter Klare lives and works in Berlin. To accompany the exhibition the artist's book COLLAGEs will be published in a limited edition of 200 copies. JENS LIEBCHEN: In his series »L.A. Crossing«, which has been in the making since 2010, Jens Liebchen shows us the capital of unconditional automotive mobility like most of its inhabitants prefer to look at it: through the windows of their cars. Out of the moving car, Liebchen looks at a city that embodies the opposites of utopia and dystopia. »L.A. Crossing« itself sounds like the title of a movie, accordingly the street becomes a stage and photography becomes a kind of still image. Bathed in Californian light, the city appears fictitious and real at the same time. Stephen Shore’s image»La Brea Avenue and Beverly Boulevard« serves as a theoretical starting point for Liebchen’s work. Beginning with the »La Brea Matrix Project«, which was centered around said photo, Liebchen has reversed the common view and now looks back from the street to the city. Neither does he stop, like Lee Friedlander in »America by Car«, nor does he follow a strict gird like Ed Ruscha in »Every Building on the Sunset Strip«. Liebchen drives and drives. From the privileged and air-conditioned perspective of the driver’s seat, light and dark sides of the metropolis are revealed. Jens Liebchen (*1970) has worked as a freelance photographer since studying ethnology. His work has been exhibited worldwide and can be found in the collection of the DZ BANK Kunstsammlung in Frankfurt a. M., the Museum of Contemporary Art, Los Angeles and the art collection of the German Bundestag, among others. Liebchen lives and works in Berlin. Liebchen's series »L.A. CROSSING« will also be presented in a large group of works in the exhibition »Hollywood« at the Helmut Newton Foundation from 6 June. On the occasion of the two exhibitions, the book of the same name

  • Galerie Springer Berlin

    FAIRIES - KATHRIN LINKERSDORFF

    24 Apr 2021 – 25 Sep 2021

    Zum ersten Mal präsentiert die Galerie Springer Berlin Arbeiten der Künstlerin und Fotografin Kathrin Linkersdorff in einer Einzelausstellung mit Arbeiten aus ihrer neuen Serie Fairies. Linkersdorff ist geprägt durch die japanische Philosophie des Wabi-Sabi, in der die Schönheit von Unvollkommenheit und Vergänglichkeit gepriesen wird. Barbara Esch-Marowski, Leiterin des Haus am Kleistpark, hatte die Künstlerin vor einigen Wochen folgendermaßen beschrieben: »In ihrer bestechenden Klarheit erinnern ihre Arbeiten an die Pflanzenfotografien von Karl Blossfeldt und in ihrer Ästhetik an die Bilder von Edward Weston. Kommt man in ihr Atelier, würde man nicht denken, es sei ein Fotoatelier. Sich stapelnde Pappkisten bergen ein Archiv von trocknenden Pflanzen. Der Beginn ihrer Arbeit ist ein langwieriges und mühevolles Behandeln stets fragiler werdender Blumen. Über Monate werden sie aufgehängt, gedreht, entstaubt und wieder gewendet – um in erdachten Formen fragil zu erstarren. Das Wesen ihrer Arbeitsweise ist ein analoges. Lange hat sie auf Filmmaterial mit einer Hasselblad fotografiert und noch heute arbeitet Linkersdorff ausschließlich mit gezielt eingesetztem Tageslicht. Im präzise inszenierten Moment der Fotografie wird der schwindende Augenblick von Vergänglichkeit in seiner vollen Schönheit eingefroren. Doch erst im anschließenden Zusammenspiel mit dem aufwendigen Prozess der weiteren Verarbeitung und einem fein justierten Druck, findet das Bild seinen vollkommenen Ausdruck und vermag den beseelten Moment der Aufnahme widerzuspiegeln.« Mit freundlicher Unterstützung: Über die Fotografin: Kathrin Linkersdorff, 1966 in Berlin geboren, schloss 1996 ihr Architekturstudium an der TU Cottbus ab. Sie studierte an der Berlage Universität in Amsterdam und an der Bartlett Universität in London. Im Anschluss arbeitete sie alsArchitektin in Tokyo, bevor sie dort japanische Tuschemalerei studierte. In Berlin absolvierte sie 2006- 2007 ihr Studium der Fotografie an der »Schule für Fotografie am Schiffsbauerdamm« bei Robert Lyons. Seit 2012 ist sie von Berlin aus international als freie Künstlerin tätig. Mehr Informationen unter: http://www.kathrinlinkersdorff.com Mit freundlicher Unterstützung von Neustart Kultur / Stiftung Kulturfonds For the first time, Galerie Springer Berlin is presenting works by the artist and photographer Kathrin Linkersdorff in a solo exhibition featuring photographs from her new series "Fairies". Linkerdorff is influenced by the Japanese philosophy of wabi-sabi, which extols the beauty of imperfection and transience. Barbara Esch Marowski, director of the Haus am Kleistpark, described the artist a few weeks ago as follows: "In their captivating clarity, her works are reminiscent of the plant photographs of Karl Blossfeldt, and in their aesthetics of the paintings of Edward Weston. If you entered her studio, you would not think it was a photo studio. Stacking cardboard boxes house an archive of drying plants. The beginning of her work is lengthy and painstaking treatment of even more fragile flowers. For months, they hung up, turned over, dusted and turned over again – to solidify fragilely in imagined forms. The essence of her working method is analogue. For a long time she photographed on film material with a Hasselblad and even today Linkersdorff works exclusively with deliberately used daylight. In the precisely staged moment of photography, the fading moment of transience is frozen in its full beauty. But it is only in the subsequent interplay with the elaborate process of further processing and a finely adjusted print that the image finds its perfect expression and is able to reflect the soulful moment of the shot." Kathrin Linkersdorff, born in Berlin in 1966, completed her studies in architecture at the Technical at the TU Cottbus. She studied at the Berlage University in Amsterdam and at the Bartlett University in London. She then worked as an architect in Tokyo, before studying Japanese ink painting there. She completed her studies in photography at the »Schule für Fotografie am Schiffsbauerdamm« with Robert Lyons in 2006-2007. Since 2012 she has been working internationally as a freelance artist based in Berlin. Exhibition with the kind support of Neustart Kultur // Kunstfonds Bonn

