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Galerie Biesenbach

Galerie Biesenbach

Galerie Biesenbach

Galerie Biesenbach

Die Galerie Biesenbach wurde 2012 von ihrem Inhaber Stéphane Biesenbach gegründet. Die Ausstellungsräume befinden sich im Zentrum Kölns im Galerienviertel.


Der Fokus unserer Arbeit liegt auf dem Gebiet der internationalen und zeitgenössischen Malerei, Zeichnung und Skulptur. Wir legen Wert darauf, Figuration und Abstraktion ausgewogen in unserem Programm zu zeigen.


Wir fördern junge Künstler und vertreten etablierte Positionen.


Galerie Biesenbach was founded in 2012 and is run by its owner Stéphane Biesenbach in collaboration with Bettina Ruchty. The gallery's exhibition space was located on St. Apern-Strasse in downtown Cologne’s gallery centre. It has since moved just around the corner to Haus der Stiftungen (House of Foundations), Zeughausstrasse 26, 1st floor, 50667 Köln.


The focus of our work is set on international and contemporary painting and sculpture. We attach importance to achieve a balance between figurative and abstract positions in our programme, whereby one or the other always predominates.


We promote young artists and represent established positions.


Galerie Biesenbach
Haus der Stiftungen
Zeughausstraße 26, 1. Etage (barrierefrei)
50667 Köln
(über der Galerie Seippel)

geöffnet von:
Di - Fr 12 - 18h, Sa 12 - 16h u.n.V.

3D Ausstellungen

  • Galerie Biesenbach

    TIME

    20 Nov 2022 – 21 Jan 2023

    Arran Rahimian, born 1991, lives and works in Edinburgh, Scotland. Rahimian studied at Leith School of Art and then went on to specialise in Sculpture at Edinburgh College of Art. The sculptural presence that an object holds plays a significant role in his work, always exposing the rawness of the surface. Arran’s work is collected by art collectors from all around the world, appreciating his ability to visualise time and movement through a line as well as capturing a reflexive element narrated through the rich exposure of colour and space. Lately, Arran Rahimian has been working closely with old books and highlighting their individual beauty. Fascinated by the mystery behind each one, he’s created his pieces using reclaimed book covers, some dating as far back as 1900. These books have aged with natural textures creating on the surfaces; over the years these marks have built a subtle and amazing feel on top of beautiful colours. On the other hand, his canvas works are a visual documentation of time, leaving natural elements to compose movement. Each canvas work is a landscape created by the landscape itself. "I consider the outdoors to be an extension to my studio; it plays a significant role in my work. My practice is conducted spontaneously