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Kunstmatrix bietet ein einzigartiges Set von Tools, die es Ihnen ermöglichen, ansprechende 3D-Ausstellungsräume für Ihre Kunst zu erstellen, um Kunstliebhaber und Sammler zu beeindrucken. Präsentieren und verwalten Sie Ihre Kunst digital, nutzen Sie unsere Augmented-Reality-App, um eine Vorschau Ihrer Werke in jedem beliebigen Raum zu zeigen!

3D Ausstellungen

8SIX Projects

Noodle Brain

08 May 2021 – 05 Jun 2021

Raluca Macovei


06 May 2021 – 01 Jun 2021

Since 2019 I have been interested in reproducing what I observe in nature, both outside me and inside. The themes I have been approaching are linked to the spaces and contexts in which I spend my time during certain periods of my life. Another theme I have been exploring since university has been the public transport theme. Using public transport daily, I carry a notebook with me and enjoy drawing elements of the space and the people around, trying to depict as accurately as possible the different facial expressions of those around me. Observing nature in so much detail and studying its exterior helped me deepen my understanding of its interior, enabling me to create abstract art based on it. After about a year of exploring abstract shapes, I returned to figurative drawing based on my self-portrait and objects around me in different contexts. I approached this subject using many different techniques such as collage, drawing on paper with charcoal, cut-outs, small sculptures and acrylic on canvas. Currently my interest is to explore the various techniques I can use to build on this theme. You can see my latest works on my website:

Copley Society of Art

Lucy Kalian: Almost Botanical

06 May 2021 – 06 Jun 2021

The Copley Society of Art is proud to present a solo exhibition by Copley Artist, Lucy Kalian. This show is an homage to natures bursting flora as the winter months wane. In nature, Lucy regards the explosive spring flora as riveting, evocative, and poignant. The exhibition begins on May 6th in the Upper Gallery, located at 158 Newbury Street, Boston, MA 02116, and continues through June 6th, 2021. “Nature is not static. Transformation is constant. A curious rain of flora is an indicator of change. It is thrilling. It represents things moving aside to allow posterity the opportunity to flourish, or fail…” – Lucy Kalian

Stan State University Art Galleries

Caela Dela Cruz - Hyperpresence

15 May 2021 – 15 Jun 2021

My work draws upon two concepts, philosophical ideas of monism and mathematical ideas of observable infinity, loosely applied onto the artistic idea of the image, such that the witnessed visual image — a subjective moment of perception entirely dependent on all of our psychological filters and physiological capabilities, and of which we are both part and participant of — is by nature a physically manifested instant of an inherently infinite thing. For example, all permutations of color combinations on a surface can theoretically exist, even if only as a possibility. It is through human intention in combination with the physical (medium) and dimensional (surface) limitations which we impose on the eternal image, that we are able to retrieve still frames of an ever-present and fluctuating thing. At times I will begin a painting only to find myself completely lost and out of sync with the nascent image, but steadily as days go by and layers build, the image reveals its direction with such holistic clarity and recognition it is as though it was present from the start. It feels as though, in its manifestation, an image is returning to me rather than passing through me — as if it were ever-present. In applying the final marks of a surface, I conclude my part in the life of the existing image, and thus as its painter it ends in a sense for me. But it lives on in its witness, and finds itself without end. My best advice to those curious how best to approach a painting is to simply allow yourself an honest opportunity to be present with it, to allow oneself to have an experience with it, no matter how long or short, mundane or resonant — any experience will do. The image only becomes a truly transcendent thing within the experienced reality of its viewer. I cannot direct it there. The image is subject to any and all integration, whether to a small or large degree, into the lived reality of the viewer, who in the act of viewing has allowed the image to embed itself within the complex reservoirs of the memory, subconscious, and emotions from which each of our subjective realities are constructed. In allowing yourself to have a moment with an image, you invite it to someday return, whether in the form of an idea, memory, motif, or never at all. It is this way that something living through one person is transferred through another, blurring the edges between where one life begins and another ends with such automatic fluidity it suggests the absence of such boundaries altogether.

Galerie Gerhard Rinck

Black & White

Neuhauser Kunstmühle

Xiao Hui Wang: Nano

06 May 2021 – 06 Jul 2021

Eine Edition der Neuhauser Kunstmühle: 30 Algraphien der Künstlerin Xiao Hui Wang, Shanghai/München

Alpha C.K. Art Gallery


11 May 2021 – 22 May 2021

Ioanna Kythreotou presents her latest solo exhibition featuring a new series of paintings exploding with colour, life and hope.

