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3D exhibitions


    SALOMÉ - Schwimmer und Seerosen

    04 Mar 2017 – 05 Apr 2017

  • Caroun Art Gallery (CAG)

    "Niagra Falls", Photography Exhibition by "Leyla Mohammadi"

    16 Mar 2017 – 29 Mar 2017

  • Free Art Room

    Internal Forms 14

  • Art In Flow

    Aleksandra Koneva. Fucking Russian Soul

    Dies ist keine politische Ausstellung, obwohl sie die Hintergründe einer Mentalität befragt. Was ist das: „die russische Seele?“ - ist sie auch ein Exportprodukt wie Wodka, Kaviar oder der Don Kosaken Chor? Möglich, dass sie ein Erbe der großen russischen Schriftsteller und Dichter wie von Puschkin, Leskow, Gogol, Dostojewski, Nekrassow und Jessenin ist. Denn sie haben die Charaktere und Handlungen geschaffen und die bis dahin unbekannte russische Melancholie mit all ihre Paradoxien und Extremen beschrieben. Die Künstlerin Aleksandra Koneva liebt es in ihren Werken zu spielen. Sie spielt mit den Sinnen, mit Gefühlen, mit Gegenständen und mit unterschiedlichen Materialien. In der Serie „Blini à la carte“ bearbeitet Koneva den Blin (Pfannkuchen), eine aus Osteuropa stammende Teigspeise als Thema. In „Dostojevski und Disney II“ verrät schon der Titel der Serie, dass es um die dunkle Welt des russischen Schriftstellers und das bunte Reich des amerikanischen Films geht. Die berühmten Disney Figuren haben Anfang der 80er Jahre einen Weg durch den eisernen Vorhang gefunden. In Konevas Kunst sind sie seitdem eine Art begleitende Versuchsobjekte. In ihren analogen s/w Fotografien siedelt sie die Disney Figuren in ihrer Heimatstadt Petersburg an, um zu sehen wie sie auf harte soziale Bedingungen, Armut und Kälte reagieren. In diesem „Russifizierungsprozess“ haben sie sichtlich an Glanz und Glamour verloren, sie sind krank, alt und obdachlos geworden, aber sie haben überlebt. Die aus Holzplatten geschnittenen übermannsgroßen Figuren sind mit Materialien bekleidet, die daran erinnern, wie in sozialistischen Zeiten defekte Materialien nicht einfach weggeworfen wurden, sondern eine andere Verwendung fanden. Konevas Objekte und Fotografien verkörpern ein Stück Kulturgeschichte, in der wertvolle und kitschige, anspruchsvolle und bizarre Dinge nebeneinander stehen. This is not a political exhibition, although it examines what underlies a mentality. What is this thing, »the Russian soul«? – is it also an export product like vodka, caviar, or the Don Cossack choir? Maybe it’s a legacy of the great Russian writers and poets like Pushkin, Leskov, Gogol, Dostoyevsky, Nekrassov, and Jessenin. Because they created the characters and plots and described the formerly unknown Russian melancholy, with all its paradoxes and extremes. The artist Aleksandra Koneva loves to play in her works. She plays with the senses, with feelings, with objects and various materials. In the series »Blini à la carte«, Koneva works with the theme of the blin, a thin pancake prepared in Eastern Europe. In »Dostoyevsky and Disney II«, the series title already reveals the focus on the dark world of the Russian author and the colorful realm of American film. The famous Disney figures found a path through the Iron Curtain at the beginning of the 1980s. In Koneva’s art, they have been a kind of constant experimental objects. In her analog black-and-white photos, she settles the Disney figures in her home city, Petersburg, to see how they react to the harsh social conditions, poverty, and cold. In this »Russification process«, they have visibly lost their glow and glamour; they have grown ill, old, and homeless, but they have survived. The larger-than-life-sized figures cut from wooden panels are covered with materials that remind us how, in socialist times, defective materials were not simply thrown away, but put to other uses. Koneva’s objects and photographs embody a piece of cultural history that juxtaposes the valuable and the kitschy, the sublime and the bizarre.

