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Kunstmatrix is a unique tool that enables you to create beautiful 3D showcases of your art to impress art lovers and collectors. Digitally present and manage your art, including an augmented reality app to show a preview of your work in any space you like!

3D exhibitions

  • Down To Art


    Welkom op onze summer-groupshow. 16 juni t/m 18/8 2019 Vrijd. Zat. Zond. 13.30u-18.30u Galerij Down to Art Kraanlei 35a 9000 Gent Belgium

  • Wizard Gallery

    Hypnotic Transofrmation Tokyo 2016 by Misha Andersen

    02 Feb 2016 – 02 Feb 2022

    Hypnotic Transofrmation Tokyo 2016 by Misha Andersen

  • Art In Flow

    Manfred Kirschner. Nur für heute

    Es gibt Zeiten, die mehr Camp sind als andere, denn Camp hat nie seine Fähigkeit verloren, subversiv zu sein. Die 60er wie die 80er gehören dazu und möglicherweise auch die Zeit, in der wir heute leben. Camp ist ein Begriff, der eine Ästhetik der Überstilisierung beschreibt, das Frivole, Zweideutige und Künstliche feiert. Es ist ein Bewusstsein mit Geschick zur Übertreibung und auch eine Brücke zwischen akademischer Kunst und Popkultur bis Kitsch. Kirschners Collagen und Malereien zeigen wie diese Ästhetik auf das Programm der „Individuellen Mythologien“ eingewirkt hat, die seit den 1990er Jahren unter Verzicht eines monumentalen Ernstes à la Beuys, vielmehr mit schräger Ironie und einer Faszination für Popkultur an komplex-verschrobenen Welten baut. Fotografierte Personen, Puppen und Plastiken in einer druckgrafischen Landschaft, Fotomodels in einem klassischem Gemälde, farbfotografische Personen in einem Schwarzweißbild, oder umgekehrt in einer Farbwelt sind in seinen Bildern kombiniert und arrangiert. Die Collagen sind mit einer Schere gefertigt und auf Leinwand aufgezogen. Das Papier ist gegen Ausbleichen konserviert und wurde versiegelt. Das Material ist einer Sammlung von Illustrierten und von Druckwerken der 50er Jahre bis heute entnommen. “Man kann das Belanglose ernst nehmen und sich dem Ernsten gegenüber belanglos geben.“ (S. Sontag) Der zeitgenössische Künstler Manfred Kirschner beschäftigt sich in einem subjektiven Prozess mit einer Neudefinition kultureller Bedeutungen, indem er eine überholte Vergangenheit neben derjenigen, die technologisch, stilistisch und zeitgenössisch ist, gegenüberstellt. There are times that are more Camp than others, for Camp has never lost its ability to be subversive. The '60s and the '80s are part of it and possibly also the time we live in today. Camp is a term that describes an aesthetic of over stylization that celebrates the frivolous, the ambiguous and the artificial. It is an awareness with the skill for exaggeration and also a bridge between academic art and pop culture to kitsch. Kirschner's collages and paintings show how this aesthetic influenced the program of "Individual Mythologies", which since the 1990s has relied on a monumental seriousness à la Beuys, rather building with a jarring irony and a fascination for pop culture on complex, eccentric worlds. Photographers, puppets and sculptures in a printmaking landscape, photographic models in a classic painting, color photographic people in a black and white image, or vice versa in a color world, are combined and arranged in his works. The collages are made with scissors and mounted on canvas. The paper is preserved against fading and sealed. The material is taken from a collection of magazines and prints from the 50s to today. "You can take the trivial seriously and give yourself irrelevant to the serious." (S. Sontag) Contemporary artist Manfred Kirschner engages in a subjective process with a redefinition of cultural meanings, juxtaposing an outdated past with the technological, stylistic, and contemporary.