NFTs , Digitalism , Ai Art Gallery

01 Jan 2021 – 01 Jan 2022

The Exhibition attempts to showcase work that is more digitally orientated ; with the rise of cryptographic art , digital native artworks are added to the Keaneofficial Art Collective. Works are all for sale; enjoy

Connecticut College - Art History

Contemporary African Photography

An exhibition curated by students in "Introduction to African Art" (Spring 2021)

Galerie Gerhard Rinck

Flora & Fauna


JAAPH Expressionist Works

01 Apr 2021 – 01 Apr 2022

The exhibition shows some recent works by Dutch expressionist painter JAAPH. Pronounce: "Jahpaich". Creates different types of abstract and expressionist paintings. Mostly uses acrylics on canvas. Creates a 'field' between his unconscious mind, the painting, his personal history and his culture. Likes the directness of painting. You take the brush and Bam! There it is. No need to program it, agree with it or have meetings over it. Ideally wants you to get lost in his painting for a moment and change your consciousness. Is an active member of XP2020, an expressionist artist group.

David J Harris - Founder of the Museum of Inuit Art - Toronto -Presents:

Christian Morrisseau: Masterworks from The New Directions Project Exhibited - Canada 150 - Toronto

05 May 2021 – 05 May 2022

A real piece of art is a window into the transcendent. Humans need this in their lives because we are finite and limited; bounded by our ignorance and lack of knowledge. Unless humans make a connection to the transcendent they cannot prevail. Christian Morrisseau, guided by the spirits of his ancestors, brings the unreal to the real.

Roisin McGuigan

Post-Negotiation Positions

02 May 2021 – 09 May 2021

A reminder of colonial conquest with Marxist economic theory of annihilation encourages the viewer to consider the subject it wrangles. Trying to find my own utopia, new explorations of performative enquiry have open-ended questions. My experience of exile. It refers to human experience when a white ‘flag’ became an iconic symbol. Although there is an aesthetic positive in this when considering writing process and subject choices, as the Postmodern condition assimilating the animated surface. For Nietzsche, philosophy and cultural critique driven by a troubled history can be regarded an aesthetic self-consciousness to material. Bold gestures. My strategic position is still unclear. In Derry of course I immediately think of place as static work. It can, as machine combining antimonies, the infrathin, the donkey in the context of the circularity of art making. Creative destruction of today’s digital platforms. Extracts from the Negotiating a Strategic Position to Neomodernism Series April 2021

Touchstone Gallery, since 1976

I Chose White by Jeanne Garant

05 May 2021 – 05 Jun 2021

“Looking back on my solo exhibits at Touchstone Gallery, I recognize a theme. At each exhibit, a color was featured. Black. Red. Black and White. This year, I chose white. I chose it because of its representation of darkness - darkness felt deeply by me and people the world over as the COVID-19 pandemic stole so much. To many, white symbolizes simplicity, openness, good or a new beginning. For me, this past Year, it represented loneliness, isolation and coldness. The whites in my paintings range from pure white, to muted warm whites and cold whites. The nuances represent the variations in feelings. Abstracts, patterns and architectural images complete the seven works and add contrast. They might also represent bright spots - even the dark hues. I recommend Victoria Finlay’s book: COLOR, a Natural History of the Palette.”