  • Stefan Schröder


  • Galerie Friedmann-Hahn

    Kunstessenzen XV

    28 Jan 2017 – 18 Mar 2017

    Künstler der Galerie

  • Art In Flow

    Lupe Godoy. Botánica

    Die spanische Künstlerin Lupe Godoy widmet sich in ihrem Werk besonders der Collage. Das Material ihrer Arbeiten stammt aus verschiedensten Quellen, wie beispielsweise aus Kunst-, Mode- oder Lifestyle-Magazinen. Die Ausschnitte vermischt sie mit japanischer Tusche und Farbe. Die Materialität des Papiers, sein Alterungsprozess und die Druckqualität spielen eine zentrale Rolle für ihre künstlerischen Entscheidungen, Serien und Erzählungen. Lupe Godoy´s Collagen aus (re-) produzierten Fotografien thematisieren Überfluss, Kunstgeschichte, Geschlechterrollen und Ökologie. Sie hinterfragen unsere Vorstellungen von Schönheit, unser Bild des Anderen und des Fremden. The Spanish artist Lupe Godoy, based in Berlin, focuses in her work mainly on Collage. The material of her work comes from a variety of sources, such as art, fashion outdoors and lifestyle magazines. The cut-outs are mixed with Japanese ink and acrylic paint. The materiality of the paper, its aging process and the print quality play a central role for her artistic decisions and narrations. Lupe Godoy's collages of recycled photographs focus on abundance, art history, gender roles and ecology. They question our notions of beauty and our image of the other.

  • Edina Hadzic Paintings


    22 Jul 2016

    Edina Hadzic, eine Kunst mit der Idee, Bilder von ästhetischem Charakter für das Gemüt zu zeigen - mit der "Leidenschaft der Seele" eines künstlerischen Beobachters. Es geht um die stille Entsagung, den unsichtbaren, selbst geschürten Verdruss und bittersüßen Schmerz, der unserer individuellen Existenz widerfährt. So wandelt sich die Stimmung zur bleibenden Grundlage unserer Auffassung des Lebens. Edina Hadzic, art with the idea of showing pictures of aesthetic character of mind - with an artistic observer’s “passion of the soul”. It’s about silent renunciation, the invisible, self-induced bitter-sweet pain, which is contrary to our individual existence. Thus the mood changes to the permanent basis on our conception of life.

  • Roger König Art

    exhibition of Roger König contemporary art 2016

    Roger Koenig is an abstract painter who lives and works out of Bauhaus City Dessau. Koenig’s work can be described as ethereal, and attains a level of detail that persuades the viewer to revisit each piece— discovering new secrets each time. Koenig enjoys utilizing older, and more traditional painting techniques; and as an experienced veteran painter, it’s been some time since he’s analyzed the specifics of his motivation. Koenig’s input medium for his work takes on many forms… antique walls, a nice patina, and aged textures which overlap years of existence fascinate him. These attributes which are naturally attained over time are what Koenig attempts to represent within his work. Koenig holds a Master’s Degree in painting from HWK Halle in Germany. After completing his work at HWK he studied at the University of Applied Sciences in Magdegurg. Koenig has been working within his trade since 1991, earning his Master’s Certificate three years later. Continuing to push the boundaries of his medium, Koenig’s work on canvas is innovative and highly experimental. You may view his portfolio on the web at

  • Jea Pics

    I A M N O T H E R E - 2016

  • Galerie Michael Schultz

    The Disapperared II

    Stephan Kaluza

  • Galerie Christian Hosp

    Gigi Scaria "Settlement"

  • Galerie Ludwig Trossaert

    New York Exhibition Room

    BAHRAM´s art invites to transform the famous destination of great poetry, in that it appears as a speaking picture. BAHRAM creates such oeuvres. If you look at the past 10 years of his painting, you can not but recognize that he is obsessed by a vision. The subject of his art is the human being I his solitude. And this vision which – as he shows us – may become a picture but goes beyond language, is translated into the diction of symbols. The continuity of the motives is impressing: the face, the body of the human being, the empty room, the inaccessible towers, the dilapidated homes. Landscape as force of nature or chimera. By the end of the 80ies, all this was already present but still domesticated by a strong mimetic element. The villages were still villages in the form of a group of homes in front of horizons. Since then, however, in particular after the predominantly informal years from 1991 until 1993, a tremendous concentration of the expression had its way. It appears as if you could speak of a persecution by faces, of eyes looking from below to above, of masks, square, massive, threatening. Looks which never arrive and hands tying to reach the unreachable with long spread fingers. In this picture world we did not encounter the Bacon´s brutality of battered bodies; in contrast; a permanent ironic citation of civilization escorts the observer, the creatures with collar and tie. And yet, it is a fantastic world in which heads and bodies are put side by side. A face with a piercing expression in its eyes contrasts not rarely with a featureless face. The unattainability segregates the couples. A blue face up to each other as “Duumvirat” of a reign´s allegory. There is something unalterable in his pictures – as if the image of mankind seems to be a verdict. However, apart from this urgency liberty has also its effect being present as space and color. The image of mankind changes to a memorial of its vulnerability. Luminosity and gloom, water, soil, gale are already present before the individuals. It appears as if they grow out of a primordial chaos, as if they were released from the force of the elements. BAHRAM is the creator of a dramatic world of painting. (Prof. Dr. Christoph Miethin)