  • Lisa Padilla

    Lisa Padilla - Virtual Reality / Tilt Brush 2017 - 2018

    01 Jan 2017 – 31 Dec 2019

    Lisa Padilla - Virtual Reality / Tilt Brush 2017 - 2019

  • sara

    Exhibition of Sara Trentch's Photography

  • Vladimir Nosalskiy (LENIN)


    our life under a magnifying glass

  • Artistic by the Sea


    Works by Aisar Jalil Martinez

  • Artistic by the Sea

    Fountainebleu 2019

    Obras de Pedro Avila Gendis

  • Wizard Gallery

    Gorillas Prints - Anastasia Belous

    21 Jul 2019 – 10 Feb 2022

    Wizard Gallery London

  • Galerie Friedmann-Hahn

    Kunstessenzen XXII

    03 Jul 2019 – 31 Aug 2019

    Künstler der Galerie

  • Chun Chieh Rita Lin 林春節· 浪

    Smile Rita

  • Studio Černe


    07 Jun 2019 – 01 Sep 2019

  • g.bustamantek

    Silence, Power and Climate Change

    31 Jul 2019 – 31 Jan 2020

    SILENCE, POWER AND CLIMATE CHANGE Since Materialism was rescued by movements such as New Materialism, address the relationship between political theory and images has become essential. In order to do this, we are developing a project in which we join concepts and images relevant in political theory, such as gender and matter, with the production of images and their reinterpretation using the theory of Bildakt and the theory of New Materialism. In relation to silence, for example, how do we see this problem from an initial and theoretical point of view? Since Thomas Hobbes posed the conception of modern state as an artificial person created through words, which bring into existence and provide a body to that which would otherwise lack it (modern state, in this case), modern political theory has failed to consider the possibilities of generating power that silent matter has. Such absence of consideration might result from a deficit, the misunderstanding of its strength in terms of both social resistance and the generation of freedom (Hobbes shall indicate that civil liberty consists in acting upon the silence of the Law). The word and the strength of rhetoric shall appear as creators strengthening reality, while silence shall be emptiness, a non-word, a non-sound. The latter part of that statement is still surprising because silence has played a central role in challenging authority, the same authority that stems from words and exercersizes its power through them. In that sense, silence, would be essentially an anti-power expressing a moment of freedom for those who are subject to the power of others. That deficit in political theory has not existed in art or literature. Both of them have nourished political theory. The question that arises is why that artistic-literary dimension (that of silence) has not been considered by political theory. It might be possible to uphold that, in political history, silence would be equivalent to a horror vacui, in which word and sound are assumed to be an expression of the “being” embodying the creative capacity of the sovereign (may that be a mortal or mythological god). That is the reason why Leviathan’s image is that of a Mortal God grotesquely expressing through people the denial of emptiness. This would be a denial of power: if this new mortal god is pure power and the entire social artificiality is owed to him as a possibility, his representation must reflect it. However, from a linguistic point of view, its main feature would be its capacity to create through the word. The word prevents the emptiness generated by silent social anarchy; an an-arché that is neither linguistically nor symbolically ruled, and consequently causes the exacerbation of freedom in relation to its ruler. In this sense, silence would be anti-sovereign. Modern political theory takes language and the use of images corresponding to religious tradition. The latter, already present in Renaissance thinkers, will intensify with Hobbes, where biblical imagery converges syncretically with the hermetic tradition. In this tradition, there is a hermetic god who is capable of acquiring human form through the use of the word, gathering all demons in his body to guarantee the peace of animal-humans. Our hypothesis is that the aforementioned disregard for silence in political theory has been marked by an understanding of action as something eminently linguistic and anthropocentric. Conversely, other Humanities might have been more open to understanding non-animal and non-living agency, in which the conveyance of meaning would not be linked to active linguistic communication. If so, we believe that the convergence of bildakt and the new current of New Materialism (Bennett et al.) makes room for the consideration of silence as a component of political action. This would be relevant, since it would contribute to a new understanding of action realized by matter and its relevance in its multiple forms, seen from a perspective of power generation in society. Since J.L. Austin’s classical work (1962) regarding “speech acts,” some progress has been made in the understanding of images as “image acts,” (in relation to Bildakts by Horst Bredekamp, 2010). Images and language are both considered as creators of reality as opposed to reproducers of something that already exists. Images have been essential for the understanding of both politics and social order. They have played a part in the consolidation of political order as well as in challenging a standardized understanding of power. Regarding consolidation, we only need to consider the famous cover of Leviathan by Hobbes, symbolizing the new emergent power of State. In relation to the criticism of power, from Bizancio’s iconoclastics to the ‘60s counterculture, challenging the image of what is accepted as a means of domination has been a key element in social transformation. Therefore, the battle related to the positioning of image has been extremely relevant in the struggle for power. As signaled by Bredekamp, from Ulmer Verein and the latter works of Martin Warnke, Klaus Herding, and Franz-Joachim Verspohln, passing through Alfred Gell’s works and even the latest contributions by Sabine Marienberg and Marion Lauschke, among others, art history has reset to a history of social struggle. This work aims to explore the convergence of the New Materialism theory on materiality and image theory, so as to explain the absence of matter as a political actor, and of silence, both as image and as sound. Images could be a form of expression of silence by means of non-anthropologized matter. From a theoretical perspective, as signalled by Bredekamp himself, Bildakt was originally linked to emancipating theories in social sciences, such as those by Wolfgang Abendroth and Heinz Maus. Meanwhile, the New Materialism project by authors such as Bennett, Frost, Barad, and Coole, among others, radicalizes Foucault’s idea (present in Butler as well) on the extension of contemporary power to control over bodies and biology, and the possibility of resistance to that power by that same matter. To do this, we would need a theoretical investigation depicting that power corporeality and the possibility of resisting it by forms that are not subsumed in its categories. If art is, (in the sense of Greco-Latin tradition) Ars, this would be an appropriate means to explore the potentiality of misfits: certain forms of matter and silence. This is an ongoing project in which silence is addressed as a means of resistance against the power that has been exercised in the sphere of human agency in relation to both gender and non-human and non-animal entities. This first exploratory presentation deals with the problem of Laguna de Aculeo. Laguna de Aculeo is a lagoon located 70 km away from Santiago de Chile. For many years, this lagoon was a famous tourist attraction. However, it is now completely dry due to the overexploitation of water resources and a severe drought caused by climate change. This is the place where the photos were taken. The text accompanying the photos was written by Gonzalo Bustamante, a Philosophy professor at the Adolfo Ibañez University School of Government. This work is part of Gonzalo's artistic-theoretical project, in which Teresa Aninat is participating as a visual artist, together with Karen Petz, the coordinator and organizer of the project. BIBLIOGRAPHY: - - -Bustamante G. Phronetic Science: A Nietzschean Moment? .Journal of Political Power (Routledge). Version online: 10 June 2016. Print: Journal Journal of Political Power , Volume 9, 2016 -Bustamante G. Machiavelli: Die Philosophie der Animalität als Freiheit als Nichtbeherrschung, Archiv für Geschichte der Philosophie. 2017. /(forthcoming, 2020, vol II). -

