Roger Ballen

Photographs 1969–2009

22 April – 17 June 2012, Lippold Gallery (1st floor)

Opening on Sunday, 22 April 2012, 11.30am

Roger Ballen will be travelling from South Africa to attend the opening.

The exhibition will feature a representative cross-section of the works of Roger Ballen, who was born in 1950 in New York, and whose cryptic and grotesque images generate unconventional photographic realities. Depicting people who become actors in absurd roleplays, Ballen’s works are among the most unusual examples of contemporary photography.

Roger Ballen’s photography reflects his search for what is unusual and unconscious – and the results frequently have a nightmarish appearance. The exhibition, which was a resounding success at the Munich Stadtmuseum in 2011, features examples taken from throughout his career.

Studio + Kitchen =

Laboratories of the Senses

12 May – 16 September 2012

Opening on Friday, 11 May 2012, 7.30pm

This top-class exhibition developed at Marta Herford addresses the diverse relationship between two creative production centres: the artist’s studio and the kitchen. Connected by the pleasurable use of new materials and ingredients as well as the close involvement of the senses, both these rooms have also undergone a process of transformation over the centuries. Artists’ studios have developed from master craftsmen’s workshops into mysterious studios of brilliant creators and later factory-like studios or multimedia laboratories. And a parallel path has been charted by the kitchen, which has evolved from an archaic fireplace into a rural kitchen-cum-living-room, the small kitchens found in blocks of flats, and modern open high-tech units.

The exhibition covers plenty of ground from sixteenth-century woodcuts of cooks and artists to genre painting and important works of modern and contemporary art. And it focuses on different aspects of the varied relationship between the artist’s studio and the kitchen: as workrooms of unfettered inspiration and alchemy as well as of creative chaos and classificatory thought, and as both representative meeting places and individual retreats.

The project has been developed in conjunction with Prof Hubertus Gassner, the director of Hamburg Kunsthalle.

Guillaume Bruère

GIOM the Millipede

30 June – 26 August 2012, Lippold Gallery (1st floor)

Opening on Friday, 29 June 2012, 7.30pm

In his first major museum exhibition, French artist Guillaume Bruère (*1976 in Poitiers, lives and works in Berlin) will be providing an insight into his diverse activities. Going by the pseudonym of GIOM and well known for his drawings, paintings, sculpture and performances, this ‘extreme artist’ moves among a wide range of themes and motifs with the fleetness of a millipede. For example, he repeatedly slips into the traditional role of copyist whenever he translates famous historical paintings into vibrant, highly charged drawings.

Be it in his drawings, reliefs or ‘saw-cuts’, GIOM constantly reveals a very personal, sometimes seemingly childish world of symbols – a cross between traditional coats of arms, mysterious scenes and vivid poster motifs which mesmerises visitors. By contrast, GIOM’s pastose paintings, collaged sculptures and objects are reminiscent of the raw, unadulterated use of forms by outsider artists and display a high level of internal consistency and precise execution. The result is a secretive world of lines and colours which almost inevitably captivates viewers.

“Nutzflächen” [Productive Land]


16 September – 4 November 2012, Lippold Gallery (1st floor)

Opening on Sunday, 16 September 2012, 11.30am

For the third time, Marta Herford will be presenting works by artists whose lives are connected with the region known for short as OWL (Ostwestfalen-Lippe or East Westphalia-Lippe). By comparing and contrasting very different works, this group exhibition looks set to fuel stimulating dialogue.

The term ‘productive land’ normally used in agriculture takes on a new meaning in the mirror of art. The exhibition transfers this term to the artistic sphere by referring to the presentation area, the significance of the displays, and the mental projection surfaces of both the artists and viewers.