and intuitively through walking. I am continually intrigued by the natural elements that surround me as their movement and presence inspire me." Rahimian’s work is a visual documentation of time and the effect of time on materials. The aim is for the viewer to focus purely on colour, texture and the subtle marks on the pieces. "As an artist, I am excited by the unpredictability and rawness of creating a painting. I do not plan my works, nor have a preconceived idea of how they will look. I look to create work that is visually stimulating without becoming overworked.“ ______ Arran Rahimian, geboren 1991, lebt und arbeitet in Edinburgh, Schottland. Rahimian studierte an der Leith School of Art und spezialisierte sich anschließend auf Bildhauerei am Edinburgh College of Art. Die skulpturale Präsenz eines Objekts spielt in seinem Werk eine wichtige Rolle, wobei er stets die Rohheit der Oberfläche freilegt. Arran Rahimians Arbeiten werden von Kunstsammlern aus der ganzen Welt gesammelt, die seine Fähigkeit schätzen, Zeit und Bewegung durch eine Linie zu visualisieren und ein reflexives Element einzufangen, das durch die reiche Darstellung von Farbe und Raum erzählt wird. In letzter Zeit hat sich Arran Rahimian intensiv mit alten Büchern beschäftigt und deren individuelle Schönheit hervorgehoben. Fasziniert von dem Geheimnis, das sich hinter jedem einzelnen Buch verbirgt, hat er seine Werke aus wiederverwerteten Bucheinbänden geschaffen, von denen einige bis ins Jahr 1900 zurückreichen. Diese Bücher sind gealtert, wobei sich auf der Oberfläche natürliche Texturen gebildet haben, die im Laufe der Jahre eine subtile und erstaunliche Haptik und schöne Farben hervorgebracht haben. Auf der anderen Seite sind seine Leinwandarbeiten eine visuelle Dokumentation der Zeit, wobei die natürlichen Elemente die Bewegung komponieren. Jede Leinwandarbeit ist eine Landschaft, die von der Landschaft selbst geschaffen wird. „Ich betrachte die Natur als eine Erweiterung meines Ateliers; sie spielt eine wichtige Rolle in meiner Arbeit. Meine Praxis entsteht spontan und intuitiv beim Gehen. Ich bin immer wieder fasziniert von den natürlichen Elementen, die mich umgeben, da ihre Bewegung und Präsenz mich inspirieren." Rahimians Arbeiten sind eine visuelle Dokumentation der Zeit und der Wirkung von Zeit auf Materialien. Ziel ist es, dass sich der Betrachter ausschließlich auf die Farbe, die Textur und die subtilen Spuren auf den Werken konzentriert. „Als Künstler reizt mich die Unvorhersehbarkeit und Rohheit, mit der ein Gemälde entsteht. Ich plane meine Werke nicht und habe auch keine vorgefasste Meinung darüber, wie sie aussehen werden. Ich versuche, Werke zu schaffen, die visuell anregend sind, ohne überarbeitet zu wirken."