  • Collection Mario Marino

    Incredible Africa Photographs 2018. Part I

    Incredible Africa Photographs 2018. Mario Marino is a independent award winning photographer, austrian born and based in germany. He has been photographing social documentarys and various peoples in their native lands since 2000. his work is exhibited in museums and galleries around the world.

  • art_by_Novik

    Novik Canvas Print Gallery

  • R. Pierce Hoehn

    Self Envisioned Painters of the Baroque

    A portrait is characteristically defined as a representation of a specific individual. A portrait does not merely record someone’s physical features, however, says something about whom they are, suggesting an evocative sense of a person’s presence. The traditions of portraiture in Western culture extend back to antiquity and predominantly to ancient Greek and Roman traditions, where realistic depictions of celebrated men and women appeared in full scale sculptures made of bronze and marble. Following the period known as, the Renaissance, a shift within European culture occurs which would eventually lead to artists challenging formal boundaries and attempting to elicit sensual, emotional, and intellectual reactions from the audience in an extreme display of authority. Due to the sharing of culture, affluence, and philosophy brought upon by the printing press, the Counter-Reformation and Catholic patronage, the Baroque and its late variant, the Rococo, would become the first globalized art form. Within this exhibition, we will take a look at several prominent Baroque and Rococo (16th c. - 19th c.) artists whom have immortalized themselves, in their own way, through self portraiture. And perhaps we can ask ourselves, what is the artist telling me?

