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Galeries Estades Paris

Marie Astoin, maître de la couleur en Provence

24 Sep 2022 – 14 Nov 2022

Brillante coloriste, Marie Astoin (1923-2011) est la cheffe de file de l’Ecole Provençale Contemporaine. Née à Toulon,Marie Astoin nous offre une vision poétique des êtres et de la nature. Elle peint des moments de la vie quotidienne, des paysages, des natures mortes, avec vivacité et justesse dans la couleur. Les amateurs du monde entier sont séduits par ses couleurs exceptionnelles d’inspiration fauve. Elle nous fait grâce des détails : seul l’intéresse l’ensemble qu’elle construit avec rigueur et sensibilité. Brilliant colorist, Marie Astoin (1923-2011) is the leader of the Ecole Provençale Contemporaine. Born in Toulon, Marie Astoin offers us a poetic vision of beings and nature. She paints moments of everyday life, landscapes, still lifes, with vivacity and accuracy in color. Fans all over the world are seduced by its exceptional colors of fawn inspiration. She spares us the details: she is only interested in the whole that she builds with rigor and sensitivity.

Kato Wong Gallery

Hyper Nature

01 Oct 2022 – 04 Nov 2022

During these years of profound change, we have been forced to spend time in nature. I have always been more naturally interested in cities and people. But I reached the stage in my work where I was hungry to experiment. After a visit to a garden I started playing with photos of plants, pushing all of the parameters. I experimented with colours, composition, environment, species of plant. The result is an extreme interpretation of plant photography - nocturnal moods, metallic blues, neon pinks. It became Hyper Nature, a series of creatively extreme, very personal work. I connected the images to my life. The colours connected to my feelings. The titles relate to my life. Through Hyper Nature I’m exploring my relationship with nature, but truthfully I’m exploring my relationship with creativity. I have used my creativity to transform nature and make it personal to me. This exhibition is my second solo exhibition for my Gallery. Again, I have experimented with scale. There is a flow of moods, colours and light. These unusual transformations of plants provoke strong reactions. I hope it provokes feeling, thinking and enjoyment for you. Kato Wong. Hyper Nature is open until 4th November. All works are available to buy, to enquire contact the gallery on KatoWongGallery@gmail.com.

Influx Gallery

Silencio - Jack Savage

A selection of mixed media works by the award winning artist Jack Savage

Magnet Galleries Melbourne Inc.

Aftershock

01 Oct 2022 – 01 Oct 2023

« Music I Use: Bensound.com/royalty-free-music » Photo: At Lightscape by Margot Sharman

FRESH SALAD ART

Silo Ono

01 Oct 2022 – 15 Oct 2022

@freshsaladart presents Silo Ono. A virtual online exhibition featuring work from 50 artists. The Silo Ono Open Call encompasses varying visual styles and contexts from artists working across the globe. Creating an unmissable crispy and tasty showcase of new and exciting artistic practice.