  • Galerie Biesenbach

    Klangassoziationen 1997-2022

    21 Aug 2022 – 14 Oct 2022

    Hideaki Yamanobe Klangassoziationen (Sound Associations) 1997-2022 Hideaki Yamanobe's painting must be seen in the context of artistic developments and diverse currents in 20th century America and Europe. The young painter, who comes from a famous Japanese family of calligraphers, is deeply familiar with the Japanese painting culture. He first studied the works of Cézanne and Cubism (with Prof. Ohnuma, Tokyo), then the painterly movements of the Western 'Informel' (Tobey, Mortherwell, Rothko, Gorky, Wols). Kenzo Okada (1902-82), who in the 1950s enriched Japanese painting with aspects of abstract art experienced specifically in New York, became important for Yamanobe's artistic development. In contrast to the western tendencies of 'Informel', towards the complete autonomy of the picture - the detachment of painting from real points of reference - he took Okada's basic idea with him to Europe, that a work of art is only 'alive' when the reference to nature is perceptible as a ‘natural breath’. In 1992 Yamanobe left Japan to find his artistic identity in Europe. The first 'landscape paintings' clearly indicate Okada's above-mentioned painterly intentions: they are the visualised breath of a characteristic landscape. Since 1995/96, Yamanobe - standing entirely in the tradition of Paul Klee - has been exploring the meditative possibility of finding images for musical sensations. Kiyoko Wakamatsu (1914-95), whose late abstract period ("N° 1") shows a spiritual as well as painterly connection to Klee and Kandinsky - but also to Miro - must be considered as a decisive impulse for the 'new phase' of his work. It is not only the personal encounters with the painter that have a stimulating effect, but also the close relationship of both to music: Kishiko, Wakamatsu's wife, is a pianist, and it must not go unmentioned for the understanding of the 'sound associations': Yuko Suzuki, an internationally performing soloist, is Yamanobe's wife at the time. Small panels of simple form provide the basis, conceived as resonating bodies as well. Painting grounds are mostly traditional Japanese rice paper and canvases made of cotton nettle, stretched on high rectangular frames. Mixed techniques of oil, lacquer and acrylic paints, but also old glue and pigment techniques, as well as Japanese ink and colour formulations (natural colours of the Zen monks) are used. With partly thick spatulas and the integration of unconventional painting techniques (collages, frottages) Yamanobe succeeds in creating a palpable materiality on the picture surface. In this way he creates an exciting interplay between illusionistic transparency and painterly three-dimensionality. Light zones of varying intensity create atmospheric depth from the sensitively varied modulations and layered formal grounds. Through the skillful placement of contrasting zones occurs what the Spanish painter Antoni Tàpies called the miracle of painting: "...when dull and inert matter begins to speak with an incomparable expressive power." In these immaterialised general tones - tempered from sparse colour tones: sometimes varied in earthy tones, sometimes chromatically saturated in broken complements, or laid out in cold and warm grisaille surfaces - signs are embedded that, in the moment of seeing, orchestrate themselves into pictorial sounds. Yamanobe uses the method of domestic calligraphy for this, but not the 'signs of meaning' of the old pictorial scripts. With a groping hand, he draws tactile symbols in rhythmic movements and invents musical symbols from the inexhaustible arsenal of purely 'pictorial means’, which sometimes oscillate openly, or remain hermetically and strictly enclosed. This small world of simple forms: circles, ovals, crosses, angular and line fragments indicate movement in their extension, position or deformation and the unstable rhythm or stand in the field of tension of the lines surrounding them. Enveloping and filling forms as well as interlocking shapes and surfaces are deliberately used as 'contrasts of form'. They enrich the spatial conditions, create vistas. Unformed 'blotograms' and freely gesticulating line ornaments or broken trace lines in strict parallelism initiate sound progressions pointing beyond the surface. In the interplay of form and ground, through contrasting and attenuating, overlapping and blurring, Yamanobe gives the picture surface the character of a vibrating resonance membrane in which sound chords vibrate and tones disappear into it, echoing in shadows, losing themselves in the indeterminate. This painterly-aesthetic scanning of the sensitive sensory space always remains suspended between passive acceptance and active creation of form, seeking an immediate expression for the sensual in the human being. The serial arrangement of the coherent sound units into large-scale ensembles aims at an 'orchestration' of the rhythmic structures and tonal tones. In the 'in-between' of the individual images, the polyphonic intervals fade away into reverberations - the spatial distances correspond to the pauses in the music. The overall conception of the sound creations may well follow the aesthetic considerations that Kandinsky paraphrased in analogy to nature: "Just as in music every construction possesses its own rhythm, just as in the completely 'accidental' distribution of things in nature there is also always a rhythm, so also in painting." ("On the Spiritual in Art"). Yamanobe's work is fundamentally conceptual. Only in this way can the dialogical and evocative process between pictorial unity and wholeness succeed. By rearranging the elements and contextual painting processes - which leave additions and revisions open until the end - the artist succeeds in uniting the final arrangements of the interval units into a well-ordered instrument of extraordinary sonority. In their meditative orientation, Yamanobe's "sound associations" touch on areas of the metaphysical, encourage 'contemplation'. Those who have learned that the eye sees more than the superficially objective are impressed and inspired by the sensitivity inherent in the images. - Wilfried Klausmann, 1997 -