  • Eoin McEvoy

    Dark to Light

    21 Apr 2019 – 15 May 2019

    Dark to Light

  • Dieter Hanf

    Moon Dreams - 50th anniversary of the Moon landing

    28 Apr 2019 – 31 Jul 2019

    Moon Dreams There are hundreds of fairy tails and stories from many cultures and countries about and around the Moon. There are so many myths and ideas about the energy and the spirit of the Moon that it will be hard to count them. Moon Dreams combines some of this topics to an homage to David Bowie as well as to the Moon landing crew of Apollo 11. Even if there are doubts about the authenticity of the moon landing, this should not be discussed here. Rather, the work revolves around the art figure Major Tom, which David Bowie created for his song Space Oddity, among other things, the fascination and impact of the universe, the ideas about space flight and the future shaping of humanity in space. Beginning as a reflection on the actual conditions in the universe, Major Tom approaches ever more abstract stereotypes. In his song "Space Oddity," Bowie shows the fascination of Major Tom's space travel and the uniqueness of the experience by deciding not to return to Earth, knowing that he will die soon. The reflections Major Tom # 1 - # 10 are accompanied by a large-format picture "Moon Dreams", which can be seen in the center of the exhibition. Here realized dreams of John F. Kennedy and NASA come together with those of modern companies that embrace space travel. It remains to be seen whether further expeditions to the moon, to Mars, can be realized in the near future. The problems on our earth surface seem to have even greater priority.

  • Harald Glööckler

    4 kinds of obsession

    "Andy Warhol und Harald Glööckler sind herausragende Kultfiguren ihrer Zeit. Beide Multitalente, präsent in verschiedensten kreativen Äußerungsformen, immer für einen Konventionsbruch gut, immer inmitten einer Inszenierung. Genießen Sie Harald & Glööckler mit ihrer äußersten Präsenz ihrer Persönlichkeit in jedem einzelnen Werk. Bewahren Sie beide Kreativwinkel Ihres Bewusstseins, denn das Werk verdient dort einen liebevoll gehüteten Standort. In seinen gestalterischen Zuständen offenbart er uns, was ihm seine Malerei bedeutet. Das bestätigt Glööckler selbst nachhaltig, wenn er sagt: „Malen ist meine große Leidenschaft… Ich habe in meinen Leben vieles kreiert und große Shows inszeniert. Aber Gemälde zu malen und Objekte zu gestalten, haben einen besonderen Stellenwert für mich. In diesem Schöpfungsakt gehe ich völlig auf. Meine Gemälde geben Einblicke in mein Seelenleben.“ (Prof. Dr. Helge Joachim Bathelt)

  • National Academy of Design

    National Academician Class of 2017

    Curated by: Jenny Wein National Academicians are professional artists and architects who are elected to membership by their peers annually. They represent some of the most distinguished practitioners in their respective fields. Visual Art: Suzanne Anker ◦ Eve Aschheim ◦ Kathy Butterly ◦ Peter Campus ◦ Lisa Corinne Davis ◦ Teresita Fernández ◦ Theaster Gates ◦ Glenn Goldberg ◦ Harmony Hammond ◦ Alfredo Jaar ◦ Elizabeth King ◦ Thomas Lanigan-Schmidt ◦ Marilyn Minter ◦ Odili Donald Odita ◦ Mira Schor ◦ John Walker ◦ William T. Williams Architecture: Craig Dykers (Snøhetta) ◦ David Lake + Ted Flato (Lake Flato) ◦ Kazuyo Sejima + Ryue Nishizawa (SANAA)

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