Aleph Contemporary Ltd

The Aesthetics of Enchantment in Abstract Art

11 Oct 2022 – 15 Jan 2023

Nina Dolan, Gordon Dalton, Rebecca Meanley, Laurence Noga, Henry Ward, Mark Wright and introducing Charlotte Winifred Guérard. The Aesthetics of Enchantment In Abstract Art One of the things we inherit from the culture of the last century is the idea of art being either one thing or another: abstract or figurative. Strange now to think of how many careers were predicated on moving towards or away from one of those things; strange to think how much was riding on it. Strange too to think that this apparent dichotomy retains a currency even now, within much of the language around the art of our time. But it only takes a brief walk around the National Gallery’s Sainsbury Wing – one of the best places to see painting as an unruly, living thing – to watch this binary crumple in the face of objects that happily mingle fields of flattened geometry and the deep folds of a garment. Led by the lessons of these objects, let’s keep hold of paintings as uniquely impure and hybrid events, that sit both within the ordinary world of things and somewhere outside of it. In the realm, that is, of the figure and the abstract: both at once, all the time. The paintings here, then, although they nod towards and even borrow from a language forged at a time where men were men and abstract paintings were abstract paintings, ought really to be thought of as outside of modernist modes of thinking about works of art. Western abstract painting – and let’s be clear right from the outset: abstract art was neither invented in Europe nor in the last two hundred years, but is an ancient mode that goes right back to our deepest roots – came about in part to show the unshowable: spiritual communions, say, or political ones. But the paintings here are unmistakeably physical and of the world of sight and touch. Their metaphysics, if it’s there at all, comes through an encounter with the world as experienced bodily. In this way, they illuminate an art-historical path backwards that lights on, for instance, the body worlds of Willem de Kooning and Cecily Brown; the dream landscapes of Joan Mitchell and Grace Hartigan; the collagist geometries of Lygia Clark and Vladimir Tatlin; and even the total immersions of Georgia O’Keeffe. You can make up your own history, but the point remains: the paintings here assert something, however quietly – that painting, whatever it’s of, is always first and foremost of the world we share. By virtue of its installation and the nature of its context, this is an exhibition that invites sustained looking at individual works, rather than being read as a single, cogent entity. Nevertheless, there are certain threads that might be teased out of each artist’s practice and production. Mark Wright, Lawrence Noga and Charlotte Guérard’s works, for example, frame painting as an act of space-making. Rebecca Meanley and Nina Dolan’s works foreground the process of applying paint to surface, and the behaviour that ensues. Henry Ward and Gordon Dalton, meanwhile, play at the edges of description and by doing so embody the intransigence of painting as a medium, its ability to be many things at once. What all of these artists do is to position their paintings as points of contact between two kinds of experience, the maker’s and the viewer’s. Paintings always make space. That’s literally true, in that they occupy physical space both in their making and its reception, and reiterate in their form the shape of the wall on which they hang, but it’s figuratively true, too: the marks of the brush, thanks to the many variants in the behaviour of liquids and solids, evoke real spatial depth without having to try. Charlotte Guerard brings together a repertoire of painterly performances – dry, stubby marks, swooping liquid ones – and a close, pale palette, and in doing so generates the sensation of real space. It’s in the spatial effect of paint per se that something intrinsic to the medium comes to the surface: facture and tone stand for encountered territory. Painting is always bound up in acts of memory, especially landscape painting, so often made at a temporal and geographical distance from what it depicts, and the spaces Guérard’s work calls to mind are not so much seen as called to mind. What’s important here is the affect of place rather than its contours. Something similar transpires in paintings by Mark Wright. Using a combination of his own photographic sources and the memory of a visited location (generally, rural settings in Worcestershire, Northumberland, Norway, and Scotland), Wright’s paintings enact memory’s revivals; as in Guérard’s work, it’s the performance of paint as matter that allows the works to construct their impression of a space once inhabited by a body. (The body is remembering, not just the mind). Diverse surface effects (chalklike marks, akin to drawing; recessive pools of organic colour) play out the way landscape sits in the memory: as a series of flashes or glimpses, moments of bewilderment or wonder, acute sensations entangled with moments of indolence or absence. And always light: seen, remembered, returned. Something similar takes place in paintings by Gordon Dalton, whose paintings figure landscape as something slipping in and out of scale. His are paintings of places desired or imagined, whose perspectives bend and compress according to those desires or imaginings. In Graveyard Sun, patches of heady colour stack up to the sky, drawing the contours of a journey that might have never happened; the effect is almost, but not quite, narrative. Shapes of things, shown as though seen in peripheral vision, warp and twist when looked at closely. The mazy walk your eyes take is like the stumbling drift of a distracted mind, deliriously lost. Lawrence Noga’s constructions, on the other hand, build spatial memory out of the stuff of the present, fusing found materials with painterly surfaces to create a jolting, halting visual effect. The disparity of visual movement, between the loping and the stuttering, makes Dalton and Noga’s work mutually revealing. Pay close attention to one of Noga’s works and its staccato rhythms come to life; opaque geometries of hard colour meet tenderly handmade edges. Digging into his own family history, Noga unearths spaces of performance and employment (his mother sang in jazz clubs, his father worked in the Caprice restaurant) and evokes the charge of that encounter through a collage aesthetic that refuses to resolve itself: it’s always happening. Some sort of collagist kinship is at play in paintings by Nina Dolan. Sustained attention to their surfaces reveals a kind of internal history, whereby layered colour and cut shapes create the effect of a geological structure, some sort of deep time. Their titles – Egyptian Deities, The Nile at Night – further imply an archaic mode, with vertical elements, like totems, half-revealed through her process of addition and subtraction. Her use of encaustic paint, best known through Jasper Johns’ work of the mid-50s, but pioneered in Roman Egypt – situates them in a similarly indeterminate historical setting to Dalton’s woozy worlds. Dolan’s work reminds us that it’s in process – what painting is made to do and what it decides to do anyway – that painting’s purposes come through. This kind of temporality is made visually available in the work of Rebecca Meanley. Gestures applied in a water-based binder remain semi-transparent, tinting their neighbours and building their own spatial presence, a little like the cloudlike semi-density of a Jackson Pollock. The history of their making thereby becomes a spatial experience: time made visual. Her subsequent process of erasure and effacement is a form of what the artist calls “unpainting”, reversing the forward movement of gesture by removing paint, which reveals parts hitherto concealed. In this sense, studio practice becomes less about getting a painting done than about a process of self-reflection, correction and analysis; the time spent making is human time, after all, and it's that that pulls her paintings into the circle of our shared experience. This human time becomes generative in Henry Ward’s paintings. Ash and Sunday are reworked versions of older paintings that sat in his studio, somehow unresolved or indeterminate, for two years. Like Dolan, his process in this work is one of erasure and revelation, using the existing painting – made, of course, by an earlier version of himself – as a point of departure for new decisions made in the present. This tension between moments in time allows Ward to build into his work the effect of the studio as a place not only of action and production but of reflection and rearrangement too, of both action and its opposite. If the real subject of any of these paintings is human time – the time of making and the time of viewing – then these works enact it, imagining an artwork as the beginning of a conversation between marks on a canvas and beyond, into the mind of the person looking, and back into the world from whence they came. ~ Ben Street Ben Street is an art historian and writer living in London.