  • Galerie Biesenbach

    Rosina

    05 Feb 2023 – 05 Mar 2023

  • Galerie Biesenbach

    Rebecca Bournigault: We Were Never Lost

    12 Jun 2022 – 20 Aug 2022

    Rebecca Bournigault (*1970 in Colmar, lives and works in Paris) has made an international name for herself as a video and photographic artist since the 1990s. In addition to digital media, she also uses painting and drawing to devote herself to her main subject, the portrait. Bournigault's work has been shown in numerous museums, institutions and galleries and is in renowned private and public collections such as François Pinault, Musée d'Art Moderne de la Ville de Paris or Maison Européenne de la Photographie de la Ville de Paris. Bournigault is a contemporary portrait artist who works mainly with video, but also uses drawings, watercolours and photographs. She works with the portrait and the icon, two sides of the same coin, each referencing the real and the fictional, the model and the singular, taking care to constantly reorder things in order to better re-examine their relationship to the Other. In Bournigault's work, there is a constant tension between outside and inside, above and below, moon and sun, animal and plant. Do they love each other or tear each other apart? Does it come or is it "transverted"? And the blood, where does it come from? Where does it flow to? Is it still warm or already cold? And the music, where does it come from? Who penetrates it? Bournigault often uses pornographic films as a model for her sexually explicit watercolours, in which she portrays women - detached from the film setting - and thus stimulates reflection on the exploitation of the female body today. Rebecca Bournigault (*1970 in Colmar, lebt und arbeitet in Paris) hat sich seit den 1990er Jahren international einen Namen als Video- und Fotokünstlerin gemacht. Neben den digitalen Medien nutzt sie auch die Malerei und Zeichnung, um sich ihrem Hauptsujet, dem Porträt, zu widmen. Bournigaults Arbeiten wurden bisher in zahlreichen Museen, Institutionen und Galerien gezeigt und befinden sich in namhaften privaten und öffentlichen Sammlungen wie z.B. François Pinault, Musée d’Art Moderne de la Ville de Paris oder Maison Européenne de la Photographie de la Ville de Paris. Bournigault ist eine zeitgenössische Porträtkünstlerin, die hauptsächlich mit Video arbeitet, aber auch Zeichnungen, Aquarelle und Fotografien verwendet. Sie arbeitet mit dem Porträt und der Ikone, zwei Seiten derselben Medaille, die jeweils auf das Reale und die Fiktion, das Modell und das Singuläre verweisen, wobei sie darauf achtet, die Dinge immer wieder in eine neue Reihenfolge zu bringen, um ihre Beziehung zum Anderen besser neu zu hinterfragen. In den Arbeiten von Bournigault besteht eine ständige Spannung zwischen Außen und Innen, Oben und Unten, Mond und Sonne, Tier und Pflanze. Lieben sie sich oder zerreißen sie sich? Kommt er oder wird er "transvertiert"? Und das Blut, woher kommt es? Wohin fließt es? Ist es noch warm oder schon kalt? Und die Musik, woher kommt sie? Wer durchdringt sie? Oftmals dienen Bournigault pornographische Filme als Vorlage für ihre sexuell expliziten Aquarelle, in denen sie Frauen – herausgelöst aus dem Filmsetting – portraitiert und so zum Nachdenken über die Ausbeutung des weiblichen Körpers heutzutage anregt.

    exhibiting artists

    neueste Werke

    • Rosina
      145 x 113 x 3 cm (h x w x d)
    • Rosina
      145 x 110 x 3 cm (h x w x d)
    • Rosina
      110 x 145 x 3 cm (h x w x d)
    • Rosina
      150 x 195 x 3 cm (h x w x d)
    • Rosina
      150 x 195 x 3 cm (h x w x d)
    • Rosina
      100 x 100 x 3 cm (h x w x d)
    • Rosina
      285 x 195 x 3 cm (h x w x d)
    • Rosina
      150 x 195 x 3 cm (h x w x d)
    • Rosina
      210 x 110 x 3 cm (h x w x d)
    • Rosina
      195 x 150 x 3 cm (h x w x d)
    • Rosina
      219 x 110 x 3 cm (h x w x d)
    • Rosina
      120 x 180 x 3 cm (h x w x d)
    • Rosina
      120 x 180 x 3 cm (h x w x d)
    • Arran Rahimian

      Page 60, 1962-2021
      31.5 x 22 x 2 cm (h x w x d)
      Mischtechnik auf gefundenem Buch_mixed media on found book
    • Arran Rahimian

      Pink Lady, 2022
      59.5 x 52 cm (h x w)
      Öl auf Leinwand_oil on canvas
    • Arran Rahimian

      Pear 2, 2022
      52 x 49 x 2 cm (h x w x d)
      Öl auf Leinwand_oil on canvas
    • Arran Rahimian

      Pear 1, 2022
      52 x 49 x 2 cm (h x w x d)
      Öl auf Leinwand_oil on canvas
    • Arran Rahimian

      Page 72, 1937-2021
      23 x 17 x 2 cm (h x w x d)
      Mischtechnik auf gefundenem Buch_mixed media on found book
    • Arran Rahimian

      Page 64, 1938-2021
      28 x 23 x 2 cm (h x w x d)
      Mischtechnik auf gefundenem Buch_mixed media on found book
    • Arran Rahimian

      Page 62, 1930-2021
      31 x 20 x 2 cm (h x w x d)
      Mischtechnik auf gefundenem Buch_mixed media on found book