    Alfredo Palmero

  • Art In Flow

    Anthony Dodds. Hoi Polloi

    Anthony Dodds Poträtfotografie eröffnet einen natürlichen Blick auf die Persönlichkeit und den Charakter von Personen. Er schafft Porträts, die intim und nah, zugleich unaufdringlich und distanziert sind und Identität offenbaren. Indem er zurücktritt, gibt er den Personen Raum für Stimmungen, in denen sie sich wohlfühlen und sich selbst repräsentieren. Die Porträtserie ‘Hoi Polloi’ (griech. „die Vielen“) zeigt Generationen, Ethnien, Nationalitäten und Religionen der durchmischten Gemeinschaft im bevölkerten Canggu/Bali. Die vielen einzigartigen Gesichter der Menschen – in der großen Masse. Anthony Dodds flicks the latches off our personal shutters, to peer behind the barriers we unconsciously put up. By stepping back and giving his subjects space to feel comfortable, to be genuine, he captures moments that reflect true personality. He creates portraits that are intimate, but at the same time feel distant, that reveal identity, without being intrusive. The ‘Hoi Polloi’ (greek, the many) portraiture series holds a mirror up to the many ages, ethnicities, nationalities and religions who make up the eclectic community in Canggu,Bali. The many unique faces – in a big mass.



    "Looking out through my windows to the sea on the north-west coast of Scotland, it often feels like I’m the only witness to an immense spectacle of unfathomable drama and mystery. This experience has taken me over and become a powerful, if not dominating, influence on my creative impulses – adding another vital strand to my work. Since 2008, when we restored the old stone barn which is now used as my studio, I have been building up a new body of work. It began with a series of watercolours and has now moved into oils - my attempt to find an equivalent in paint for the experience of looking out to the seas of the Inner Sound and the Minch."

  • Randi Strand

    Tales of New York/Simon & Garfunkel

    An exhibition inspired by Simon & Garfunkel collect their CD "Tales of New York" which was released in March 2000. This is a slightly odd collection of tunes, since it appeals to a small audience that wants to listen to more than "The Best" and who want to immerse themselves in many of the tunes you rarely hear. This disc contains almost everything that the duo recorded.

  • Maxim Bukin

    First Exhibition of Maxim Bukin

    My First Exhibition

  • Graham

    exhibition of Graham Bannister

    Nature & Myth. Images observed through movments of water over rocks, revealing mystical spiritsm veild by Nature. Trees. Since the dawn of time selfless givers.

  • Art In Flow

    Hannah Becher. Industrial Views

    Hannah Bechers Bilder zeigen Industriekultur und deren Artefakte. Ihre Leinwände sind Projektionsflächen für Vergänglichkeit und veränderliche Prozesse. Nicht nur die Motive handeln davon, wie die Zeit vergeht, sondern auch in Hannah Bechers Art der künstlerischen Umsetzung wird dieser Aspekt sichtbar. Überlagerungen von Farben, lasierende Schichten auf gespachtelten Bildgründen verdichten sich zu Ablagerungen und sedimentartigen Strukturen, die Gesteinsschichten, Rost oder anderen verwitterten Materialien ähneln. Die so entstehenden Farbflächen bearbeitet die Künstlerin mit Schablonen, die sie nach eigenen Fotografien und Skizzen von Industrieruinen oder Industriedenkmälern schneidet. Meist sind es Silhouetten, die wie Schattenrisse eine Momentaufnahme des fortschreitenden Wandels zeigen. Bechers Kunst bringt verschiedene Zeitlichkeiten und Zeitskalen zusammen und bietet eine poetische Reflektion über die Pathologie des modernen Lebens, - von der Beschleunigung ebenso wie von der Notwendigkeit der Entschleunigung. Hannah Becher’s pictures show Industrial culture and their artefacts. Her canvases are projection screens for transience and variable processes. Not only the motifs show how time passes; Hannah Becher’s artistic implementation also makes this aspect visible. Overlappings of colors, thin layers on spackled canvases condense to deposition and sediment-like structures that resemble rock strata, rust or other weather-beaten materials. On these surfaces, the artist works with stencils that she cuts after own photographs and sketches of industrial ruins or industrial monuments. Mostly these are silhouettes that show a snapshot of the progressive change. Becher’s art brings together different temporalities and time scales and offers a poetic reflection about the pathology of modern life, about the acceleration of time as well as about the necessity to decelerate.

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