  • Galerie Springer Berlin

    NATURAL APPEARANCE

    19 Oct 2021 – 29 Jan 2022

    Galerie Springer Berlin is showing two series that have emerged independently of each other, but which are dedicated to the same theme, namely the appearance of nature. Both artists have used photography to capture the visible and the invisible in different ways. In the series Wo Fuchs und Hase (Where Fox and Hare), which Maria Jauregui Ponte has been working on since 2018, the gallery is showing pictures from a small location in Mecklenburg. The cycle deals with wild animals that share their living space with people. By day, they live withdrawn, distanced from human beings. As soon as it gets dark and residents have withdrawn to their houses, the animal world re-conquers the terrain. Maria Jauregui makes this reconquering visible with the help of a wildlife camera. In the daytime, the artist takes the camera with her as she searches for traces the animals have left behind in the night; in a setting that is characterised by industrial agriculture and only seemingly represents nature. Ortiz photographs the fascinating formations of swarms of starlings on the Basque Country’s Atlantic coast. Isolated from their natural background, they form dark specks on empty canvases. These structures or clusters are jointly coordinated by hundreds or thousands of creatures. They constitute an agile, unpredictable choreography in which the individual disappears. Ortiz captures this natural wonder with his camera and alienates it with technical sophistication. Maria Jauregui Ponte and Aitor Ortiz come from the Basque Country in Spain; Ortiz lives near Bilbao, Jauregui Ponte in Berlin and Mecklenburg-Western Pomerania. About Maria Jauregui Ponte: Maria Jauregui Ponte, born in the Basque Country in 1972, has been living and working in Berlin since 1996. She is a self-taught photographer and honed her skills in internships and assistantships before studying at the New School for Photography, graduating in 2012. Ponte sees photography as a testing ground, offering her a variety of opportunities for expression. The tension between coincidence and control forms part of her approach. Since 2000, she has participated in numerous solo and group exhibitions in Germany and Europe, including at the Haus am Kleistpark, the Fotohaus ParisBerlin and the Rencontres d'Arles 2017 (solo exhibitions) and at the Opelvillen, Rüsselsheim (group exhibition). About Aitor Ortiz: Born in Bilbao in 1971, Aitor Ortiz is one of the best-known Spanish photographers. His work has been shown in numerous major museums in Europe, Asia and America, in both group and solo exhibitions. His major solo exhibitions include: Museo Universidad de Navarra (2018), Fotografiska Stockholm (2012), Sala Canal de Isabel II, Madrid (2012), Museo Guggenheim, Bilbao (2011). The book published by Hatje Cantz in 2011 is an important monograph on his work, which has been lauded by critics and honoured with numerous awards. His works are included in many different collections, including: Museo Nacional Centro de Arte Reina Sofía, Madrid, Museo Guggenheim Bilbao, Fundación La Caixa, AXA. Belgium, IVAM. Instituto Valenciano de Arte Moderno, Norman Foster Collection and many others. Supported by: Neustart Kultur, Stiftung Kunstfonds

