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Wednesday, August 17, 2016

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3D exhibitions

  • 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

  • Caroun Art Gallery (CAG)

    Figurative Painting Exhibition by Masoumeh Ghahremani Nejad

    01 Feb 2017 – 14 Feb 2017

    Figurative Painting Exhibition by: Masoumeh Ghahremani Nejad A collection of Oil Paintings on Canvas

  • 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.

  • Art In Flow

    Ana Michaelis. Memory Talks

    Painting of landscapes touches fundamental questions about life and the relation between humankind and nature. The Brazilian painter Ana Michaelis creates memories of views we have hardly seen, but become as live as our own remembrances. This presence is ephemeral, as time in her paintings works as a quick instrument that erase and vanishes the images of the memory. From photographs, drawings, but mainly from memory the artist paints the landscape in black and white, applying strong nuances of these colors. Over it, a white layer of paint transforms the image, bearing its disappearance. The finished canvas resembles a memory that doesn’t belong us, allowing an anonymous past alive in our present. The process of covering the image with paint layers that permeate and weaken those images, strengthen the succession and passage of time that can not be represented by independent moments. Although at first sight we see a white canvas or a frozen scene, slow and continuously afterwards, the same image seams to appear and vanish. In spite of the lack of humanity or signs of its participation, the landscape may suggest a timeless environment, but its whiteness allows the passage of time to reveal itself. (Cauê Alves)

  • german-fine-arts

    Cap Ferrat und Purple Rain

    26 Jul 2016 – 08 Jan 2017

    Frank Zappa wird der Satz zugeschrieben: „Über Musik zu reden ist wie über Architektur zu tanzen“. Grundsätzlich kann man das natürlich tun, ob es denn Sinn macht darf dann jeder für sich selbst entscheiden. Ich würde dieses Zitat dahingehend abändern, dass ich sagen würde: Über meine Bilder selbst zu reden wäre für mich so, als müsste ich über Architektur zu tanzen. Das schließt aber nicht aus, dass ich mich nicht in dem wiederfinden kann, was der Betrachter in meinen Bildern sieht. Volkmar Köhler hat auf einer Vernissage etwas über meine Bilder gesagt, dem ich absolut zustimmen kann: »Die Bilder erzählen Geschichten, aber es sind keine geplanten Bilder. Es sind Reisen ins Innere. Wenn Köpfe und Gesichter scheinbar aus dem Lot geraten, so ist die Verzerrung die offene Tür zu diesem Innenleben des Künstlers wie des Betrachters. Es ist der Humor, der die Klammer bildet. Ob „redgozilla“ durch Luponase und Blütenschwanzwedel seine Bedrohlichkeit einbüßt, ob der Renaissancepoet „Petrarka“ mit Heugabel und Schnurrbart daherkommt oder ob der König in „kingsandqueens“ hinter einem überdimensionalen Busen hervorlugt, Schrecken haben bei Rainer Baier meist auch eine heitere Seite.« Was ich aber mit Sicherheit sagen kann ist, dass die Malerei ein Ort für mich ist, an dem ich mich aus der Realität mit ihren Gesetzen, Vorschriften, ihrer Logik und ihren Erwartungen lösen kann und so etwas wie Freiheit empfinde. Rainer Baier | Juni 2016

  • Galerie Friedmann-Hahn

    Kunstessenzen XIV - Berlin!

    22 Jul 2016 – 03 Sep 2016

    Künstler der Galerie zeigen ihre Ansicht auf Berlin

  • german-fine-arts


    05 Jul 2015 – 04 Sep 2015

    »Island - noch nie zuvor haben mich Landschaften so berührt und fasziniert. Archaisch, ursprünglich, brachial - urzeitlich. Mich der Schöpfung nahebringend, sprachlos machend.« Christoph Lingg

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