Petra Gut Contemporary

Michael Kahn

Michael Kahn’s stunning seascape and spectacular sailing photographs, created with traditional black and white film, are warmly toned, signed, and numbered in limited edition. With a distinctive sense of composition and attention to tonal relationships, the emotional force exhibited in Michael’s photographs has allowed him to be one of the most memorable photographers of our time. Michael, born in 1960, started photographing after high school when he apprenticed in a portrait studio where they used Hasselblad cameras with a square 6x6cm format. Michael received hands-on training in film handling and black and white printmaking. Here Michael also learned skills in advertising, product and editorial photography. From there, Michael branched off on his own, shooting for magazines and other commercial clients. In 1990 he published a book of black and white photographs of the Brandywine River in Southeastern Pennsylvania. In the mid-90s, Michael took his first sailing photograph of a small boat in the fog on a lake in the Adirondacks. This image launched his nautical photography career. Michael made the decision to stay with his film cameras instead of going with the new trends in digital equipment. He has been showing his fine art photographs in art galleries around the work for over 25 years and continues to make handmade photographs in his darkroom. Fine art pigment prints are made from the black and white film negative, printed on 300lb. watercolour paper, and are the highest quality digital prints in the marketplace. His fine art photography coffee-table books include Spirit of Sailing, Over the Dunes, East Coast Atlantic Beaches, Sailboats, Martha’s Vineyard and Healing Power of Water.

