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    Pomona Zipser. Self-Runner, 2023. © VG Bild-Kunst, Bonn 2025.

    Pomona Zipser usually conceives her works as assemblages and collages – carefully composed constructions of wood, rope, metal, or paper that seemingly defy the laws of gravity. In the exhibition at Kunsthaus Dahlem, her abstract compositions invite viewers to explore figurative associations. What do you see in her wall pieces – landscapes, mapping systems, or something entirely your own? Or perhaps an animal in a wooden sculpture standing on the floor?

    Featured images: Gerhard Marcks. Half-Dressed Maja, 1951. | Heinrich Kirchner. The Good Shepherd, 1952. | Hans Uhlmann. Steel Sculpture, 1951. | Bernhard Heiliger. Seraph I, 1950. © VG Bild-Kunst, Bonn 2024.

    In December 1950, the Association of German Artists was founded in Berlin as a revival of the association that had been forcibly dissolved by the National Socialists in 1936. The artists Karl Hofer, Karl Schmidt-Rottluff and Karl Hartung were appointed as chairmen, while Willi Baumeister, Carl Caspar, Werner Gilles, Erich Heckel, Bernhard Heiliger, Max Kaus,…

    Featured image: Andreas Mühe. Bunker Shield Plate I, 2021 (detail). © VG Bild-Kunst, Bonn 2024.

    With works by Andreas Mühe as well as Joachim Bandau, Göksu Baysal, Barbara Klemm, Hubert Kiecol, Wilhelm Klotzek, Tobias Kruse, Konrad Mühe, Erasmus Schröter, Paul Virilio and the designer Ursula Wünsch.

    As monumental forms made of concrete, the bunkers dot Europe’s landscape; from Berlin and Germany, to French Brittany, the English Channel, even to the northern and southern coasts (as the “Atlantic Wall”). In Italy, Austria, Germany, etc., bunkers can be found in the middle of cities as oversized, indestructible bodies. The National Socialists called their bunker construction project “Fortress Europe”. Their dark past is firmly inscribed in the bunkers.

    Image: Sofie Dawo. Untitled /Untitled, 1965 (detail). © Jochum Rodgers, Berlin

    The exhibition “From Fiber to Form” traces the development of textile art in Germany from the 1960s to the 1970s and anchors it in its art-historical context. The focus is on the development from the pictorial nature of wall hangings to the increasing relief-like structuring of textile surfaces and the conquest of three-dimensional space. In…

    Image: Haleh Redjaian. Out of Line, 2021, dimensions variable, nails, threads, steel frame, (detail). © April Morais, VG Bild-Kunst, Bonn

    Haleh Redjaian, born in Frankfurt am Main in 1971, studied at the Academy of Fine Arts in Antwerp. The basis of her drawings, textile works, and installations consists primarily of repetitive grids, patterns and networks, which she creatively reshapes and reworks. At the center of her work is always the line, whether drawn on paper,…

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