  • Galerie Springer Berlin

    Der Harte Kern der Schönheit

    26 Feb 2022 – 14 May 2022

    Die Galerie Springer Berlin zeigt in dieser Ausstellung Fotografien von Ingar Krauss, die der Entwicklung und Wiederkehr des Naturthemas in seinem Werk nachgehen – von frühen Porträts zu jüngsten seriellen Arbeiten, von denen einige bisher noch nie zu sehen waren. Seine Bilder stehen im Zeichen eines Realismus, der auf natürliche Art magisch ist: als Wahrnehmung des Poetischen und Surrealen, manchmal Unheimlichen im Alltäglichen. Eine intensive Naturerfahrung, Tiere und Pflanzen, deren Werden und Vergehen im jahreszeitlichen Zyklus spielen darin eine besondere Rolle. Ingar Krauss arbeitet ausschließlich mit analogen Mitteln und bevorzugt in schwarzweiß, also in der Dunkelkammer. In seiner Bildproduktion kommt der Computer nicht vor und wenn er die Bilder bearbeitet, dann mit der Hand, dem Pinsel und Lasuren. Seine Genres sind die klassischen der Malerei: Porträt, Stillleben und Landschaft. Mit den Stillleben ist der Fotograf der Malerei am nächsten, und doch berührt gerade diese Serie grundlegende Fragestellungen des Mediums Fotografie. Ihre Tiefe, Farbigkeit und Konsequenz der Bildkomposition reflektiert die erste Dekade des Mediums im 19. Jahrhundert, dabei ist sie von großer Klarheit und äußerst anspielungsreich. Die Motive findet Ingar Krauss in der ländlichen Umgebung seines Ateliers. Er baut für sie bühnenartige Kästen in verschiedenen Größen und lässt darin die Früchte, Gewächse und auch Tiere unter natürlichem, gleichsam metaphysischem Licht auftreten. Gemessen an ihrer Präsenz, könnte man die Bilder ebenso als Porträts dieser Naturdinge lesen, die, entzeitlicht und entzeitlichend gleichermaßen, zu Symbolen der Vergänglichkeit werden. Man sieht ihnen den langsamen Entstehungsprozess an: Krauss ist ein Meister der Stofflichkeit. Der gebürtige Ost-Berliner Ingar Krauss (*1965) lebt und arbeitet in Berlin und im Oderbruch. Er war an zahlreichen internationalen Ausstellungen beteiligt, wie in der Hayward Gallery, London; dem Musée de l’Elysée, Lausanne; dem Palazzo Vecchio, Florenz; und dem ICP in New York. Seine Arbeiten sind in vielen Sammlungen vertreten, unter anderem in der Hermès Collection (Paris), der Hasselbladfoundation (Göteborg) und der Berlinischen Galerie. Veröffentlichungen gab es u. a. bei Hatje Cantz, Thames & Hudson, Mondadori Electa, Kerber, Skira Editore und Hartmann Books. * Titel nach einem Gedicht von William Carlos Williams The exhibition shows photographs by Ingar Krauss that trace the development and recurrence of nature as a theme in his work – from early portraits to his latest serial works. His pictures reflect a realism that is magical in a natural way: as a perception of the poetic, the surreal and sometimes the uncannynin everyday life. An intensive experience of nature as well as animals and plants, their becoming and passing in a seasonal cycle, play an important role in this. Krauss works solely with analogue equipment and preferably in black and white, i.e. in the darkroom. No computer is used in his image production and if he processes images he does by hand, with a paintbrush and varnish. His genres are the classics of painting: portrait, still life and landscape. The photographer comes closest to painting with his still lifes and yet this series touches on fundamental questions of the photographic medium. Its depth, colour and consistency in the composition of the image reflect they first decade of the medium in the 19th century while at the same timing being of great clarity and rich in allusion. Krauss finds his motifs in the rural surroundings of his studio. He builds stage-like boxes of different sizes for them and allows the fruits, plants and also animals to appear in them in a natural, virtually metaphysical light. Measured in terms of their presence, the pictures could also be seen as portraits of these things of nature that, being freed and eliminating of time to the same extent, become symbols of transience. One sees in them the slow development process: Krauss is a master of materiality. Ingar Krauss was born in East Berlin in 1965. He lives and works in Berlin and Oderbruch. He has been involved in numerous international exhibitions, for example at the Hayward Gallery (London), the Musée de l’Elysée (Lausanne), the Palazzo Vecchio (Florence) and the ICP (New York). His works are included in many collections, including the Hermès Collection (Paris), the Hasselbladfoundation (Goteborg) and the Berlinische Galerie (Berlin). Books of his work have been published by Hatje Cantz, Thames & Hudson, Mondadori Electa, Kerber, Skira Editore and Hartmann Books, among others. * Title based on a Poem by William Carlos Williams

