Galerie Kornfeld

Philip Grözinger transforms the gallery into an immersive, all-encompassing installation, adding a crucial dimension to his paintings. Carefully placed sculptural elements, including small bronzes, ceramics, flowers, and everyday objects like microwaves and radios, emerge from the canvas, allowing visitors to physically experience the artist's visual worlds. In this three-dimensional setting, Grözinger leads visitors into a world of precarious balancing acts. His figures, often poised on a tightrope, become emblems of a society that, driven by consumerism and constant self representation, is in danger of losing its balance. The act of fishing for the "big catch" that promises to fulfill all dreams becomes a metaphor for a dangerous game.

On the occasion of Gallery Weekend Berlin 2026, KORNFELD Galerie is pleased to present a solo exhibition of new works by the German artist Sebastian Maas. Titled Seduce me, the exhibition brings together new paintings by Maas (*1984, Aachen). In his works, the artist examines the relationship between painterly tradition and contemporary visual perception. Maas applies paint in swift, yet deliberate gestures. The resulting surfaces oscillate between control and spontaneity, creating compositions where painterly precision coexists with moments of dissolution and fragmentation. At the heart of Maas' practice is an ongoing dialogue with the history of European painting. Motifs and compositional fragments from the works of Old Masters appear in his paintings as partial echoes rather than direct quotations. Detached from their original iconographic context, these references are transformed into open, contemporary pictorial structures in which recognition deliberately remains fleeting. Seduce me offers a focused look at Maas's current practice. The exhibition highlights a body of work that continues his investigation into the conditions of contemporary painting, where the painterly gesture becomes a site of memory and transformation.

With the exhibition "Popcorn und Saure Gurken" 69salon by KORNFELD presents four international female artists who engage in diverse and profound ways with the act of seeing and being seen in our image-saturated world. The title deliberately plays with a contrast: "Popcorn" symbolizes the sweet allure of the mainstream and the spectacle of grand cinema, while "pickles" represent a different, more uncomfortable perspective—a cinema beyond Hollywood, perhaps one that is Eastern European, peripheral, and resistant. The works of Eugénie Didier, Roxana Halls, Christine Brey, and Viktoriia Oreshko navigate this very tension between attraction and irritation, proximity and distance. Their paintings and drawings combine painterly precision with a captivating cinematic atmosphere. The works feel like scenes from films that are never fully narrated, thus opening a vast space for individual interpretation. At their core is a fundamental question: How does our gaze change in a world defined by the permanent visibility of social media and a new economy of attention?

With Trace Elements, KORNFELD Gallery presents a solo exhibition by London-based artist Nick Dawes (b. 1969, Johannesburg), bringing together new works from his current phase of practice. Curated by Charles Moore, the exhibition is dedicated to a painterly approach that consciously resists the visual acceleration of the present, placing time, materiality, and attention at its core. Nick Dawes’ works are created by pouring thin layers of paint onto untreated canvas. Transparency, layering, and a visibly inscribed temporal dimension shape the surfaces of the paintings. Color appears not as a decorative element, but as a structuring principle. The painterly process remains openly legible, lending the works a quiet yet intense presence. Conceptually, Dawes’ work enters into a contemporary dialogue with key positions of postwar abstract painting such as Ed Clark, Mark Rothko, and Sam Gilliam, without citing them directly. His painting carries forward their inquiries into color, space, and materiality with consistency and clarity, asserting the continued relevance of painting as a site of concentrated perception and temporal experience.

68projects presents the joint exhibition Skin and Nerve by Sunjeong Hwang and Wonhae Hwang, developed during their 2025 residency in Berlin. Bringing together video, sound, and painting, the exhibition explores how contemporary image cultures oscillate between technological immersion and material resistance. Sunjeong Hwang’s practice spans video, sound, generative systems, and installation. Her works construct immersive environments that draw on AI, field recording, and speculative interfaces, redistributing perception across ecological, technological, and non-human networks. While these systems evoke visions of expanded connectivity and symbiosis, they also expose the underlying structures of control embedded in digital interfaces. In contrast, Wonhae Hwang approaches the contemporary image through painting. Rooted in urban observation, architectural fragments, and screen-based imagery, her works emerge through layered analog and digital processes. Glass façades, screen tones, and painterly gestures collide to produce fractured surfaces marked by opacity, distortion, and visual fatigue. Rather than offering painting as a retreat from digital culture, her works reveal it as a medium equally shaped by saturation and pressure.

KORNFELD Galerie Berlin presents Life of Colors, a focused solo exhibition by artist Dieter Jung (*1941), one of the pioneering figures in artistic holography. The show brings together works from four decades, highlighting Jung’s exploration of color as living light and as an energetic phenomenon. Since the 1960s, Jung’s practice has investigated the interplay of light, movement, and perception. Using optical interference, spectral refractions, and precisely constructed color fields, he creates immaterial visual spaces that respond to the viewer’s position and invite an active, meditative form of seeing. His holokinetic works and paintings merge into an expanded understanding of vision—one that reveals the invisible within the visible. International exhibitions have significantly shaped Jung’s career, particularly in Brazil, with presentations at MASP São Paulo and MAM Rio de Janeiro. A key biographical milestone was his Rockefeller Fellowship at the Center for Advanced Visual Studies at MIT (1985/86). Works by Dieter Jung are held in numerous renowned museums worldwide, including the Metropolitan Museum of Art in New York, the Taipei Fine Arts Museum, the ZKM Karlsruhe, and the Berlinische Galerie. A major museum exhibition at the Vasarely Museum in Budapest is being prepared for his 85th birthday in 2026.