Casa Toscana Art Gallery

DUALIDAD

29 Sep 2022 – 01 Dec 2022

Este 2022 en Casa Toscana Art Gallery nos unimos al esfuerzo de la vanguardia mundial por subrayar al dibujo como esencia de las artes plásticas. Nos interesa no solo contemplar al dibujo como la base primaria sobre la que se construye una idea, sino resaltar y subrayar el valor del dibujo por sí mismo, desde sus orígenes como ritual en la lucha por la existencia de los homínidos primitivos hasta su omnipresencia como “la idea” en sí de toda obra. En esta exposición, apropiadamente titulada DUALIDAD, conjuntamos a dos magníficos dibujantes, con aproximaciones técnicas y temáticas distintas: Reinaldo Chavez y Pascual Cori. Ambos nos proponen desde sus perspectivas, cambiar de perspectiva, y poner especial atención al manejo del dibujo para crear una pluralidad de lenguajes. Seres enigmáticos, danzas reinventadas, encrucijadas, reflexiones, encuentros, despedidas, sabores acrobáticos y pensamientos nocturnos; la poesía creada con el dibujo da para esto y para más en manos de ambos artistas. ¡Bienvenidos! Casa Toscana Art Gallery This 2022 at Casa Toscana Art Gallery we are happy to join the efforts at the forefront of global art to highlight drawing as the essence of the plastic arts. We are not only interested in contemplating drawing as the primary basis upon which an idea for an artwork is built, we would also like to underscore the value of drawing on its own, from its role as a ritual in the struggle for survival of the primitive hominids to its omnipresence as the core “idea” of an artwork. In this exhibition, appropriately entitled “Duality”, we bring together two magnificent artists, which approach drawing from different thematic and technical standpoints: Reinaldo Chavez and Pascual Cori. Both propose to us, form their own perspectives, to change perspective, and pay special attention to how they execute their drawings to create a plurality of languages. Enigmatic beings, reinvented dances, crossroads, reflections, encounters, farewells, acrobatic flavors, and nocturnal thoughts; the poetry created through drawing gives us these and more, when in the hands of both artists. Welcome! Casa Toscana Art Gallery

Findlay Galleries

School of Paris Exhibition

IWS Canada

Autumn Glow - IWS Canada's 3D Gallery

01 Oct 2022 – 31 Oct 2022

The warm colours of autumn are featured in this edition of the IWS Canada 3D gallery, as well as many of our member's latest works.

Sciacco Studio

O Universo em Expansão - Exposição Individual de Maria Glocemar

30 Sep 2022 – 30 Oct 2022

Sumaya Ali Photography

Seasons of Solitude

“Solitude is a silent storm that breaks down our dead branches yet sends roots deeper into the living heart of the living earth.” Kahlil Gibran With her latest body of work, Sumaya Ali uses the universal lens of the Covid-19 pandemic to explore facets of isolation and solitude. Moving away from her disposition towards traditional portraiture featured in her previous exhibitions, Ali looked to expand her practice and delve into the world of conceptual photography in the Seasons of Solitude. Through her in depth research, Ali gleaned that while common threads may interweave our perspectives on the subject matter, our feelings on solitude as well as how we perform aloneness, are multi-faceted and encompass an amalgamation of emotions. These authentic experiences and their nuances are what Ali’s diverse visuality presents to the viewer. One may find for instance that loneliness does not require physical solitude or that joyful sentiments are not always an antithetical response to being alone. The artist invites the viewer to tackle the thoughts that her images provoke. There are no rules.

Mattias Bakhuizen

Virtual Opacity

01 Oct 2022 – 31 Oct 2022

The beauty of opacity on pure cottonpaper told in Bohuslän – West Coast of Sweden 2022.

THE HOLY ART

Midnight in the Garden of Good and Evil

01 Oct 2022 – 01 Nov 2022

Loferrie

SHAPES OF THE SOUL (part 2)

28 Sep 2022 – 28 Sep 2023

Loferrie focuses predominantly on soulful geometric abstraction. His sharp lines and curves are recognisable characteristics in his work, where he masterfully creates bold, vibrant paintings, eliminating any visual confusion, enabling the viewer to experience his compositions for what they represent and understand them in a clear visual language. A refined geometric vocabulary allows him to bring to life striking visuals for new narratives to be told, synthesised through visionary imagination. Loferrie's intuitive process originates from a meditative state, giving rise to vibrant atmospheric three dimensional compositions. Drawing from timeless universal wisdom and contemporary insights, Loferrie's work explores our human experience in this ever-changing technological world. The awareness and connection to self, nurtured by these traditions is what he translates in his studio practice, lived like a visual meditation, channeling pure energies. The core of his creative process is to bring mindfulness into existence and promote a positive message aiming toward a more peaceful and beautiful world.


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