  • Galerie Springer Berlin

    Paris Photo

    latest works

    • Jens Liebchen

      ohne Titel (Crocker Street / Agatha Street), 2010-2022
      53 x 75 x 4 cm (h x w x d)
      archival pigment print
    • Jens Liebchen

      ohne Titel (Central Avenue / 4th Street), 2010-2022
      53 x 75 x 4 cm (h x w x d)
      archival pigment print
    • Jens Liebchen

      ohne Titel (Wilshire Boulevard / Rodeo Drive(, 2010-2022
      53 x 75 x 4 cm (h x w x d)
      archival pigment print
    • Jens Liebchen

      ohne Titel (Sunset Boulevard / El Centro Avenue), 2010-2022
      53 x 75 x 4 cm (h x w x d)
      archival pigment print
    • Jens Liebchen

      ohne Titel (Bundy Drive / Tennessee Avenue), 2010-2022
      53 x 75 x 4 cm (h x w x d)
      archival pigment print
    • Jens Liebchen

      ohne Titel (Wilshire Boulevard / La Brea Avenue), 2010-2022
      53 x 75 x 4 cm (h x w x d)
      archival pigment print
    • Jens Liebchen

      ohne Titel (La Cienega Boulevard / Imperial Highway), 2010-2022
      53 x 75 x 4 cm (h x w x d)
      archival pigment print
    • Jens Liebchen

      ohne Titel (Sunset Boulevard / Gower Street), 2010-2022
      80 x 120 x 4.5 cm (h x w x d)
      archival pigment print
    • Peter Klare

      ohne Titel (Wind), 2021
      90 x 90 x 4 cm (h x w x d)
      archival pigment print
    • Peter Klare

      ohne Titel (Schilf), 2021
      90 x 90 x 4 cm (h x w x d)
      archival pigment print
    • Peter Klare

      ohne Titel (Weite), 2021
      90 x 90 x 4 cm (h x w x d)
      archival pigment print
    • Peter Klare

      ohne Titel, 2021
      90 x 90 x 4 cm (h x w x d)
      archival pigment print
    • Peter Klare

      ohne Titel (Spiegelung), 2021
      90 x 90 x 4 cm (h x w x d)
      archival pigment print
    • Peter Klare

      ohne Titel (Strand), 2021
      90 x 90 x 4 cm (h x w x d)
      archival pigment print
    • Peter Klare

      ohne Titel (Baum), 2010 - 2022
      90 x 90 x 4 cm (h x w x d)
      archival pigment print
    • Loredana Nemes

      Graubaum # 49, 2020
      98 x 73 x 3 cm (h x w x d)
      Gelatin silver print
    • Ute Mahler & Werner Mahler

      An den Strömen, Po #412, 2019
      92 x 115 cm (h x w)
      Gelatin silver print
    • Ute Mahler & Werner Mahler

      An den Strömen, Wolga #437, 2020
      92 x 115 x 3.5 cm (h x w x d)
      Gelatin silver print
    • Loredana Nemes

      Himmelmeer / Heavensea #12, 2020
      98 x 73 x 4 cm (h x w x d)
      Gelatin silver print
    • Winfried Muthesius

      Triomphe X, 2019
      140 x 90 x 4.5 cm (h x w x d)
      # Archival Pigment Print