Opening with performance on Sa. June 9, at 7 p.m.
until Sun. July 15, 2018

The gallery space transforms into a waiting room that also reflects the question of what we are actually waiting for or what expectations we have of what is to come. What will be later? In the staging of the space, works of art are presented and information material and refreshments are available, which, as in any other waiting room, could successfully distract from these trains of thought or, in contrast, focus them in a special way. Take your time.

Dans la salle d’attente,on est juste là.
Assis. On ne fait pas grand chose! Il faut juste qu’on soit là.
Quelques fois on regarde le temps qui passe.
C’est un peu long d’ailleurs, de le voir passer.
Mais bon, dans la salle d’attente,
on est là pour qu’ensuite il se passe quelque chose!
Et souvent, ce qu’il se passe après est tout de même un peu décevant.
Parce que finalement, dans la salle d’attente,
on était un peu content, d’avoir enfin tout ce temps.
Natascha Frioud

Vernissage on Sunday, 18 March at 16 o’clock
18.3. – 5.5.2018

Look out! – A selection of Raku vessels will be on display on the weekend of 20 & 21 May from 14 – 19 o’clock at Haus Lohmnitz, Langohrzeile 9 in Berlin. The exhibition there also shows paintings and collages by the artist Elke Graalfs and collages as well as a mobile by Manfred Kirschner

The artist Martin Mindermann has been working in ceramics in the area of ??the Raku fire for three decades. He has already set new standards in artistic technique and expression. In the Raku’s historical technique, the glowing vessels are taken out of the oven, placed in straw or shavings and also moved in the renewed fire. The burned, black, sooty vessels unfold in the purge of soot, their stirring characteristic secrets. The changing temperature boosts cause glaze cracks, the so-called Krakelé. On the one hand, controlled by the artist and natural coincidence underlying technology that works like a language. Crackle, coloring and body play in a changeable aesthetic interaction creating a unique object. The artist often stages volumes and bodies with pictorial surfaces. Here he inserts patterns and striking visual structures in current works. These are contemplative forms or series that he finds and studies in everyday life. He translates floral objects, such as seed pods, figural outlines, reflections, even patterns on car parks or tablecloths, onto the glaze using photography and drawing. They form a complex aesthetic creation that works in the virtuose interaction of the various levels and their setting similar to painting. Moreover, it seems as if the emerging images with the vessel have received their intended body. Martin Mindermann knows how to convey the inherent contemplation of his ideas and studies in a very convincing way. One can hardly escape the intensity and radiant power of his works and, as a viewer, can easily enter a calm, deep vision.