03 Apr 2021 – 30 Jun 2021

Ikonokody Grzegorz Tomasiak Koncepcja moich prac koncentruje się wokół możliwości wykorzystania alfanumerycznego, dwuwymiarowego matrycowego kodu – modularnego i stałowymiarowego w procesie pisania i czytania ikon w treści odwołujących się do Starego Testamentu. Przywołany wyżej kod jest nośnikiem danych uczestniczącym w interakcjach z materialnymi przedmiotami z naszego otoczenia. Umożliwia kodowanie i przenoszenie znaków na podobieństwo kultury pisma i podobnie jak ono jest zjawiskiem fizycznym, percypowanym zmysłowo, które odsyła do czegoś innego, niż ono samo. Modułem w kodzie jest kwadrat biały lub czarny. Zestawienie modułów tworzy tzw. słowa kodowe, w których zapisana jest informacja o znakach. Wymiar modułu a zatem wymiary całego kodu są zmienne i zależą, obok innych wartości technologicznych, od zawartości zapisanych danych. Optyczna natura kodów dwuwymiarowych, odwzorowuje wręcz istotę znaków wizualnych, które traktowane są jako nośniki znaczeń. Możliwość wykorzystania tego rodzaju kodów jako maszynowo odczytywalnej reprezentacji danych a jednocześnie materialnych artefaktów uczestniczących w kreowaniu interakcji pomiędzy różnymi nośnikami znaczeń stanowi istotę moich poszukiwań badawczych i artystycznych. I sala Praca jest formą konceptualizacji pola problemów, z którego wywodzą się moje inspiracje twórcze. Ich konkretyzację stanowi cykl prac prezentowanych pod tytułem: Zastosowanie kodu dwu i trójwymiarowego w procesie pisania i czytania ikon inspirowanych Księgą Daniela. Prezentowany cykl to próba połączenia trzech, od kilku lat pojawiających się w mojej twórczości artystycznej, problemów. Pierwszy z nich dotyczył współczesnych sposobów przedstawiania ikony, łączących tradycyjne konwencje jej pisania z formami przekraczającymi ujęcia klasyczne. Drugi obejmował wykorzystanie matrycowych kodów kreskowych w pracy artystycznej. Trzeci dotyczył odczytywania symboli i znaków z Księgi Daniela z Biblii Tysiąclecia jako inspiracji dla pracy twórczej. Każdy z problemów był dla mnie ważny, dlatego każdemu chciałem poświęcić uwagę w pracy artystycznej. Praktycznym rozwiązaniem dla tak szerokiej perspektywy zainteresowań artystycznych stało się stworzenie pracy łączącej te problemy. Efekt finalny jest sumą doświadczeń, wynikiem towarzyszących im refleksji oraz podsumowaniem prowadzonych przeze mnie przez wiele lat działań artystycznych. Osobisty charakter artystycznej realizacji - obrazów tworzących cykl trzydziestu prac - wpisuję w kontekst sztuki mającej silne zakorzenienie w ikonie. Pełny cykl prac ikonicznych został podzielony na trzy zbiory. Na pierwszy składa się jedenaście prac nawiązujących kolejno do rozdziałów I-VI Księgi Daniela. To zbiór opowiadań biograficznych o Danielu i jego towarzyszach. Drugi zestaw stanowi piętnaście prac, a dotyczą one treści z rozdziałów VII-XII, zawierających dokładny opis wizji i wyroczni. Rozdziały te cechują się stylem apokaliptycznym i bogactwem symboli. Ostatni zestaw tworzą cztery prace odnoszące się do dodatków deuterokanonicznych Księgi Daniela. Ich forma opierająca się na wykorzystaniu zróżnicowanych kodów matrycowych pozwala na wielorakie odczytanie treści, począwszy od technologicznych operacji na intelektualnej interpretacji znaczeń kończąc. II sala wcześniejsze prace ENG Iconocodes Grzegorz Tomasiak The concept of my works focuses on the possibility of using alphanumeric, two-dimensional matrix code - modular and constant-dimensional in the process of writing and reading icons in content referring to the Old Testament. The code mentioned above is a data carrier participating in interactions with material objects from our environment. It enables the coding and transfer of signs to resemble the culture of writing, and like it, it is a physical phenomenon, perceived by the senses, which refers to something other than itself. The module in the code is a white or black square. The list of modules creates the so-called code words in which information about characters is written. The module dimension, and therefore the dimensions of the entire code, are variable and depend, apart from other technological values, on the content of the saved data. The optical nature of two-dimensional codes, even reflects the essence of visual signs that are treated as carriers of meanings. The possibility of using this type of codes as a machine-readable representation of data and at the same time material artifacts participating in creating interactions between various carriers of meaning is the essence of my research and artistic research. And the hall Work is a form of conceptualization of the field of problems from which my creative inspirations derive. Their concretization is a series of works presented under the title: The use of a tri-iconographic code in the process of writing and reading. The presented series is an attempt to combine three problems that have been appearing in my artistic work for several years. The first one concerns contemporary ways of representing icons, combining traditional writing conventions with forms that go beyond classical approaches. The second involved the use of matrix bar codes in artistic work. The third concerned reading signs and signs from the Book of Daniel in the Millennium Bible as inspiration for creative work. Each of the problems was for me, so I wanted to devote each of the topics to my artistic work. A practical side for such a broad perspective of artistic interest is to create a work combining these problems. The final effect is the sum of the results, the results of the accompanying reflections and a summary of my activities over many years of development activities. I enter the personal character of the artistic realization - images distorting thirty works in the context of art rooted strongly in the icon. The full cycle of iconic works has been divided into three parts. The first purchase is eleven working with interest to chapters I through VI of the book of Daniel. This is a collection of biographical stories about Daniel and his companions. The second set consists of fifteen works, and chapter one of the content of chapters VII-XII, a dangerous description of a vision and oracle. These chapters are characterized by an apocalyptic style and a wealth of symbols. The last set of tip four works presenting themselves to the deuterocanonical tests of the Book of Daniel. Their form, based on various matrix purchases, allows for multiple reading of the content, based on the technology of operations on intellectual interpretation ending meanings. II room previous work

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